tiV'iWJiYi / ^ THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA RIVERSIDE v^ / L' // A BIOGRAPHICAL CHRONICLE OF THE ENGLISH DRAMA. TBallantgne puse BALLANTYNE, HANSON AND CO. LONDON AND EDINBURGH BIOGRAPHICAL CHRONICLE OK THE ENGLISH DRAMA 1559-1642 BY FREDERICK CARD FLEAY, M.A. AUTHOR OF "THE LIFE AND WORK OF SHAKESPEARE," 'A CHRONICLE HISTORY OF THE LONDON STAGE, 1559- 1642," ETC. IN TWO VOLUMES VOLUME I. LONDON REEVES AND TURNER 196 STRAND 1891 [.-/// riglits reserved~\ i V'/ S) c M c a t i lu TO MY WIFE AND MY SON, MY ONLY HELPERS IN THIS TOILSOME WORK. CONTENTS OF VOL. I. PACK I Introduction Excursus on the Mirror for Magistrates . . , .17 Biographies of the Playwrights: i 557-1642 (AdAMSON — JONSON.) 21 A BIOGRAPHICAL CHRONICLE OF THE ENGLISH DEAMA. 1559-1642. INTRODUCTION, This book in outward form closely resembles the Blographia Dramatica of 1764, 1782, and 18 12, founded on Lang- baine's Dramatic Poets of 1 69 i , which contains all that is of any value in J. 0. Halliwell's Dictionary of Old English Plays, i860, a mere scissors-and-paste compilation, with a few additions, but inaccurate and void of all historical grasp of the subject. Langbaine's book was excellent for its date, and the successive labours of Baker, Reed, and Jones, the editors of the Blographia, had considerable value ; but Halliwell, by ignoring all notice of the biog- raphies of dramatic authors, deprived their work of its principal recommendation to notice as a guide to the student. Yet his book has hitherto been accepted as our chief work of reference on this important subject it is a misleading and careless one in every way. The pre- sent attempt to supply the deficiency of a di'amatic history, or rather chronicle on which a future history should be based, however like its predecessor in appearance, differs VOL. I. k 2 THE ENGLISH DRAMA. altogetlier in import. The Biographia professed to give lives of the playmakers similar to those in any other Dic- tionary or Cyclopedia, and, alongside of these, lists of their plays, in order of publication, with such brief notices of the plays themselves as could be gathered from their title-pages, with such additions as could be gathered from the im- perfectly understood stage history of the early theatres and actiug companies. My object has been to arrange the plays in order of original production, with such notices of their authors, and such only, as bear upon the history of the drama itself. The ideal of my work would be reached if I could give for every play, from the opening of the theatres in i 5 7 6 to their closure before the civil wars in 164.2, the authorship in each instance, the date of original production, the theatre at which it was acted, the com- pany by whom it was played, the relation it bore to other plays and to dramatic history generally. This is a vastly more extended scope than anything hitherto attempted, and satisfactory results are not always attainable ; but I trust that my readers will find that in most cases of import- ance I have hit, if not the bull's-eye, at any rate an inner ring. Many of the larger problems, such as the separation of the authorship of the Beaumont and Fletcher folio, the chronological arrangement of Fletcher's plays, the dates of production of the plays of Heywood, Dekker, Chapman, Webster, &c., were regarded as insoluble even by Dyce, the best of play-editors. How far this is the case the reader may judge for himself. But the value of solution, when attainable, is considerable. Daily the mass of idle guess- work accumulates into dust-heaps ; we are deluged with such stuff as treatises on Shakespeare's supposed thefts from Montaigne, Jonson's supposed satire of him as Crispinus, Chapman's supposed authorship of Bcrnavcldt, Alpltonsus of INTRODUCTION. 3 Germany, and The Second 3Iaidens Tragedy, Shakespeare's supposed ■writing for the Admiral's men at the Rose, and the like. All this "literature" (bless the mark!) will surely be spared if we can get a trustworthy record of what really was doing in the theatrical world in Shake- speare's time and immediately after. One-third of the Variorum notes of editors would be saved, and the only loss would fall on the writers of popular handbooks on early dramatic authors, who would lose all chance of pad- ding their stolen materials with futile and mutually destruc- tive hypotheses of fictions, leasings, and chima^ras. It will perhaps be the readiest way to accentuate this statement if I now lay before the reader the plan on which the present work is disposed. The authors are alphabetically arranged. Under each name I give first a list of his extant dramatic works in order of publication, then such particulars of his career as have any bearing on dramatic history ; but I have endeavoured to eliminate everything which, however interesting as re- gards the man, is unconnected with him as a writer. In other words, I have relegated many things which would rightly find a place in a Biographical Dictionary, while I have inserted many other things, often of the most trivial value in themselves, but of import from their connexion with or alluding to circumstances that determine date, authorship, &c., of the plays here treated of. In this matter I differ largely from men whose opinions in most things I greatly respect. I am, as Furness puts it, " more clamorous than a parrot against rain" about these trifles, and ' ' to my temperament " the subject has the deepest " relation to the play itself, and to the enjoyment thereof." See Furness' Variorum As You Like It, 304. I do not care to know whether Troylus and Cressida was acted in 4 THE ENGLISH DEAMA. 1 60 1 or 1 607 as an abstract separate fact any more than Fur- ness does, but I do care to know Shakespeare's relations with Ben Jonson ; and when I find that, from an exact determi- nation of the date of this play, I am led by a gradual in- duction (as will be seen in the body of this book under Jonson's Poetaster) to the conclusion that he satirised Jonson therein, and that the play containing this satire was acted, not on the London stage, but at my own Uni- versity, then I acquire an interest in these dates somewhat greater than in the ' ' cost per yard of Rosalind's hose." I will now go farther : if I could find an entry in some newly discovered Diary — say Burbadge's — of Rosalind's hose, I would note it carefully ; for it was by the entry of Labesha's son's hose in Henslow's Diary that I proved that the Humours acted at the Rose was Chapman's Humorous Bay's Mirth, and not Jonson's Every Man in his Humour, and thus demolished the elaborate structure raised on that insecure guess by Collier and his followers. Hundreds of such in- stances will be found in subsequent pages. I have also, in some instances, apparently been very inconsequent in the details of non-dramatic work by the authors of whom I treat. For example, I have for Greene, Nash, and others given elaborate lists of their prose works, while even the poems of Lovelace, Sackville, &c., are passed over without mention ; but the reason is, that I am writing a Biographical Chronicle of the Drama, not a Historical Biography of the Dramatists. The notice of the prose works of Greene, with their changes of motto, was absolutely needed to determine the chronology of his plays and to destroy Simpson's fig- ments of his relations to Shakespeare, while any mention of Lucasta would not have advanced my investigations by one jot. Moreover, I should only have been increasing the bulk of my book by doing what had already been well done by others. INTRODUCTION. S After these life-notices I give a detailed notice of the author's plays (whether extant or not), in chronological order. In most instances I have succeeded, I believe, in ascertaining this, and in supplying the previously unknown names of the theatres and companies of their first pro- duction. Of course, these depend largely on my previous History of the Stage; but the reader will, I think, have confidence in the results obtained in that book, now that they have been endorsed by the, as far as I know, unani- mous •' verdict of the press. In fact, had it not been for the genial S3^mpathy of the reviewers (may I, among so many, mention especially the Spectator and the Manchester Guar- dian ?) I should not have proceeded with the present book, which will supply some lacitncB and correct a few en-ors in the former one (mostly errata merely), but far fewer than I had dared to hope for ; indeed the general confirmation of the one series of investigations by the other — which, be it noted, could not have been produced independently — is most striking, and proves the general accuracy of the earlier series. In the publication lists and in the detailed notices of plays each play is preceded by a reference number, which is also used in the Index. As these numbers are for refer- ence only, and in many instances had to be inserted after the first trial list was indexed, I find it far less likely to introduce errors if I asterise the inserted titles than if I 1 One instance of the contrary has reached me since I penned the above text. A lady critic in Poet Lore, 1891, March, complains that mine is one of the books "a little dull at first glance, because stuffed so full of details." She has not grasped the purport of the book : it is a lens to aid the sight, not an eye to see with, and requires an eye behind it. The lens without the eye reveals no order, and therefore no beauty. The eye is in her wanting, as is evident from her concluding sentence, in which she ranks the book as second to my Life of Shakespeare. Nevertheless her notice is, on the whole, genial and favourable, though not appreciative. 6 THE ENGLISH DRAMA. go over the whole list and renmnber from the beginning, especially in the plays of anonymous authorship. The reader will therefore frequently meet with 150'"" and the like, where, if a perfect list had been at first accessible, I should have written 151, &c. This will not cause any practical inconvenience. In determining authorship (especially joint-authorship) the ground is appai-ently not so firm as in the other prob- lems, because internal evidence much more than external has to be taken into account ; and the personal equation of the critic, his crotchets, weaknesses, and other disabilities, may interfere with the accuracy of his results. Yet the all but unanimous agreement of subsequent critics with what I published in 1874 on the authorship of plays attributed to Shakespeare, Beaumont, Fletcher, Kowley, and Massinger (I except Middleton and Field, whom I had incompletely studied, and concerning whom I advanced nothing but what was expressly stated to be conjectural) encourages me to believe that in this matter also I have succeeded in getting near the truth. The evidence adduced in the present work is of a different character from the metrical considerations in my early work, but it must not be sup- posed that these have been neglected when not expressly referred to. I see no good end in reproducing the elaborate tables I have already published for Shakesj^eare, Fletcher, &c. ; and in other instances, such as Heywood, other tests are more available. Nevertheless, every play that I possess has been metrically analysed, and I hold the results ready for reference at the service of any critic who may desire to avail himself thereof. In no single instance have I found a contradiction between this kind of evidence and other kinds in determining authorship, and in very few cases have I found it useful in determining date. This arises INTRODUCTION. 7 partly from the truism, that only the greatest minds (Shake- speare, to wit) develop in form continuously throughout their career, but still more from the fact that plays were altered for revivals, Court performances, &c., at dates long apart; and it is not till we know the stage history of a play that we are in a position to disentangle the added and reformed parts, which is a necessary preliminary to the application of metrical tests, but which, at the same time, makes the application needless. It may be well, however, to refer here to my SJiakespeare Manual for a few notes on the chief playwrights' metrical characteristics. There is a closely allied method of testing the chrono- logical arrangement of poets' work, of which, being chiefly applicable to non-dramatic forms, I must here give only one illustration — I mean the elaborate choice at different periods of different forms of versification. Those who care to pursue the subject will find further applications to Spenser and Chaucer in other publications of mine. I here choose Drayton because the succession of his writings is valuable for Dramatic History. The notation adopted is, I think, self-explanatory ; it is fully exemplified in my Logical English Grammar, and is, so far as I know, the only complete metrical notation for English verse as yet proposed. I begin with Iambic five-foot lines. Quadrains, 5xa ABAB (Gondibert metre), used by Dray-, ton in The Harmony of the. Church, 1591, Nos. 8, 11, 14. Eclogues, 1593, Nos, 2, 4, 6, 9. Moses, 1630. Elysium, 1630, No. 10. 5xa ABBA, used in The Harmony, Nos. 2, 9, 10. Ely- sium, 1630, No. 4. I think it fair to conclude that the "Quadrains" in Moses and the Muses Elysium were written very early. 8 THE ENGLISH DRAMA. c. 1592, though published late, in the year before Drayton's death. He had distinctly discarded this metrical form. Quinzains, 5xa ABABB. Eclogues, 1593, No. 5. Sestins, 5 xa AB ABCC. Harmo7iy, i 5 9 1 , No. i . Eclogues, 1593, Nos. I, 7, 8, 10. Gavcston, 1594. Stanza of seven, 5xa ABABB CO. Matilda, 1594. Eolcrt, i^g6. Mortimeriados, 1596- Ariosto's stanza, 5xa ABAB ABCC. Barons Wars, 1603. Cromwell, 1607. Margaret, 1627. Agincourt, 1627. Drayton, in 1603, deliberately abandoned all these stanzas except Ariosto's, and declared his reasons. The "often harmony " of the Septain was too soft ; the Quadrain never brought forth " Gemells " or Couplets; the Quinzain too soon; the Sestin " hath twins in the base, but they detain not the music nor the close long enough." Surely this justifies me in making 1603 the commencement of Dray- ton's second manner. Geminels, Heroics, 5 xaAA. Endymion, i$g^. Hcroical Epistles, 1597 (written some years before). did, 1604. Man in the Moon, 1605. Mooncalf, 1627. Elegies, 1627 (written earlier). Elysium, 1630, Nos. ^^ 7- •^'^'^^j David, 1630. Sonnets, 5xa ABAB, CDCD, EFEF, GG. Most of the earlier sonnets, 1594, are of this lax form, and this was the form adopted from Drayton by Shakespeare. 5xa ABBA, CDDC, EFFE, GG, Nos. 12, 13, 14, 16, 17, 18, 29, 34, 35, 40, 42, and one of the omitted early ones are of this form. I now note the long-line metres. 6xa AA. : Uarmony, i 591, Nos. i, 18, 20. Pohjolhion, 161 3-19. Elysium, 1630, No. 6. 7xa AA. : Harmony, 1591, Nos. 4, 5, 6, 7, 12, 15, 17. Cynthia, 1627. INTRODUCTIOX. 9 6xa A, 7x3. A. : Harmony^ I59i, Nos, 3, 13. Then for shorter lines. 4xa ABAB. : Harmony, 1591, Nos. 16, 19. Eclogues, 1593, Nos. 7, 9. Of the varied short metres in the Odes and Eclogues, which, being used once only, cannot lead to any result in testing, I need not take notice, but the repeti- tion of the following in the Eclogues and NympJial is note- worthy : — 4xa AA. : Eclogues, 1593, No. 2. El.ysium, 1630, Nos. 2, 3, 8. 2 (4xa A, 3xa B), Ballad metre : Eclogue, 9. Elysiuvi, Description, i, 2, 4, 5, 6, 7, 9. 2 (4xa A A, 3xa B). : Eclogue, 4. Elysium, 3. 2 (3xa AAA, 2xa B) : Aginconrt (ballad), 1606. Ely- sium, 3. The metrical test would lead to the conclusion that the Nymphals (with Cynthia and Sirena) were written much earlier than the publication date, or that Drayton in his age recurred to his 1605 manner, but I must refer for this to the article in the body of this book. Thus far I have endeavoured to justify my assumption in the title that I have written a Biography of our earlier Drama ; I have yet to show in what sense it is also a Chronicle. While considering the form in which I should arrange my material I was met by a great difficulty. If I adopted the arrangement on which I ultimately decided, there would result a book of reference useful, I hoped, and cer- tainly in far the greater part of it new, but not as a whole chronologically arranged. If I attempted to place the authors in the succession of time, after the fashion of Morley's His- tory of English Literature, I should have to dislocate the careers of many authors ; for how else could I treat of Jonson, Hey wood, Massinger, &c., whose careers extended over several lo THE EXGLISH DRAMA. periods of the divisions into which I should necessarily have to separate the subject ? And, moreover, the careers of many authors — as, for instance, of Chapman, Marston, Dekker, Hey wood, &c., — which run parallel for their mainly impor- tant early portions, are widely separated in their later divisions. After much consideration I hit on what seems to be a solu- tion of the difficulty. I shall place at the end of the Index a list of authors who wrote for one company, only arranged chronoloy-icallv, and also a table in which the theatrical career of each author who wrote for more than one com- pany will be indicated by dates. Opposite each name will be found the time durins: which he was connected with every company for which he wrote. This will give, in brief, his theatrical biography. But, as I have shown in my Sis- tori/ of the Stage that only five companies were acting in London at one time, I have only to arrange these dates in five vertical columns to obtain simultaneously with the authors' careers, which occupy horizontal lines, a statement of which of these authors were at any given date engaged in writing for any individual company. Thus, if the reader merely wishes for information as to Marston, he will at once turn up Marston's name in the book in its alphabetical order. If he desires to know about Eastward Ho, or any other play, he will seek out the play in the index ; but if he is looking for the details of all that was doing by the Chamberlain's company between 1594 and 1603, he will run his eye down the last column of this table and look up the separate notices of every author, Shakespeare, Jonson, Drayton, &c., who therein have dates opposite their names, and then refer to the other list ; and, finally, if he desire a complete chronicle of our drama, he can examine the whole book in the ordei- in which the names are given in these tables, with the assurance that he will thus omit no name IXTRODUCTIOX. ii of any particular Importance. These tables apply to pnh- licly acted plays, not to masks at Court or University plays. The case of divided authorship is further provided for by numerous cross-references in the body of the work. So much for publicly acted plays. For University plays (Eng- lish and Latin), masks, entertainments, &c., separate indexes are given ; and a r4sum6 will also be found of the University plays, &c., with cross-references, in the body of the work. I trust that this arrangement will be found convenient, and justify the heavy labour it has cost me. I must now make a few general observations. The out- come of the detailed investigations of this treatise has been entirely satisfactory in confirming the results of my former work ; it has brought out some things to be added thereto, but has disclosed very little to be taken from it ; it has especially confirmed the main division therein adopted into periods, (i.) The first period, 15 57-1 5 86, enters only slightly into the present treatise, although I should not have felt justified in omitting mention of any play known to have been produced between those dates. It was the time of the birth of Tragedy and Comedy, and of the decay of Moralities. I would call it the final period of Interludes, or if, following Euskin's well-chosen method, we name it after the author then most conspicuous, the period of Lyly, or still better, of Wilson. (2.) The second period, I 587-1593, is undoubtedly to be named from Marlow ; it was in it that Tragedy, especially Historic Tragedy, assumed a complete form in all essential particulars. The Comedy of Greene was quite subordinate. (3.) The third period, 1594— 1603, is that of Shakespeare (as a writer of Comedies and Histories). No name appears by the side of this central figure at this epoch ; for whatever stir the theatrical war of Jonson, Marston, &c., made at the time. 12 THE ENGLISH DRAMA. it was ephemeral and resultless. (4.) The fourth period, 160 3-1 6 1 5, I name that of Jonson, as a mask-writer, in spite of its being the time of the highest tragical development of Beaumont, of Webster, and, above all, of Shakespeare ; for their tragedy was, though colossal, still simply the outcome of Marlow's — the manhood, so to say, of the vigorous youth of the earlier bard. But the Jon- sonian mask was, alike in its dedication to Court patronage and in its introduction of expensive dresses, properties, and movable scenes, pregnant with imminent change which would affect the whole manner of presentation for the future post- Restoration public stage, and whose influence is overwhelming even in our own time. I mark these epochs by birth-dates rather than by maxima of development, and in this one the higher tragedy died in the fulness of its strength, not leaving offspring for the stage even in the works of Shelley or Browning, while the mask was the parent of our modern Shakespearian revival, with its inci- dental music, of the scenery and dress of modern presen- tations, with all their local colour of the Terpsichorean ballet, and even of Wagnerian opera. (5.) The fifth period, 16 16-162 5, is of course the period of Fletcher, the time of Tragi-Comedy, in which the seeds of decay first begin to germinate. (6.) The sixth period, 162 5- 1636, that of Massinger, is that of Historical Tragedy, not the Chronicle English Histoiy of Shakespeare, but the pseudo-classical or Byzantine History, in which, not presentation of fact, but distortion of fact to political ends, disguise of contemporary events under the costume of antiquated stories, is the main- spring of the machinery ; and finally, (7.) the period 1637— 1642 is that of Shirley at the Blackfriars as a reviver of the Tragedy of the early Jacobean time, the only period of Shirley's work of real importance — his comedies of INTRODUCTIOX. 13 the preceding period having little more significance in general dramatic history than those of Brome or Nabbes, however interesting they may be to the antiquary and to the dramatic specialist for their connexion with the work of other and greater men. Such is the division almost forced on us in this investigation, and fortunately exactly coinciding with that jireviously obtained from entirely different considerations. I cannot pass over in silence one point which has been impressed on me at every step in this long labour — the central importance of Ben Jonson. Fourteen years since, in a conversation with the present Laureate at his Hasle- mere mansion, he rebuked me for my comparatively low estimate of his illustrious predecessor ; and although he has since forgotten me (for what reason I know not), I have not forgotten one word of the many weighty apophthegms which he uttered in that two days' converse. I have since then studied Jonson deeply, and I do not exaggerate when I say that, although Shakespeare is the central figure in our dramatic literature, Jonson certainly is the central figure in our dramatic history. In the variety of his work, plays, poems, masks, entertainments, and especially in his Discoveries (the full value of which has been appreciated, as far as I know, by no one till Mr. Swinburne — to whom, by-the-bye, I owe a debt of gratitude for personally direct- ing my attention to Chapman twenty-six years since) ; in his connection with the Court ; in his multiple relations with " great ones," as shown in his numerous poems addressed to them ; in his large acquaintance with other authors, from Selden to Coryat ; in his origination of new dramatic forms of masks, comical satire, and induction ; in his personal experience as actor on many stages ; in his personal biography, of which we know more (thanks to 14 THE EXGLISn DRAMA. Drummond) than of any other of the great dramatists; in his adoption of author "sons" (the playmakers, Field, Brome, Cartwright, Marniion, Randolph, Suckling, Rutter, Falkland, Digby ; to say nothing of Bishop Morley, Sir Henry Morison, Herrick, and Howell) ; and in his unique knowledge, among dramatists of his time, of the only other dramatic literature of anything like equal importance with our own ; — he stands pre-eminently foremost. No wonder that Drayton calls him " long lord here of the theatre." Nor did his influence cease with his death. Through his •'sons" he founded a school of dramatic writing which is far more than anything else the connecting-bridge between ante and post Restoration drama. Shakespeare founded no school; he, like Milton, Dante, Angelo, Blake, Browning, and other men too great for imitation, produced his influence silently and unawares ; no Laureate complaint that "Brome" had appro])riated his sweepings or called his flower a weed ever escaped him ; but his very greatness, like that of the large-lettered name of a country in a map, made him less recognisable and less prominent in a chronicle like the present than that of Jonson, whose name may rather be compared to that of a large town with many suburban villages around it. For his predominant influence on the careers of all the next greatest dramatists to Shakespeare I must refer the reader to the articles on Fletcher, Beaumont, Field, &c., in the body of the work. I need hardly add that the characteri- sation of Volpone along with " some of Balzac's master- pieces" as human reptiles "over-fattened in the vast slime of the poet's brain " by Mr. J. A. Symonds is to me most repulsive, and I might use a stronger word. I need, I think, say little as to the pressing need for a book of this kind. If the earlier literature of Enjrland has not lost for the coming generation all its interest through INTRODUCTIOX. 15 the detestable practice of cramming nndeveloped brains with shilling primers and Clarendon Press editions with notes compiled from Concordances and Dictionaries (among which I do not include A. W. Ward's scholarly Fatistiis and Friar Bacon) ; if the study of dramatic history is to be continued in the future by any one outside a circle of faddists who think that in perpetual statement of individual opinion as to whether Andronieus is or is not good enough to be Shake- speare's there can be any element of human interest ; if the chronological succession of an author's works is a necessary basis for appreciating the value of each of them, and if the relations between different authors are of import in determin- ing the position of each one in such a literary history, then such a book is absolutely necessary, not as being the history itself, but the preceding chronicle on which the history of a truly philosophical kind must necessarily be based. For such an entanglement as that presented by the prevailing arrangement by date of publication surely never existed elsewhere : owing to the retention by the companies of most plays from the press, the publication date often differs half- a-century from that of original production ; and this pro- duces mischief extending far beyond even dramatic history. For instance, in the large English Dictionary edited by Dr. Murray the quotations of plays are frequently far too late, and the whole history of our language is thus reduced to an inextricable muddle ; and I have no doubt that many quota- tions earlier than those given might be supplied by any one who will use this book of mine as a chronological guide. I did, indeed, offer to do this for that work, but, unfortunately, my handwriting was declared illegible (as it often has been by others — yet, strangely, printers do not complain of it); and although my name has been printed among the " readers " without my authority, and I am thus made responsible fur i6 THE EN'GLISH DKAMA. the fifty-one plays in the Fletcher folio, I never contributed more than a few notes for half-a-dozen. But this last paragraph depends on numerous " ifs," and as to the first of these I am very doubtful. I have rather a large juvenile and communicative acquaintance, and I hear continually how hard it is for an Aske's schoolboy to recollect which plays were written by Shakespeare " up on the heights," and which " down in the depths ; " what a bore it is in the City of London School to be told every week that Greene called Shakespeare a Shakescene ; how unpleasant it is for a Queen's College student to be re- minded at intervals of some ten days for six months together that Fleay (her uncle in this instance) is utterly wrong in his hypothesis about Julius Ccesar, that I greatly fear that Shakespeare, and, a fortiori, all the "mushrooms that grew under the Shakespearian oak," will be hated by the next generation as nmch as Ca3sar and Horace, Thucy- dides and Euripides, were by the average schoolboy of my own time ; while, as to the general public, any one who looks into the Transactions of Shakespearian Societies or Shakespearian periodicals — the American ShaJccspeariana, for example — or the publications of Delius or Delia, Ignatius Donnelly or Mr. Feis ; nay, who even considers the amount of dust-heap to be sifted before Furness can issue one of his splendid Variorum editions, will regard any one dev^oting ])atient study to such matters as a probable monomaniac. But enough — I have written the book, and it must speak for itself. The plays therein treated of can speak also for themselves ; many of them are of the immortals, and if neglected for a time through passing influences, they will again come into notice more brilliant than before. MIRROK FOR MAGISTRATES. 17 EXCURSUS ON THE MIRROR FOR MAGISTRATES. As the importance of this series of poems as one of the principal origincs of our historical drama has never been sufficiently recognised, I give an abstract of its contents, ^vith references to plays more or less founded on them. i. T. Marsh's original issue 1559, licensed 1558, but partly printed by Wayland c. 1655, and suppressed under Queen Mary. All these legends are " since the time of Richard 2." I give historic dates, authors, titles, and remarks. 1. 1388. Ferrers. Bobert Tresilian. 2. 1329; 1387. Baldwyn. The two Roger Mortimers ; cf. Edivard 2 and The Fall of Mortimer. 3. 1397. Ferrers. Tliomas of Woodstock ; ci. tliQ ol^ev play on Richard 2. 4. 1398. Churchyard. Lord Mowbray; cf. Shake- speare's Richard 2. 5. 1399. Baldwyn. Richard 2; cf. ihid. 6. 1 40 1. Phaer. Given Glendower ; cf. Henry 4. 7. 1407. Baldwyn. Henry Percy ; cf. Henry /^. 8. 141 5. Baldwyn. Richard Plantagenet, Earl of Cambridge. 9. 1428. Baldwyn. Thomas Montague, Earl of Salisbury. 10. 1437. Baldwyn. James i of Scotland. 11. 1450. Baldwyn. William de la Poole, Earl of Suffolk ; cf. 2 Henry 6. 12 13 York 14 15 1450. Baldwyn. Jack Cade; cf. 2 Henry 6. 1460. Baldwyn. Richard Plantagenet, Duke of cf. Henry 6. 1 46 1. Baldwyn. Lo7'd Clifford; cf. Henry 6. 1470. Baldwyn. Tiptoft, Earl of Worcester. VOL. I. S 1 8 THE ENGLISH DRAMA. 1 6. 1 47 I . Baldwyn. Richard Nevil, Earl of WaruicJc, and John Nevil, Lord 3fontague ; cf . 3 Henry 6, 17. 147 I. Baldwyn. Henry 6; cf. Henry 6. 18. 1478. Baldwyn. George Plantagenet, Duke of Clarence; cf. Henry 6, Bichard 3, Edicard 4, The older Pdchard 3, Bichard Croohlach, Henry Bichmond. 19. 1483. Skelton. Edward 4 ; ct ihid. ii. In Marsh's 1563 edition, reprinted 1571, were added as Part II. : — 20. 1 48 3. Baldwyn? Antony Woodville, Lord Bivcrs, &c. ; cf. ihid. 21. 1483. Dolman, Lord Hastings, cf. ihid. 22. 1483. Sackville. Henry Duke of Buckingham (with Induction) ; cf. ihid. 23. 1483. Baldwyn? Collinhourne, executed for a foolish rhyme. 24. 1485. Seagers. Bichard Duke of Gloster ; ci. ihid. 25. 1 48 3. Churchyard. Jcaie Shore; cf. Edward 4, Shore's Wife. 26. 1454. Ferrers. Edmond Duke of Somerset; cf. Henry 6. 27. 1496. Cavyl. Michael Joseph the Blacksmith and Lord Audlcy. iii. In I 574 were published as a first part (because earlier historically) the legends by Higgins of mythical and Roman Britain, here numbered as in the ultimate arrangement : — I. 1085, Alhanact (cf. Conan [Coron] of Cornwall). 2. 1085, Haniher. 3. 1064, Locrine. 4. 1064, Elstride. 5. 1064, Sahrina. (On this group cf. Locrine.) 6. 1009, Madan. 7. loog, Malin. 8. gSg, 3Iempricius. 9. 844, Bladud (cf. Brute Grecnshield and the Finding of the Bath). 10. 800, Cordlla (cf. ICing Lear and the older Leir). i i. ^66, Morgan (cf. ihid.). 13. 491, Ferrex. 14. 491, MIRROR FOR MAGISTRATES. 19 Porrex (cf. Gorhoduc). 19. 321, Kimarus. 20. 303, Morindus. 24. 52, Nenniiis. 25. $1, Irdanr/las, cousin to Cassihclan, was added in 1575. The only other addition in the editions of I575> ^S7^ ■was an enlargement of the L'envoy from 5 stanzas to i 5 . But in I 578 R. Webster published a rival " second part," written by Blennerhasset only, containing the following legends : — I. 17, Giddcrius (cf. Cymbeline). 2. 219, Carausius. 3. 289, Helena. 4. 446, Vortiger (cf. Valtiger and The Mayor of Quinlorough). 5. 500, Titer Pendragon (cf. TJie Birth of Merlin). 6. 682,, Cadivallade7\ 7. y $ ^ , Sigeberf. 8. Syo, Mha. 9. Sy2, Alured (ci. Alfredics). 10. 1016, Egclrcde (cf . Edgar in a Knach to Know a Knave). 1 1 . 10 iS,Kdric. 12. 1066, Harold. In 1587 Marsh added to his " First Part " of the Mirror the following " Tragedies " by Higgins : — 12. 6 1 2 B.C., Jago. 15. 441, Pinnar (cf. Midmutius Dumvalloio). 16. 441, Stater, ly. 4.4.1, Pud aclce of IFales. 1 8 . 3 7 5 , -5re?mws (cf. The True Trojans). 21. 2-^^, Emerianus. 22. 1^)7, Char- rinnus. 23. 136, Varianus. Then after 25 follows the envoy. Then 26. 44, Julius Ccesar (cf. Julius Caesar, C(Bsars Fall). 27. 39 a.d., iVe?'o (cf. iVero). 28. 42, Caligula. 29. 46, Guiderius (cf. Cymleline). 30. 46, Lelius Havio. 31. 56, Tiberius Drusus. 32. 70, Domi- ti^LS. 33. 71, Galba. 34. 71, O^Ao, 35. 71, Vitellius. ■^6. So, Zondricus the Pict. 37. 212,, Severus. 38. 213, Fidgentius the Pict. 39. 214, G^fto. 40. 209, Caracalla. There are also in this 1587 edition some modern instances added which would have suited the i 5 5 9—7 i book better ; these were : — 28. 1440. Ferrers. Eleanor Cobham ; cf. 2 Henry 6. 29. 1440. Ferrers. Huinijhrey Duke of Gloster. But were not these two in the 1578 edition ? 20 THE ENGLISH DRAMA. 30. 1 44 1. Higgins. Sir Nicholas Burdett. 31. 1 5 13. [Dingley.] James 4 of Scotland (writteu fifty years since ; cf. Greene). 32. I 5 I 3. Dingley. Flodden Field. 3 3- 1530- Cliurcliyard. Fdse and Fall of Wolsey (cf. Cromwell, Henry 8, When you sec me, etc.; i. 2. JVolsey). Finally, in 16 10 F. Kingston published an enlarged edition containing A. 1-40 from Higgins' 1587 edition; B. I — 12 from Blennerhassett's 1578; 0. 1—27 from Bald- wyn's 1571 ; and 28-33 from Newton's 1587, with the following exceptions. He omits 10, Baldwyn's James i ; 24, Seagar's Richard 3; 31, 32, Dingley's James 4, and Flodden : the Fichard 3 in favour of his own ; the rest because they are on Scotch history. He adds : — 34. 1540. Drayton. Lord Crom,well (cf. i. 2. Wolsey, Cromivell, &c.), and A Winter NigMs Vision, by Niccols, containing the following: i. Arthur; 2. Edmund Iron- side; 3. Alfred ; 4. Godwin Earl of Kent (cf. 1.2. Godwin) ; 5. Robert Cur those ; 6. Richard Cceur dc Lion (cf. R. C.'s funeral)', 7. John (cf. Johii, the older play, John and Matilda, Look about you; 8. Edward 2 (cf. Edivard 2, The Fall of Mortimer) ; 9. Tlte Princes murdered in the Tower ; 10. Richard 3. He then appends England's Eliza. But all this Niccols group came too late to serve as foundation for plays ; it was rather founded on them. Among rival legends to the Mirror should be noted Daniel's Rosamo7id, 1592 ; Lodge's Elstred, 1593 ; Chute's Shores Wife, 1593 ; C. Middleton's Humphrey Diihc of Gloucester, 1600 ; Giles Fletcher, senior, Rising of Richard 3, i 593 ; C. Brooke's Ghost of Richard 3, I 6 1 4 ; and above all these, W. Warner's Albion s England, I 586-1602. THE BIOGPiAPHIES OF THE PLAYWRIGHTS, 1557-1642. ALPHABETICALLY ARRANGED ; WITH THE CHRONOLOGICAL SUCCESSION OF THEIR WORKS. Adamson, Patrick. (Latin.) I. Eerodcs, T. c. 1572. AiNSWORTH, George. (Latin.) I. Clytoplion, C. MS. in Emannel Library, Cambridge, which belonged to a AVilliam Breton. Alabaster, William. (Latin.) 1 . 1632, May 9, for Andrew Crook. Roxana, T. 1632. Born at Hadleigh, Suffolk; scholar of Westminster school ; elected to Trinity, Cambridge, 1583; M.A. ad eundem, Oxford, 7th July 1592 ; chaplain to Robert, Earl of Essex, in the Cadiz voyage, 1595 ; became a Roman Catholic, but returned to the Church of England ; appointed preben- dary of St. Paul's, D.D. and rector of Tbarfield, Hertford- shire. Died April 1640. Nicholas Bacon of Gray's Inn was executor to his will. I. Boxana, Tragcedia, a plagiarii unguibus vindicata aucta et agnita ah authore Gulidmo Akibastro was several times acted at Trinity, Cambridge. There was an earlier surreptitious edition also dated 1632. (Hazlitt.) Alexander, William, of Menstrie, afterwards Earl of Stirling. (Unacted plays.) I. 1604, April 30, for Edward Blunt. Works, contain- inof the Monarchic Tragedies, viz. — 1. ])arius,T. 1604 (Edin. ed. 1603), 1607, 1616. 2. Crcesus, T. 1604, i^o?? 16 16. 3. The Alexandrccan,T. 1605, 1607, 16 16. 4. Julius Cccsar,T. 1607, 16 16. The text of the 1 6 1 6 edition differs much from the earlier ones. These plays appeal solely to the literary student. In form they retain the Greek method, with expository pro- 33 24 THE ENGLISH DRAMA. logues, sticliomythia, lyric ckoruses, and messeBger narra- tions. As there is no trace of any connexion of Alexander with the stage beyond the lines to Alleyn, c. 1619 (Collier's Alleyn, p. 178), and even these relate to him rather as founder of Dulwich College than as player, any further de- tails of his career in this place would savour of book-making. Armin, Robert. (Actor and playwright.) 1. The Two Maids of Moreclaclce, H. 1609. By N. 0[kes], for T. Archer. 2. 161 5, Feb. 21, for R. Lownes. The Valiant Welsh- man, T. C, 161 5 ; 1663. From a story in Tarleton's Jests (the second part of which was entered S. R. 1600, Aug. 4) it appears that Armin was born c. 1568, apprenticed to a goldsmith c. 1582, and adopted as his " son" and successor c. 1585-7. In 1590 he wrote a preliminary address to A Brief Resolu- tion of the Right Religion. In 1593 Harvey mentions him in Pierce's Supererogation along with Stubbs and Deloney as a " son of Elderton " among the " common pamphleteers." Before 1599 he was one of Lord Chandos' players as clown ; Jack Miller gave him the name of Gi'umball {Nest of Ninnies). About 1599 he replaced Kempe as Dogberry with the Chamberlain's company. In The Italian Taylor he calls himself " a beggar " {i.e., an armin) " who hath been writ down an ass in his time, and pleads under forma pauperis in it still, notwithstanding his constableship and office," and in Tarleton's Jests " at the Globe on Bankside men may see him ; " it is clear that he joined them before 1 600, Aug. 4, probably on their removal to the Globe, i 599, Mar. He had been in Scotland {Nest of Ninnies) no doubt in 1 60 1, when the Chamberlain's men went there. In 1603, May 19, his name stands eighth in the King's players patent. He acted in The London Prodigal as AEMIK 25 Mat. Flowerdale : cf. v. i. — " Luce. So young an Armin ? Mat. Fl. Armin : I know not what you mean by that, but I am almost a beggar." He was then about thirty-six. In 1604, June I I, S. R., he prefixed a dedicatory letter to his relative Gilbert Dugdale's True Discourse on the Poisoning of Thomas Calchoell. This dedication is addressed to Lady Mary Chandos, widow of Lord Chandos, who died 1602. In it Armin calls himself "Pink," i.e., Eagged Eobin {Lychnis Flos Cuculi), another allusion to his poverty hitherto unnoticed. In 1605, May 4, A. Phillips left him in his will 2 0s. Also in 1605, for W. Ferbrand, he published Fool upon Fool, or Six Sorts of Sots : — I. A Fat Fool. 2. A Flat Fool. 3. A Lean Fool. 4. A Clean Fool. 5. A Merry Fool, 6. A Very Fool. Omnia sunt Sex Clonnico del monclo Siiuffe. This work gave ofifence, as Armin tells us in The Italian Tailor, and was altered and reissued, 1608, by T. E. for J. Deane as A Kest of Ninnies simply of themselves ivithout compound, stultorum plena sunt omnia, by Robert Armin. The dedi- cation to the gentlemen of Oxford, Cambridge, and the Inns of Court mentions the Globe. He was at this time writing for the King's Revels boys at the Whitefriars, having probably left the King's men in consequence of this offensive book. Whether in 1605 {i.e., between 1605, Mar. 25, and 1606, Mar. 26) he was with Kempe managing the (Queen's) Revels children at Blackfriars depends on the authenticity of the document cited by Collier {Actors, p. 117) from "the city archives." See under Kempe, and, for the fools, my History of the Stage, p. 375. "As Hamlet says, things called whips in store " in A Nest of Ninnies is an additional proof that Kyd wrote the early 2 6 THE ENGLISH DRAMA. Hamlet. "Things called whips" is a phrase of his often ridiculed. In 1609, Feb. 6, S. E., for T. Pavier, Phantasma the Italian Tailor and his Boy (dedicated to Lord and Lady Haddington, and translated from Straparola's Notte Pia- cevoli, viii. 5), was entered by Eobert Armin, " servant to his majesty : " he had therefore rejoined the King's men on the breaking, I suppose, of the King's Revels children. He acted for them in Jonson's Alchemist in 1 6 1 o, and in Davis of Hereford's Scourge of Folly, S. R., 16 10, Oct. 8, is men- tioned as still alive. A reference to S. R. would have saved a mass of dispute as to the date of the last-named work. He probably quitted the stage at the end of 1 6 1 o, and died c. 161 i. He did not act in Catiline, 161 i. Dekker's If it he not good the Devil's int was published 16 1 2. In Sc. 3 it alludes to A Nest of Ninnies, and Grumbal the fiend (Armin's nickname, see supra) was altered to Lurchall, probably in consequence of the death of Armin, of whom this character was a caricature. 1 . The History of the Two Maids of Moreclacke (Mortlake), " with the life and simple manner of John in the Hospital," was acted by the children of the King's Revels [at White- friars] in 1608, published 1609 as by R. Armin, "ser- vant to the King's most excellent Majesty." Armin acted John " in the City if not in the (w)hole," and at Court. There is Welsh in this play. 2. The Valiant Welshman, or The Chronicle History of the Life and Valiant Deeds of Caradoc the Great King of Cambria, now called Wales, T. C, " by R. A., gent.," S. R., I 6 I 5 , Feb. 2 I , was acted by the Prince of Wales' ser- vants, i.e., Prince Henry's. Charles was not created Prince of Wales till 1 6 1 6, Nov. It was therefore doubtless The Welshman, acted at the Rose, 1595, Nov. 29, as an old play (originally written before 1593), but not The Welsh- ARTHUR— BACON. 27 mans PrHze, by Chettle and Drayton of 1598. " R. A." was certainly meant for Armin, but not having read the play, I give no opinion on its authorship. Arthur, Thomas (Latin), of St. John's, Cambridge. 1. Microcosmus, T. ^ Two MSS. in St John's Library, 2. 3f iuidus Fhcmheus, T.j 1 6th century. Atkinson, Thomas. (Latin.) I. Homo, T. MS. Harl. 6925. Dedicated to Laud, then President of St. John's, Cambridge, c. 1 6 1 2 . B., R. (Plays.) Query Eichard Bower. I. 1567—8, for R. Jones. Appius and Virginia, C, 1575. See my History of tlic Stage, p. 6 1 . Richard Bower was master of the Chapel children in 15 59) when they played the offensive play \_Misogonus\, 3 I Dec. He had held that office under Henry VIII. and Edward VI., and was continued in it 30th April 1559 at a salary of .^40. In 1563 he may have been a master at Westminster ; but J. Taylor was the master. Bower may have lost his place for allowing Misogonus to be pre- sented. See also 2. Common Conditions and 3. Clyomon and Clamydcs. Bacon, Sir Francis. (Masks.) 1. 1588, Feb. 28. Bacon devised some of the Dumb Shows in The Misfortunes of Arthur, presented by the gentlemen of Gray's Inn to the Queen at Greenwich. 2. c. 1592-3 [query 1 592, Nov. 17]. He wrote speeches for a Device presented to the Queen, printed by ]\Ir. Spedding as ''A Confenxnce of Pleasure" and about the same time a Sonnet (in honour of the Earl of Essex), when he entertained the Queen at Twickenham Park. 3. 1595, Jan. 3. Bacon contributed to the Gesta Graiorum the speeches of the six councillors to the Prince 28 THE ENGLISH DRAMA. of Puqwole (Nichols, Eliz. iii. 288-295, compare i.-xxi. ; Ward ii. 147). 4. 1595, Nov. 17. He wrote the speeches for the Device [query the Essex Antic MasJc] exhibited by the Earl of Essex to the Queen on the anniversary of her accession (Nichols, Uliz. iii. 371). 5. 161 3, Feb. 20. He was the "chief contriver" of Beaumont's mask of The Marriage of the Thames and the Rhine at the Princess Elizabeth's marriage (Nichols, James, ii. 591). 6. 1 6 14, Jan. 6. He was the "chief encourager" of the Mash of Floivers, presented by the gentlemen of Gray's Inn at the marriage of the Earl of Somerset (Nichols, James, ii. 735. It cost him ;^2000, ii. 705). Bale, John, Bishop of Ossory. (Play.) I. The only play of Bale's that comes within the pur- view of the present work is John, King of England, printed from the Duke of Devonshire's MS. by Collier for the Cam- den Society, 1838. This was doubtless performed before the Queen at Ipswich, Aug. 1561, as then altered by Bale, who died soon after, not later than Nov. 1563, atatis 6y. I have given further details on this play in my History of the Stage, -p]). 62-64. Bale's earlier interludes date before 1538. Barclay, Sir William. (Play.) I. 1638, Mar. 5, for John Okes. The lost Lady, T. C, 1638. The copyright was transferred to J. Coleby 1638, Sept. 24, and from him to R Poiston 1640, Sept. 5. I do not think this play was acted, but Cornelia (not pub- lished), by Sir William Bartley (Barclay), was, at Gibbon's Tennis-Court, Vera Street, Clare Market, ist June 1662. Barclay died 13th July 1677. Fortunately he has left nothing but this worthless play, and needs no further notice. BARKSTED— BARNES. 29 Bakksted, William. (Actor aud play-cobbler.) This man acted in Jonson's Epicene, 16 10 [Jan.] as a member of the Queen's Revels cliildren ; in 1 6 1 1 , Aug. 29, he became a member of the Lady Elizabeth's men; in 1 61 2— 13 acted in The Coxcomb, and 16 16, Mar, 20, signed the articles of agreement with Alleyn as one of Prince Charles' men. His only appearance as an author is as the vamper of i. The Insatiate Countess in 161 3, for vrhich see under Marston. There is a curious difficulty in the title- page of Barksted's poem Siren, or The Fair Greek, 1 6 1 1 , in which he is called " one of the servants of His Majesty's Revels." He was certainly at that time a servant of Her Majesty's Revels ; but there may have been an earlier edition, for I cannot find the poem entered in S. R., although his Mirrha the Mother of Adonis, or Lust's Prodigies, duly appears there, 12th Nov. 1607: " Whereunto are added certain eglogs by L[ewis] M[achin]," who was one of the authors of The Dmnh Knight, acted by the children of His Majesty's Revels," and entered 6th Oct. 1608. Mirrha and The Durnb Knight were transferred by John Bache to Robert Wilson, 19th Nov. 16 10. I think Barksted must have belonged to His Majesty's Revels in 1608, and that Hiren was sent to the publisher at that time. Barnes, Baenaby. (Plays.) I. 1607, Oct. 16, for John Wright. Tlie Tragedy of Pope Alexander 6, 1607. Barnes was a younger son of Richard Barnes, Bishop of Durham. Born in Yorkshire, l 569 ; student of Brazenose, Oxford, 1586, but took no degree. He accompanied the Earl of Essex to France ini59i. In 1593, May 10, S. R., was was licensed for John Wolf his Parthenophil and Parthenope, Sonnets, Madrigals, Elegies, and Odes. Dedicated to William Percy, his dearest friend, with verses to Henry Earl of Nor- 30 THE ENGLISH DEAMA. thumberland, Robert Earl of Essex, Henry Earl of Soutli- ampton, Lady Mary, Countess of Pembroke, Lady Strange, and Lady Bridgett Manners. On 2 5tli Aug. IS95, S. R., for John Windett, was entered A Divine Century of Spiritual Sonnets. On 3rd Feb, 1606, for George Bisliop, Four Boohs of Offices, &c. 1. 1606, Feb. 2. The Devil's Charter, T., "containing the life and death of Pope Alexander 6," was played by the King's men before His Majesty. It was " corrected and augmented " (more's the pity) before publication. 2. The Battle of Hexham MS. was sold among Isaac Reed's books in 1807. 3. 1624, May 3. A new play called The Madcap was licensed by Herbert for Prince Charles' company, " written by Barnes." He has verses prefixed to Harvey's Pierce's SuiJcrerogation, I 593 ; Florio's World of Words, 1598 ; Ford's Fames Me- morial, 1606. As his career, excepting The Madcap, is unknown after 1607, that play may have been written by some other Barnes, possibly the actor " little Will Barnes," who was a boy member of Pembroke's company in 1597. Baron, Robert. (Play). Born 1630. Of Cambridge, 1647, and Gray's Inn. 1. Gripus and Hegio, or The Passionate Lovers, P., 1647. Founded on, or rather taken from, Webster's Duchess of Malfy and Waller's Poems. 2. Deortim Dova, mask, 1 647 (in his romance. The Cyprian Academy'), taken chiefly from Waller. 3. Mirza. T. n. d. Same story as The Sophy ; same method as Jonson's Catiline. All these plays were written but not acted at Cambridge. Barry, Lodowick. (Play.) EARRY. 31 I. i6io, Nov. 9, for Robert Wilson. Rum Alley, or Merry Tricks, C, 1611, 1636, 1639. This one pro- duction of this Irish gentlemau had been acted " divers times heretofore " by the children of the King's Revels ; probably in 1609, certainly after the 1606 November statute against drunkenness called "the last statute," iv. i, and before the next statute on 9th February 16 10. The allusions to Romeo CLiid Juliet are very numerous. " The operation of the third pot," iii, 2 (cf. R. J., iii. i, 8, "The operation of the second cup"); "Is there no trust, no honesty in men?" iii. 4 (cf. R. J., iii. 2, 85, "There is no trust, no faith, no honesty in men ") ; " He moveth not, he stirreth not, he waggeth not" (cf. R. J., ii. i, 15, "He heareth not, he stirreth not, he moveth not "). Now, a new edition of Romeo and Jidict appeared in 1609, probably after the reopening of the theatres on December i, after nearly a year's closure on account of the plague : copies would hardly sell well while the playhouses were shut. Again, in iv. I, " I dwindle as a new player does at a plague bill certified forty." The only "new" players within the limits of date were the Queen's men, whose patent on their opening their new house, the Red Bull, dates i 5th April 1 609 ; but they could not play till December on account of the plague. In i. 2 we find that baboons, calves with two tails, and motions (puppets) were very popular. This also points to a time when the regular theatres were closed. In iv. 4, " You know the law has tricks " looks very like an allusion to Day's Laiu Tricks, published 1608. All these indications point to Christmas 1609-10 as the date of performance of the play. But either before or after its first appearance it was (imperfectly) revised, the name of the Captain having been changed. He appears sometimes as Face, sometimes as Puff. The play is anti-Puritan : i. 4 contains a capital 32 THE ENGLISH DRAMA. paraphrase from Hooker beginning " Law is the world's great light," and is especially interesting to the Shakespeare student for its reminiscences of lines from Henry 4, The Merchant of Venice, Hamlet, Othello, &c,, as well as whole passages from Kyd's Jeronymo. If the allusion, v. 2, to the Ninnies " not in London held the smallest kindred " be (as I think it is) to the characters in Field's Weathercock Woman (acted 16 10 after 4th January), the exact date of performance will lie between 4th January and 9th February. Beaumont, Francis. See Fletcher, John. Belchier, Dabridgecourt. (Play.) I. 161 8, June 3, for Bernard Alsope. See mc and See me not, C, 161 8. The eldest son of William Belchier of Gillesborough, Northamptonshire ; entered at Corpus Christi, Cambridge, 2nd March i 597 ; B.A., Christchurch, Oxford, 6th February 1600 ; settled at Utrecht, and while there adapted his one play from the Dutch. Died in the Low Countries, 1621. I. Hans Beerpot, his invisible comedy of See mc and See me not : " acted in the Low Countries by an honest Company of Health-Drinkers," but probably not acted in London. BoNEN, William. (Plays.) Two entries of his name occur in Herbert's MS. I. 1623, Sept. 12, The Cra[fty'] Merchant, or Coine to my Country House, C, for the Lady Elizabeth's players. The authorship of The Crafty Merchant, or The Soldiered Citizen, no doubt the same pla}^, was assigned to Shakerley Marmion in Warburton's list ; but Marmion took care not to leave his plays unpublished, and the names of authors in that list are frequently untrustworthy. The cancelled title therein which Halliwell would identify with this play, The McrcJiant's Sacrifice, is probably a simple error for Minerva s Sacrifice. The further notice printed by Collier BOUIIXE— BRAITIIWAITE. 33 and copied by Halliwell (tliough Chalmers Lad given it rightly) about the players being none of the four companies belongs to Day's play, Come see a Wonder. 2. 1623, Nov. 19. Tivo Kings in a Cottage, T., for the Palsgrave's players. Bourne (or Bird), William. (Actor and playwright.) 1597, Aug. 10. This actor engaged himself to Henslow to play at the Rose with the Admiral's men, and in no other house public in London for three years {Diary, p. 258). 1. 1600, Feb. 9. "Lent unto me, W. Bird, to pay for a new book to Will. Boyle, called Jugurth, xxx.s., which if you dislike I'll repay it back" {Diary, p. 164). This play is never mentioned again by Henslow, but was licensed by Buck, and again as " Jvgurth, King of Numidia, an old play," by Herbert, 1624, May 3 (he does not say for what company). I think Boyle, who is utterly unknown else- where, is merely a nom de plume for Bird himself 2. 1 60 1, Dec. 20—24. He aided S. Rowley in Joshua. See Rowlev, S. - 3. 1602, Nov. 22. He aided S. Rowley in additions to Doctor Faustus. , See Marlow, C. Bird remained with the same company, afterwards patronised by Prince Henry, and then by the Palsgrave, till 3 i st Oct. 1 6 1 8 at least, but died or left acting not later than the burning of the Fortune in 1 62 I. He accompanied S. Rowley throughout his career. Boyle, William. See Bourne. Brandon, Samuel. (Play.) I. 1598, Oct. 5, for William Ponsonby. The Virtuous Octavia, T. C, 1598. This play, written in the Seneca manner, with choruses, was probably not acted. At the end are printed two epistles between Octavia and Antony. Braithwaite, Richard. (Political squib ; in English and Latin.) vol. I. c 34 THE ENGLISH DRAMA. I. Mercurius Britannicus, or 71u English Intelligencer A tragi-comedy at Paris. Acted with great applause 1641. This quasi-dramatic discussion of ship-money, also called in its half-title The Censure of the Judges, or Tlic Court Cui'Cy needs no further notice here. For an excellent account of the author and his works, see Haslewood's edition of Barnahces Journal. Breton, Nicholas. (Editor.) I. An old mans lesson and a. young mans love, 1605. An interlude, edited by N. Breton. Brewer, Antony. (Plays.) 1. The Country Girl, C, "often acted," by T[ony] B[rewer]. 1647. Scenes at London and Edmonton. 2. The Lovesick King, T. H., " with the life and death of Cartesmunda, the fair Nun of Winchester." 1655. The Lovesick I^ing was not, I think, acted at London, but at Newcastle. In ii. i, "Is he not one of those players of interludes that dwells at Newcastle?'' "If there be any Helicon in England, 'tis here at Newcastle." In iii. i , V. 3, Newcastle sea-coals are preferred to Croydon char- coals. In ii. I Monday, the playwright, is alluded to : " What day is this ? 0, Monday ; I shall love Monday's vein to poetize as long as I live." Cf Jonson, The Case is Altered, 1598, i. I, where Antonio Balladino (Monday) says, "An' they'll give me twenty pounds a play, I'll not raise my vein," Grim the Collier is one of the characters. Haugh- ton's play of that name dates March 1600. Heywood's How to Icarii of a ivoman to woo (acted at Court 1605, and of course earlier in joublic) seems to be alluded to at the end of Act i. and in Act ii. All these indicate a date of c. 1604. The names of the characters, Grim, Osric, Hoffman, Randal, Canutus, &c., seem to be taken from Admiral's men's plays of I 597- 1603. 15R0ME. 35 Bkome, Alexandek. (Play.) I. The Cunning Lovers, C, 1654. This play was successfully acted by Queen Henrietta's men at the Cockpit before 1639, Aug. 10, when it occurs in Beeston's list. This fact throws doubt on the date, 1620, assigned to Brome's birth in Biog. Dram. For the plot of the play see The Seven Wise Masters of Rome and the novel called The Fortunate Deceived and Unfortunate Lovers. For Brome's Songs and other publications see Hazlitt's Handbooh. He gave to the press two vols, of Richard Brome's plays, 1653—9 ; to which author, he expressly tells us in his verses prefixed to the second volume, he was not related. Brome, Richard. (Plays.) 1632, Mar. 24, for Nicholas Vavasor. 6. The Northern Lass, C, 1632, 1635, 1663. 1640, Mar. 19, for I" 1 6. The Antipodes, C, 1640. Francis Constable. (^13. Sparagus Garden, C, 1640. 8. The Covent Garden, C, 1658. I I. A New Academy or Exchange, C, 1658. 3. Tlie Lovesick Court, C, 1658. 15. The English Moor, C, 1659. 12. The Queen and Concubine, C, was published with these four in 1659 as *•' Five new plays." 17. The Jovial Creiv, C, for E. D, and N. E., 165 i. 5. The Damoiselle, C, 1640, Aug. 4, for Andrew Crooke. were published 1653 for T, Dring and R. Harriot as " Five new plays." I 8. The Court Beggar, C, 1 4. The Mad Couple well 'matched, C, 4. The City Wit, C, 9. Novella, C, 7. The Qtieens Exchange, C, 1657, 1661, for Henry Brome. 36 THE ENGLISH DEAMA. 1. A Fault in Friendship was licensed 1623, Oct, 2, " for the Prince's servants," who then acted at the Eed Bull. " Written by Brome and young Jonson." 2. The Lovesick Maid, or The Honor of Young Ladies, was licensed Feb. 1629 ; acted by the King's men at Court 1629; entered S. R. 1653, Sept. 9, for H. Moseley. 3. The Lovesick Court, or The ambitious Politic, would seem, by its title, to be of a near date to the preceding; but there is no definite evidence on the question. 4. The City Wit, or The Woman vjears the Breeches, was written (according to the Prologue spoken at a revival) in former times, when it bore the seal of Ben ; some may have seen it ere the actor who took the Pedant's part wore a beard. In my judgment this is the earliest of Brome's plays that has come down to us. Dekker's influence is more clearly visible in it than in the other plays. Moreover, a ballad, " A Woman would wear the Breeches " [Briches], was entered S. R. 26th Nov. 1629, and ballads in Charles' time were as commonly taken from plays as plays in Eliza- beth's were from ballads. I date this play c. 1629. Note that the speaker of the Prologue carries the title-board with the play-name. 5. TJie Bamoisclle, or The New Ordinary, would seem, from allusions in the Prologue, Epilogue, and iii. i., to have been produced before Davenant got his Laureate pen- sion and Sack on i 3th Dec. 1638, but after Jonson's death, Aug. 1637 : note in iii. i : — "The gift, One has, to bounce up his own works." Beeston and Davenant were then not friends. Compare Lady Alimony for a like quarrel in 1658. 6. The Northern Lass, or A Nest of Fools, was written after Nov. 1630. See iii, 2, which alludes to Dr. Leighton BROME. 37 " cropt and slit worse than a Parliamental delinquent for blaspheming the Blood Royal." The " late long silence " in Brome's address, on its publication 24th Mar. 1632, is that caused by the closing of the theatres for the plague in 163 I. See my History of the Stage, p. 335. In the com- mendatory verses to this play Jonson calls Brome his faithful servant and loving friend. He also mentions his prentice- ship, i.e., of seven years, 1623—29. The "Good Woman" in the verses of Brome's brother Stephen is Rowley's Nev^ Wonder, S. R., 24th Nov. 163 i ; and Heywood's Girl worth Gold, also alluded to, was published, S. R., i6th June 1631. Ford and Dekker (who calls Brome his " son ") also contri- buted verses commendatory. This play was acted at the Globe and Blackfriars by the King's men. 7. The Queens Exchange, called The Royal Exchange in 1 66 1 edition, was acted at Blackfriars by the King's men. Henry Brome, who published it with this (no doubt correct) statement on the title-page, curiously enough forgot to alter his Address to the Readers where he savs, " When 'twas written or where acted I know not." In ii. 2, "We have prayed for the Kiug these seven years " fixes the date to 163 I or 1632. 8. The Covent Garden Weeded, or The Middlesex Justice of Peace, or The Weeding of the Covent Garden, was un- doubtedly acted in 1632. Compare Nabbes' Covent Garden and the ballad, S. R., 25th June 1633, " The new town, or the description of Common Garden," for the date. In a Prologue for a revival which cannot be later than 1642, Brome speaks of this play as written " some ten years since." The "new church," i, i., St. Paul's, was built 1641 : this passage was therefore intercalated at the revival. The " two poetical Drury Lane writers, the Cobler and the Tapster," iii. i, might seem to mean Shirley and 38 THE ENGLISH DRAMA. Hey wood, the principal writers for the Cockpit in 1632, but the subsequent allusions do not admit of this identi- fication. The " new French Balls " are mentioned iii. i ; compare Shirley's Ball, Nov. 1632, in iv. 2. "Great Damboys shrink anil give a little ground" is from ChajDman's Bussy D'Anibois, ii. i. This play was revived not long before Chapman's death, May 1634, and was acted at Court 7th April 1634. The "proclamation of restraint," ii. i, was made 1632 (Rnshioorth, ii. 144), and Prynne's book was " writing," but not published, iv. 2 ; it was entered S. R. i6th Oct. 1630, and published Jan. 1633. The date of the play is therefore certainly 1632, and it was doubtless acted by the King's men, as we know Brome's other plays about this date were. 9. Tlie Novella was acted at Blackfriars 1632, according to the title-page, i.e., before 2 5th Mar. 1 63 3, by his Majesty's servants. In i. i, " Some Nightwalkers that throw Balls at their Mistresses " surely alludes to Shirley's Ball, licensed I 8th Nov. 1632, and his Nightwalker, altered from Fletcher, licensed i ith May 1633. If we date Tlie Novella in Mar. 1633, when Shirley was, of course, known to be preparing The Nightivalker , the allusion will be accounted for. The " noted Almaine " had late come to town, iv. 2. 10. The Late Lancashire Witches, or The Witches of Lancashire, an alteration by Brome of an old play by Hey- wood, was acted at the Globe 1634, and was the last play in which we can trace Brome as writing for the King's men. See further on this play under Heywood. I I . The Neio Academy, or The New Exchange. I fail to ascertain any definite note of time in this play, or indication of the company who produced it, but am inclined to set it down as an early play for the King's men, as it has neither BROME. 39 Prologue nor Epilogue. I guess it to be c. 1628, in which case the "false prophet" of iv. i would be " Chalcedon Smith," as to whom see Fuller's Church History, p. 132. 12. The Queen and Concubine, with its plot on a falsely- accused Queen, looks like a covert refutation of Prynne ; while the lines v. 7 — " No longer brothers of the Bench we'll be, But of the Revels for his Majesty," looks as if the play were performed by the Company of His Majesty's Revels. Probably it was Brome's first play for that company at Salisbury Court. It was not entered S. R. in 1640, as all the other 1659 " Five new plays " were, and was probably obtained from a different source by Crooke the publisher. The difference in type, use of italic, &c., con- firms this. 13. The Sparagiis Garden, or Tom Hoyden of Taunton Dean, was acted in 1635 by the King's Revels men at Salisbury Court. It contains allusions more or less definite to The Weeding of Covent Garden, The New Ordinary, Tlic Alchemist, The Lovesick Maid, The New Inn, and especially to The Knight of the Burning Pestle, ii. i. 14. The Mad Couple well matched (or met) was certaiuly acted by the Queen's men at the Cockpit under Beeston, for it is found in the 1639 list of such plays retained by Beeston. The date is almost certainly 1636. In iii. i Glapthorne's Lady's Privilege is glanced at. I 5 . The English Moor, or The Mock Marriage, was acted by the Queen's servants. It appears from the Prologue that they had been restrained, and had to make humble sub- mission for offending the State. They had acted during the prohibited time in the 1636-7 plague; they may also have meddled with State matters ; but if the latter, it is strange that nothing is heard of it elsewhere. In any case 40 THE ENGLISH DEAMA. the play was acted, I think, at Salisbury Court, on the re- opening after their inhibition. They were inhibited 1 2th May 1637. The other theatres reopened 2nd Oct., but this company, probably by way of punishment, somewhat later. 16. The A^itipodes was acted 1638 by the Queen's men at Salisbury Court, but was intended for them at the Cockpit [in 1636]. See the author's note at the end of the play. He had left the Revels company on bad terms, or he would not have used the phrase in ii. 5, "The chil- dren of the Devil's Black Eevels." This play afterwards passed to Beeston's boys at Drury Lane. 1 7. The Jovial Creiv, or The Merry Beggars, was acted at the Cockpit by their Majesties' servants in 1641. Although the Queen's men had acted The Antipodes, Brome carefully informs us that it had been meant for Beeston. In truth, he never wrote for the newly constituted Queen's company at Salisbury Court, though they acted two of his plays which had been written for them before their change of theatre. Brome stuck by the Beestons to the last. From the Dedi- cation we learn that in 1652 Brome was old and poor. In fact, he died before the ' ' Five new plays " were published in 1653. Alex. Brome also says in his verses that Jonson envied him, which cannot be true (see The Northern Lass). Of greater interest is the fact noted in the Dedication that this play "had the luck to tumble last in the epidemical ruin of the scene," being acted right up to the closure of the theatres by the Parliament. From allusions in iv. 2 it appears that The Heir and The Old Couple had been recently revived at the Cockpit (see May), and in i. i Tloe Court Beggar is unmistakingly denoted. 18. The Court Beggar I treat last, although it preceded Tlte Merry Beggars, because it is necessary for the reader to have all Brome's career in full view to judge fairly of the BROME. 41 bold innovation I am going to lay before him. On the title-page we read "Acted at the Cockpit," which is no doubt true, but "by his Majesty's servants, anno 1632," is not true, and, I think, copied by mistake from the title of the preceding play, The Novella. For the Prologue speaks of Brome as full of age and care, which he was not in 1632 ; it alludes to the gaudy scenes (of Killigrew's Pul- lantus and Euclora, Cartwright's Royal Slave, Heywood's Loves Mistress, &c., which all date 1634 or later) : and the Epilogue alludes to the purchasing of plays from Univer- sity scholars (Cartwright, Habington, &c.) ; mentions Tom Hoyden, 1635, The Antipodes, 1638; and speaks of the governor of this stage (William Beeston), who has trained up these youths (Beeston's boys) both in his father's days (Christopher Beeston's) and since. The play is certainly one acted by their Majesties' servants at the Cockpit, anno 1 640. Massinger's King and Suhject, licensed 5th June 1638, is alluded to in iii. 2, and " women actors now grow in request," v. 2. Compare Cartwright's Lady Errant. Another possible explanation is, that we should read in the title acted at the Cockpit [1640, and] by his Majesty's ser- vants, 1632. Some other plays by Brome are lost, viz. : — 19. Wit in a Madness. S. E., for F. Constable, 19th ]\rarch 1640 (entered with others). 20. Christianetta. ] S. II., for A. Crooke, 4th Aug. 21. The Jewish Gentleman.) 1 640 (entered with others). 2 2 . The Apprentices Prize. 23. The life and death of Sir MaHin Skink, "with the Wars of the Low Countries." These last two were entered S. R, 8th April 1654. They were written by Brome and Heywood ; i.e., they were probably altered, from Heywood's old plays, by Brome, like The Lancashire Witches, for the King's men, c. 1634, or earlier. 42 THE ENGLISH DRAMA. Brookes, Dr. Samuel. (Latin and University.) 1. 1613, Mar. 3. Sciros, a pastoral, was acted at Cam- bridge before Prince Charles and the Elector Palatine by Trinity men. MSS. copies are extant in the University and Emanuel Libraries. 2. 161 5, Mar. 10. Ifelanthe, fahda 23asfo7'alis, was, -pre- sented to the King by the sa,me College, and printed at Cambridge the same year. Browne, AVilliam. (Mask.) The Inner Temple Mask [Circe and Ulysses] was pre- sented " to please ourselves in private " by the Inner Temple gentlemen, 1617—23, and printed from a MS. in Emanuel College Library in 1772. I cannot identify the occasion of performance. The mask called Inner Temple Mask in the Index to Nichols' James, presented to the Duke of Bucking- ham, 16 1 7, Jan. 17, would suit the date very well; but in the text, iii. 243, this is said to have been performed by the gentlemen of the Middle Temple. Burnell, Henry. (Dublin play.) I. Landgartha, T. C, "as it was presented in the New Theatre in Dublin" [in 1639]. Landgartha was wife of Regner, the Amazon Queen of Denmark and Norway. Printed 1641. Burroughes, . (Play.) I. 1646, Sept. 4. The Fatal Friendship. Burton, William. (Latin.) I. Amorcs Ferynthi et Tyantcs, C. Not acted nor printed. Written 1596. C, J. (Play.) I. 1620, ]\Iay 22, for L. Chapman. The Two Merry Milkmaids, C, 1620, 1661. I. A pleasant comedy, called The Two Merry Milkmaids, or Tlie best Words ivear the Garland, " as it was acted before the CALFHILL— CAMPION. 43 King with general approbation by the Company of the Revels, by J. C," printed by B. Alsop for L. Chapman. Partly founded on the Decameron, x. 5. The date of presentation must be after 16 19, Mar. 2, when Queen Anne died, and was most likely during the 1619-20 Christmas. J. C. was probably John Cumber, one of the Revels actors. C, R. (Mask.) Death of Dido, by R. C. Dated by Chetwood 162 1. Jacob first gave the title to it. Calfhill, James, (Latin play.) Admitted at Oxford 1545; student of Christ Church 1548; A.M. 1552; second canon 1560; D.D. before 1566; dean of Booking ; archdeacon of Colchester ; nomi- nated bishop of Worcester 1570, but died before conse- cration. Wrote other works. I. Prognc, acted before the Queen at Christ Church, 5th Sept. 1566. Nichols, i, 215. Campion, Edmond. (Latin.) Of St. John's Oxford ; A.M. 1564. Turned Papist. I. Kectar et Ambrosia, T. Campion, Dr. Thomas. (Masks.) 1594, Dec. 2. Thomas Campiani Poewate, 1595, 16 19. Observations in the art of English Poesy, 1602. This was answered by S. Daniel in his Defense of Rhyme, 1603. Verses prefixed to B. Barnes' Fonr hooks of Offices, 1606. I. 1607, Jan. 26, for John Brown. The Description of a Mash presented before the King's Majesty at Whitehall on Twelfth Night last in honor of the Lord Hayes and his bride, Daughter and Heir to the Honorable Lord Denny, their marriage having been the same Day at Court solemnized. To this occasion other small Poems [and the music of the Songs] are adjoined. 1607. [ 1 6 1 o]. 1,2. Books of Airs. 44 THE ENGLISH DKAMA. [i 6 1 2]. 3, 4. Books of Airs. 2. Eelation of the late Eoyal Entertainment given hy the Lord Knoioles at Caiusome [Oaversham] House, near Eeading, to our most gracious Queen, Queen Anne, in her progress towards the Bath in [27th, 28th] April 16 13. Whereunto is annexed the Description, Speeches, and Songs of 3. The Lords' Mash on the Marriage night of the Count Palatine and the Lady Elizabeth. For John Bridge, 161 3. A new Way of maldng four 'parts in Counterpoint, &c. 1613. 4. The Description of a Mash presented at the Banquet- ing Eoom at Whitehall on Saint Stephen's night last [26th Dec. 161 3] At the Marriage of the Eight Honorable the IJarl of Somerset And the right noble the Lady Frances Hoivard (with the airs). By E. A., for Laurence Lisle, 1614. This is The Squires' mash which Halliwell calls The Squire's mash, and dates 1615. Campion also prefixed verses to B. Barnes' Four hoohs of Offces, 1606. He was Doctor of Physic of Cambridge, and probably died in London Jan. 1623. His chief concern with the drama lies in his rivalry with Jonson in mask- writing. As early as 1594 he wrote the hymn in praise of Neptune in the Gesta Graiorum (Nichols, Fliz. iii. 310; James, ii. 104). Carew [Cahey], Lady Elizabeth. (Play.) I. 161 2, Dec, 17, for Eichard Hawkins. Mariamne, the Fair Queen of Jewry, T., 161 3. This play, printed as " Mariam" by Lady E. C, was probably never acted. It is written in sextains with Seneca choruses, and was dedicated (in some copies) to " Diana's Earthly Deputess, and my worthy sister, Mistress Elizabeth Carey." This has been greatly misunderstood. It means to Queen Elizabeth's deputy (but not the " second Delia ; " see Daniel), and my CAEEW. 45 sister by marriage, not in blood. It was Sir George Carey's daughter Elizabetli that was the second Delia ; but there were two other Elizabeth Careys, sisters by connexion ; for of Henry Carey's sons, one, George, married Elisabeth Spenser ; and another, Edmund, married Elizabeth, daughter of John Lord Latimer, As George was Elizabeth's Deputy as Governor of the Isle of Wight, his wife might well be called her Deputess ; the authoress would then be Edmond Carey's wife, her sister-in-law. The conjecture of Oldys that Sir Henry Carey's wife wrote this play is absurd. Her name was not Elisabeth, but Anne, That Carey, not Carew, is tlie right name is proved by the Dedication of England's Helicon, 2nd edition, 1614. Carew, Thomas. (Mask.) • 1. 1634, Feb. 18. Cwlum Britannicum. A Mask at Whitehall in the Banqueting House on Shrove Tuesday Night. For Thomas Walkley, 1634. This Mask was performed (with 8 anti-masks) by : — I. THE KING'S MAJESTY. 2. The Duke of Lennox. 9. Lord Fielding. 3. The Duke of Devonshire. 10. Lord Digby, 4. The Earl of Holland. 1 1. Lord Dungarvin. 5. The Earl of Newport. 12. Lord Dunluce. 6. The Earl of Elgin. 13. Lord Wharton. 7. Viscount Grandison. 14. Lord Paget. 8. Lord Eitchie. 15. Lord Saltire. Young Lords and Noblemen s Sons. 16. Lord Wal den. 21. Mr. Thomas Howard. 17. Lord Cranborn. 22. Mr. Thomas Egerton. 18. Lord Brackley. 23. Mr. Charles Cavendish. 19. Lord Chandos. 24. Mr. Robert Howard. 20. Mr. William Herbert. 25. Mr. Henry Spencer. 46 THE ENGLISH DEAMA. This list ought to have beeu inserted in my History of the Stage, p. 320; compare p. 318. As Carew had no connexion with our subject beyond this mask, his career and his poems do not concern us here. Carlell, Lodowick. (Plays.) I. Tlie Deserving Favorite, T. C, 1629, 1639. H- I Arviraqus and Fhilicia, T. C, 1638, Oct. 26, for r / John Crooke and ■> . . ,„,.,.. _ ^ 4. 2 Arviragus and rlaiicia, 1. C, Richard Server. 5. I The Passionate Lover, T. C, 1655. 6. 2 The Passionate Lover, T. C, 1655. 7. The Fool icoidd he a Favorite, or The Discreet Lover, T. C, 1657. 8. Osmond the Great Turk, or The Nolle Servant, T., 1657. Carlell was gentleman of the bows to Charles I., and groom of the King's and Queen's privy chamber. 1. Before 1629. The Deserving Favorite was acted several times before the King and Queen at Whitehall, and at Blackfriars [by the King's men]. 2. 1634, The Spartan Ladies was acted. See Sir H. Mildmay's Diary. It was entered S. E. 1646, Sept. 4, and is mentioned in Moseley's Catalogue, at the end of Middleton's More DisscmUers besides IFomen, 1557. 3. 4. 1636. Both parts of Arviragus and Fhilicia must have been acted at Blackfriars. The second part was acted before the King and Queen i6th Feb. 1636, and both parts on April 18, 19, at the Cockpit at Whitehall, before the King, Queen, Prince, and Prince-Elector, by the King's men; and yet again on Dec. 26, 27, at Hampton Court. 5, 6. The Passionate Lover was acted twice before the Kin"- and Queen at Somerset House, and very often after- wards at Blackfriars. CARTWRIGIIT. 47 7. The Foul ivould he a Favorite, or The Discreet Lover, was, like the rest of Carlell's worthless plays, acted with great applause. 8. Osmond the Great Titrh, or The Nolle Servant, is founded on the taking of Constantinople, in 1453, ^y Mahomet II., but the scene and names are altered. 9. Heradius, Emperor of the East, T., is merely an adaptation from Corneille, published in 1664. The value of Carlell's works is simply negative ; they show what rubbish was palatable to Charles and Henrietta. Cartwright, George. (Play.) 1. The Heroic Lover, or The Infanta of Spain, T., 1661, " penned many years ago ; " probably not acted. Scene, Poland. Cartwright, William. (Plays at University and Court.) 3. The Boyal Slave, T. C, Oxford,' 1639, 1640. 2. The Lady Errant, T. C. 4. The Siege, or Love's Convert, T. C. I. The Ordinary, C. Son of William Cartwright, innkeeper, Cirencester; christened at Northway, Gloucestershire, 26th Sept. 1611 ; educated at the Free School, Cirencester, afterwards at West- minster ; student of Christ Church, Oxford, 1628; B.A., M.A., 1635; took Holy Orders 1638; succentor at Salis- bury 1642, Oct.; Junior Proctor i 2 th April 1642. Died 29th Nov. 1642. Jonson said of him, " my son Cartwright writes all like a man." His dramatic career seems to have ended in 1638. I . The Ordinary has a title-page of different form from the other plays " by W. Cartwright, M.A.," not " late student of Christ Church, and proctor, &c." It was written before For Humphrey Moseley, 1651. 48 THE ENGLISH DRAMA. 1635, Mar. 27, iu "the tenth of our King," iii. i, and was probably produced on Cartwright's taking his M.A. degree, 2. The Lady Errant appears, from the Prologue and Epilogue, to have been performed before Royal personages, possibly the Elector Palatine and Prince Rupert, 1635—36, but not at Court ; the female characters by women. An incomplete quotation in Ward's Hist, of Engl. Dram. Lit., ii. 415, led me to suppose that this was the play alluded to in Prynne's Histriomasiix, but a reference to the original shows that Prynne spoke of French actresses only. One scene is from Aristophanes. 3. The Royal Slave was presented before the King and Queen at Oxford, 30th Aug. 1636, by the students of Christ Church, and afterwards, 12th Jan. 1637, at Hampton Court, by the King's players. The students acted best. The players probably did not bestow much pains on this stilted production. It had 8 " appearances, or stage scenes." 4. The Siege, or Loves Convert, was rescued from the flames, and rewritten with the second title at the King's com- mand [c. 1637]. A play of Davenant's, 1629, had already been called The Sirgc. This one was not worth rescuing. It is founded on Plutarch's Gymon and Boccaccio's Deca- meron, ix. I. Cartwright's poems are useful occasionally by supplying a date or two, but require no notice here. Cavendish, William, Duke of Newcastle. (Plays.) I . The Country Captain, and 2 . The Variety : two comedies. Written by a person of Honor. 1 649. London and The Hague. Both these plays were acted by the King's men at Black- friars, c. 1639-40. I. A manuscript of The Country Captain in the British Museum, MS. Harl. 7650, was renamed by Halliwell Cap)- tain Underwit, and printed under that title by Mr. A. H. CAYWORTII— CHAMBERLAIXE. 49 Bullen, witli the accompanying statement, tliat " it is abso- lutely certain . . . that Captain Underwit is a comedy of Shirley's." It is unfortunate that this gentleman will rush in with rash assertions where sound critics fear to tread. His special delight is to set up ninepin hypotheses, and then bowl them down again. But no doubt it pays him and his publisher. In his notes to the play he says that Parsons' Resolutions (the well-known book by Parsons, the Jesuit) is a fictitious title, and that the date of Tarleton's death is unknown ; he also quotes Webster's Vittoria Corromlona [st'c]. Immediately after, he, writing anonymously in the columns of the Athenaeum, accused me of inaccuracies — me, who had saved him from publishing so many of his own. The date of The Coitntry Captain is proved by an allusion in it to the Treaty of Berwick, June 1639. 2. The Variety is alluded to in Brome's Covent Garden Weeded, but the extant coj)y of that play is that of its revival, c. 1641. The other works of Cavendish lie outside the limits of this book ; nor does his career concern the dramatic student. Cayworth, John. (Private mask.) I . Enchiridion Christiados. A twelve days' task, or twelve verdicts and visions upon Christ, his Incarnation, Nativity, Circumcision, &c., presented for a Christmas mask to Wil- liam Paston, Esq., High Sheriff of Norfolk, and the Lady Katharine, his wife, 1636. MS. Addit. 10,311. Cecil, . (Latin.) I. jEinilia, C. Acted at St. John's, Cambridge, /tli Mar. 161 5, before the King. The chief part a counterfeit Sir Edward Katcliff, Doc. Phys. Pretty shows, broad speech, but dry. Nichols' James, iii. 49. ClIAMREELAINE, RoBERT. (Play.) I. 1640, April 2, for Andrew Crooke. The Swaggering VOL. I. D 50 THE ENGLISH DKAMA. Damsel, 1640. Cliamberlaine was a member of Exeter College, Oxford. For his various publications, 1636—61, see Hazlitt, Handbook. 1. The Swaggering Damsel has commendatory verses by Rawlins, wliose Rehellion (which, was entered S. R. for Daniel Frere, 20th Nov. 1639) had similar verses prefixed by Chamberlaine, and was acted by the Revels company. But the entry S. R. included T. Killigrew's Prisoners, which was acted at the Phoenix [by Queen Henrietta's men], where also many other plays published by A. Crooke were acted. (See Shirley and Brome.) I incline, therefore, to the opinion that this play was acted by the Queen's men. But it is hardly worth discussing. Chapman", George. (Plays and Mask.) 2. 1598, Aug. I 5, for William Jones. The Blind Beggar of Alexayidria, C, " upon condition that it belong to no other man." 1598. 3. An humourous day's mii-th, C, 1599, by Valentine Syms. Probably licensed 1599, Mar. See my History of the Stage, p. 107. 6. All Fools, C, 1605, for Thomas Thorpe. 1605, Sept. 4, for William Aspley. Eastward Ho, C, 1605 (three editions). 9. The Gentleman Usher, C, 1606, by V. S[yms], for Thomas Thorpe. II. Monsieur d' Olive, C, 1606, by T. C[reede], for William Holmes. I 2. 1 607, June 3, for William Aspley. Bussy d'Amhois, T., 1607, 1608, 1616, 1641 ; "corrected and amended" 1657- 16, 17. 1608, June 5, for Thomas Thorpe. The Con- spiracy and Tragedy of Charles, Duke of Byron, T., 1608, 1625. CHAPMAN. 51 8. May Day, C, 161 1, for John Browue. \ . (The Widoius Tears, C, 16 12. "^A "' i^ /' (The Eevengc of Bussy cVAmhois, 1 1; . I John Browne. I „ ^ ^ j IT., 1613. 19. 1 61 3, Jan. [Feb.] 27, for George Norton. Tlie mash of the Middle Temple and Lincolns Inn (with Beau- mont's Afash), 1 6 1 3 . 18. 1 63 1, May 18, for Thomas Harper. Cce&ar and Pompey, T., 1631 (and again as The Wars of C. and P., 1631), 1653. See also Sir Giles Goosceap, Alphonsus Emperor of Ger- many, Bevenge for Honour, The Second. Maidens Tragedy {Usurping Tyrant), Two Wise Men and all the Best Fools, Eastward Ho; and, under Shirley, The Ball, and Chahot, Admired of France. Non-Deamatic Works. The Shadow of Night, 1594, by E. F., for William Ponsonby. Dedicated to Matthew Roydon. Ovid's Banquet of Sense, 1595, ^^^y J- Ii-> foi' Richard Smith. Dedicated to Matthew Roydou. Copyright trans- ferred S. R. 15985 Nov. 6; so that it must have been licensed originally. Lines prefixed to W. Jones' Xennio, 1595- De Guiana, prefixed to L. Keymis' A Second Voyage to Guiana, 1596. I 598, Mar 2. E. Blunt assigned to Paul Liuley his copy- right in Hero and Leander, but Blunt had already printed the Marlow part (Sestiads, i. ii., as entered S, R. for J. Wolf, 1593, Sept. 28), with dedication to Sir T. Walsing- ham. Chapman's continuation in Linley's edition is dedi- cated to Lady Walsingham. 1598 (two editions, as afore- 52 THE ENGLISH DRAMA. said), 1600, 1606, 1609 (for E. Blunt, who had repurchased, or still possessed, the right of printing Marlow's part, and W. Barret), 1613, 1629, 1637. Petore's continuation (called Henry Polone's, S. R.) was entered 1598, April 14, for A. Harris, " on condition that he get further lawful authority," and printed 1598. The knowledge that this was coming out accelerated, I think, the issue of Chapman's version, which was probably written c. 1594—5- 1598, April 10, for Toby Cooke. Homers Iliad, i.— vii., was entered and " expunctum per mandatum," but was pub- lished, as well as Achilles' Shield, as " printed by John Windet 1598." Both were dedicated to the Earl of Essex. It appears from Eutltymioi Haptus that he had " Englished " Homer at Hitchin (before he settled in London in 1593). Hence all Chapman's poems yet mentioned were written before his time of play-making, i 596—1608. In England's Parnassus, 1600, there are many extracts from Chapman's poems and plays previously published. Chester's Loves Martyr, 1601, contains verses by Chap- man, Jouson, Marston, and Shakespeare. 1604, Nov. 2. Verses by Chapman were prefixed to Jonson's Sejanus. Verses were also prefixed to Jonson's Volponc 1607, and to Fletcher's Faithful Shepherdess [1609]. 1609, May 4, for R. Bonian and H. Whalley. The Tears of Feace, with interlocution {Euthymim Faptus), 1609. Dedicated to Prince Henry, his patron, who had seen his Homer, and ordered him to go on with it. The Hiad, i.— xii., was accordingly printed c. 1609-10. 161 I, April 8, fur N. Butter. Tlie Iliad, i.— xxiv., n.d, [161 1], with 22 sonnets to lords and ladies "of Prince Henry's train;" the last of these to Sir Edward Phillips, his first mention in Chapman's dedications. CHAPMAX. 53 i6i I, Nov. 23. Verses "to his loved son," N. Field, ou A Woman's a Weathereoch. 161 2, Jan. 13, for H. Selman. Petrarch's Seven Peni- tential Psalms, &c. The " greater labours " mentioned in the dedication to Sir E. Phillips, as commanded by Prince Henrv, are of course the translations of the rest of Homer's works. 16 I 2, Dec. II, for J. Budge. An Epicede, or Funeral Song on the Death [Nov. 6] of Henry, Prince of Wales [buried Dec. 7]. Dedicated to Henry Jones. Eugenia, or True Nohilitys Tears, 1614. On the death of William, Lord Russel [16 1 3, Aug.; buried Sejot. 16. See S. R., Nov. 6]. Dedicated to Francis, Lord Russel. 1614, Mar. 16, for Laurence Lyle. Perseus and Andro- meda, 1 6 14 {Andromeda Liberated, or The Nuptials of P. and A.). Dedicated to Robert, Earl of Somerset, and his wife, Lady Frances, who were married 1613, Dec, 26. A justifeation of the " maliciously misinterpreted " An- dromeda Liberata was issued separately by L. L'Isle 1 6 1 4. 1 6 14, Nov. 2, for N. Butter. Homers Odgssegs, n.d. Dedicated to the Earl of Somerset. The complete toorJcs of Homer (i.e., Iliad and Odyssey), n.d., for N. Butter. 161 6, July 27, for W. Jaggard. Musmus of Hero and Leander. A comparatively close translation, not enlarged like the former one. Dedicated to Inis^o Jones. 161 8, May 14, for Miles Partrich. Hcsiod's Georgics. Dedicated to Sir Francis Bacon. Verses beneath Prince Henry's portrait in Holland's Hcroologia, 1620. 1622, Nov. 8, for T. Walkley. Pro Vcrc Autumni TMcrymce. In memory of Sir Horatio Vere, " besieged and distrest in Mainhem." Dedicated to the Earl of Somerset. 54 THE ENGLISH DRAMA. Tlhc Croivn of all Homers Worlds, Batrachomyomachia, or The Battle of Frogs and Mice, His Hymns and Epigrams, by John Bill, his Majesty's Printer, n.d. [c. 1622]. Dedi- cated to the Earl of Somerset. Heber's copy of this work had an inscription to Lord Riissel [Francis, not William, as W. C. Hazlitt supposes ; cf. Eugenia^. In the postscript Chapman says — " The work that I was born to do is done." This is his last work of importance. Lie attained his grand climacteric in 162 1—2. 1627, Nov. 9. Lines '"'To the Volume " were prefixed to [Hart's] HijJj^olito and Isahella, S. R., for N. Field, Chapman's " loved son." Printed " by T. Harper and N. Field 1628." These men were then partners. A Justification of a strange action of Hero's, &c., and A just reproof of a Roman smell-feast, Juvenal, Satire V., 1629, by T. Harper (alone). Dedicated to Richard Hubert, Esq. Tlie Invective against Jonson, from a commonplace-book in the Ashmole MSS. (Bodleian), was certainly written after A Tcde of a Tub, 1633, May 7, the " poor thing writ new ; " it is full of allusions to Jouson's later work. The scribe adds, " More than this never came to my hands, but was lost in his [Chapman's last] sickness." It is sad that the last verses of Chapman should indicate a quarrel with so old a friend. A few other verses of Chapman's I am unable to date, and therefore do not notice them, the main object of this list being to show that Chapman was fully employed in non-dramatic work except from 1596 to 1608. George Chapman, of Hitchin, Hertfordshire (see Buthymice Raptus), was born 155 8-9, as his portrait in his Homer, CHAPMAN. 5:; dated 161 6, is ccfatis 57. He entered at Triuity, Oxford, 1574, and resided two years, but took no degree. Marlow (buried 1593, June i) must have known poems of his: in Hov and Leander ChaiJman mentions Marlow's late desires that he should " surrender to light his soul's dark offspring," i.e., publish Tlie Shadoiu of Night. Chapman had come to London then by 1593, probably on purpose to publish. It will be seen from the above list of his works that he had written a good deal. From 1596 to 1608 he wrote plays, in 1609 was patronised by Prince Henry, and after his death, in 161 2, by the Earl of Somerset, Francis Lord Russel, and others. His life is best read in his dedi- cations. He was buried at St. Giles in the Fields, 1634, May 12. Plays. 1. The Disguises, 1595, Oct. 2. See below, May Day. 2. The Blind Beggar of Alexandria, 1596, Feb. 12, with " his variable humours in disguised shapes." Printed from a stage copy and published by the company, not by Chapman. No Dedication. Note Chapman's fondness for " disguises " in his early plays " acted in London." No theatre mentioned. Bankside is reckoned as London. 3. The Comedy of Humours, 1597, May 11. Certainly the same play as A Humorous Days Mirth, not Jonson's Every Man in his Humour. " Verone's son's hose " and " La Besha's coat with gold buttons " are apparel noted in Henslow's inventory, 1598, Mar. This jjlay was also per- formed 1597, Oct. II, after the junction of Pembroke's men with the Admiral's. In Sc. 8 the same error, Usits 2}romptus facit, occurs as in Every Woman in her Humor, iii. I. No dedication. Not published by Chapman, but by the company. 56 THE ENGLISH DRAMA. 4. 1598, May 16, 23, June 10. Chapman liacl pay- ments, £^, I OS., in earnest of "a book," apparently the same as that of June 15, The Will of a Woman, £1 ; but this title was so like that of A Woman will have her Will, by Haughton, 1598, Feb.-May, that I feel sure that the title was altered to The Fountain of New Fashions, for which Chapman received A, I598, Sept. 31 (sic), Oct. 12. This last payment was " in full." The total would then be £^, I OS., the same sum as he had for All Fools. Chap- man, it would seem, got better terms than Dekker, Drayton, &c. I think M. d' Olive was an altered form of this 1598 play. See further on. 5. 1598, Oct. 23. Chapman received £'^ "on his play- book " (probably some MS. pledged to pawnbroker Henslow), and " two acts of a tragedy on Benjamin [Jonson]'s plot ; " and 1599, Jan. 4, on "three acts of a tragedy," ;^3 ; and on Jan. 8, "in full payment for his tragedy," ^3. This tragedy (for which, out of the above sums, ^8, los. was pro- bably paid) was possibly the play which Jonson had engaged to write by Christmas i 597, the plot of which he had shown to the company 1597, Dec. 3. It may have been The Fall of Mortimer, the plot and commencement of which alone are extant. But I must not omit the fact that a " Pero's suit " (Pero is a character in Bussij d'Amhois) occurs in the 1598 Mar. inventory ; this, however, is too early to apply to the present tragedy. A play called Berownc or Burone is men- tioned 1602, Sept.-Oct., but this is more likely to have been BiLr\h']on, or The Trial of Chivalry, than Chapman's Byron. This entry, with its " scaffold," is too late for the present tragedy. Byron was executed in 1602. Again, Sejanus cannot be the play, for that was " first acted " at the Globe by the King's men. 1598, Oct. 24. Chapman gives I.O.U. to Henslow for CIIAPMAX. 57 £io, I OS., probably a private transaction. It is not men- tioned in the company's accounts, Diary, p. 191. 6. 1599, Jan. 22, Feb. 13, June 2, 21, July 2 (in full). Chapman gets £^ los. for a play called The World runs on lllicels, but now (July 2) All Fools hut the Fool. Of course, the same as All Fools, for which see further on. Note the Chapman habit of changing the title, and the absolute cer- tainty in this instance of his refashioning an Admiral's play for the boys at Blackfriars. 7. 1599, July 17. Chapman receives £2 in earnest of a " Pastoral Tragedy" probably never finished, and leaves the Admiral's men. 8. May Day, C, was " acted at the Blackfriars," by the children of the Chapel, I suppose, c. 1601. In iv. I — "Fill red cheekt Bacchus, let the Bourdeaiix grape Skip light lavoltas in their swelling veins !" is printed in quotation marks, and is taken in ridicule from Marston, 2 Antonio and Mellida, v. 4 (acted in 1600) — " Fill red cheekt Bacchus, let . . . the plump lipt god Skip light lavoltas in your lull sapt veins ! " This ridicule of Marston must, I think, be anterior to Chester's Love's Martyr, 160 1, to which Chapman and he both contributed. There are other quotations in the play. "Temperance was a delicate wench," TemiKst, ii. i, unex- plained by Shakespeare's editors, alludes to the bawd in this play ; in iv. 4, Quintilians describes her ironically as " a wench, a delicate vounw morsel." The innumerable men- tions of " disguises " in this play makes me think that it was founded on the play of that name acted at the Hose 1595, Oct. 2. There are three disguised characters in May Day. It was not published by Chapman. If the passage in Grim (begun 1600, May 6), where the collier says, ii. 2, 58 THE ENGLISH DRAMA. he has called himself Joan's handmaid since last May-day, alludes to this play, we should have to date it 1 600, May i , or suppose that Haughton finished his later than 1 600. A comedy or moral with Dame Temperance in it is refused for the Court in Marston's What you loill, v. i, 1601. This is, I think, this May Bay. 9. The Gentleman Usher, to which no company or theatre is assigned in the title, was acted, I think, in the Christ- mas season 160 1-2 by the Chapel boys at Blackfriars ; certainly after Sir Giles Goosecap (with which it should be carefully compared, with a view to determine its authorship), cf. ii. I ; as certainly before Marston's Malcontent. " A gentleman usher called me coxcomb t'other day, and to my face too." Bassiolo (who is a rough anagram of Bilioso, performed by the same actor) is twice called coxcomb to his face in The Gentleman Usher. This limits the date to c. 1 60 1 Nov.- 1 602 Feb. 10. All Fools, published in 1605, was most likely written in 1 603, as it was acted at Blackfriars, and " lately " {i.e., on Shrove Tuesday 1604 or Jan. 1605) "before his Majesty." It was issued by Chapman himself, with a Dedi- cation (afterwards cancelled) to Sir T. Walsingham. The Prologue seems to contain an allusion to the " asses' ears " in Satiromastix. In ii. i there is a palpable allusion to a speech of Ophelia's, Hamlet, iv. 5, as acted in 1603. The " columbine " does not occur among her flowers in the early version of Hamlet ; it is found in the 1 604 Quarto. This play is, of course, a remodelled form of The World runs on Wheels of July i 5 99. An indication of the original date still remains in iv. i, "given the 17th l^av. fifteen hundred and so forth." The publication was no doubt due to a favourable reception of the play at Court. This was the first of Chap- man's plays published by himself. He seems to have feared CHAPMAN. 59 that the Admiral's men would publish the earlier and inferior version. See the Dedication, the genuineness of which has been suspected, the copy from which Collier printed it not being forthcoming. But if, as I suppose, it was suppressed, at Walsingham's request, immediately, this is not remarkable. Perhaps only the copy sent to him survived. The Dedica- tion of Byron addresses him as if that of All Fools had never been penned. 1 1. Monsieur U Olive, published 1606, as acted by Her Majesty's children at the Blackfriars, and therefore not earlier than 1604, Jan. 30, appears to belong to 1604. It alludes to King James' Knights in i. 2. I think this play is a remodelled form of The Will of a Woman of June 1598, (cf. " Strange will in women," ii. i,) so called from the Mar- cellina plot, but named afterwards The Fountain of New Fashions, Oct. 1598; cf. D'Olive's speech about teaching fashions to younger sons, iii. i end. Not published by Chapman. 12. Biissy d'Amhois was published in 1607. The allusions in it to the Knights of James i, the "innovation" of 1603—4, and to Elizabeth as an " old queen," forbid a date earlier than 1603; and the statement in i. 2, "'tis Leap Year," which must apply to the date of production, as Bussy's introduction at Court was in 1569, not a Leap Year, fixes the time of representation to 1604. Nevertheless, the line in Satiromastix, Sc. 7 — " For trusty Damboys now the eleed is done," seems to be taken from a play on the subject earlier than 1 60 1. It Avas published as acted by the Paul's boys, which is puzzling, as Chapman did not write for them any other play. It appears, however, from the Revels accounts that E. Kirkham, who in 1604 ^^s a manager of the Revels 6o THE ENGLISH DEAMA. children, before 1605 became a manager of tbe Paul's boys. He probably took this play with hira to his new manage- ment. One of Chapman's latest literary occupations was the revision of the text as in the 164.1 edition. The play in this form was acted by the King's men, with Swanston as Bussy. This we learn from Gayton's Fcstivoiis notes on Don Quixote, 1654. It appears from the Prologue that Field had previously acted this part — for the King's men, I suppose, c. 1617— 18, as this is a Prologue written for that company. Swanston, who was a King's man 1625—42, no doubt acted it at Court 1634, April 7, when it was revived there, and the corrections and emendations made " by the author before his death " were the very last writing left us of his pen. I think the play was written for the Queen's Revels boys late in 1604, but, on account of the Eastiuard Ho affair and their consequent inhibition, not produced by them, but transferred to Paul's and acted in 1605. A parallel case to the transference from them to the King's men, c. 1 607, will be found in Beaumont's Woman Hater. The " horns " in iv. I should be compared with the " V " in May Day, iv. 4, first explained by my lamented friend H. Staunton, and with King Christian's raakingf " the sis^n of the horns with two fiuo-ers " at the Admiral {Baumcr, ii. 216) to amuse " good Queen Anne," 1606, Aug. 31. The "killing of the King," iii. 2, is frequently alluded to in other plays. 13. Easticard Ho was written 1604-5, Winter, by Jonson, Chapman, and Marston. Chapman's part is from ii. 2 to iv. I. For the imprisonment, &c., of the authors, see under Jonson and Marston. The allusions to the Scots occur in Marston's and Chapman's parts. Marston intro- duces Polda\'y in a Scotch farthingale, and makes Girtred say, " Is this a right Scot ? Does it clip close and bear up CIIAPMAX. 6 1 round ? " i. 2. And again, in ii. i, Qaicksilv^er (a caricature of Luke Hatton, see Athaiceum, i 3tli Oct. 1883) says, " She coukl have been made a lady by a Scotch Knight." In iv. I, by Chapman, is the better-known passage, " I ken the mon weel ; he is one of my thirty pound Knights." On the relation of this play to Hamlet much interesting matter — injured, however, by a want of knowledge of stage history — will be found in Mr. Feis' Shakspere and Montaigne. This play was entered 4th Sept. 1605, and published, no doubt by way of vindicating the authors, soon after their release. 14. The Widoid's Tearfi, published on 17th April 161 2, S. R., was acted at Blackfriars c. 1605, and afterwards at Whitefriars. It contains in its final scenes a bitter satire on the incompetence of judicial authorities who condemn on merely presumptive evidence. This seems to be Chapman's revenge for his imprisonment for Eastward Ho. There is not a line in it which implies a later date than 1605. Iii Appius and Virginia, c. 1607, "I would not have my beef powdered with a "Widow's Tears " seems to refer to this play. It must have been written before 1609, and surely could not have been a later production than Byron. It was published by Chapman, with a Dedication to Mr. Jo. Reed of Mitton. Lysander of Dipolis looks like a Gra3cized form of Freeman of Ditton. The play may be a personal satire. In i. I the drawing up in a basket, and letting Tharsalio hang " for all the wits in the town to shoot at," seems per- sonal. Compare Vandall (Mendall) in Haughton's English- men for my Money, iv. 2, which dates 1598, Feb. "Mono- polies are cried down," i, i, surely alludes to the Act of Jan. 3, 1605. The prose in this play is in many parts corrupted verse, and I feel sure that, though published with Chapman's authority, he had nothing to do with overseeing 62 THE ENGLISH DEAMA. the text for the press. The plot is from The Ephesian Matron in Pctronius Arhiier. As Mr. Greenstreet's recent discovery, published since the issue of my History of the Stage, that the children of the King's Revels performed at Whitefriars 1607-8, may seem to throw a doubt on the company for whom Chapman wrote this and other plays, it may be well to point out here that no connexion what- ever has been traced between him and the King's Revels boys, and also that they never performed at Blackfriars, The Revels boys of Chapman are those of the Queen's Revels only. 15. The Revenge of Biissy cVAvibois is like Byron, but not so like the play of 1604—5 to which it is a sequel. The description of the results following a " tedious siege " in i. i infer a time subsequent to the taking of Ostend in 1604. The allusions to stage puppetry and Puritan innovation, also suit a date c. 1606. It was entered S. R. 17th April 16 1 2, with the Widoios Tears, and, like it, although printed in 1 6 1 3 as acted at Whitefriars, was probably produced at Blackfriars originally. In iii. i, "like a Sir John' Smith." Sir John Smith was knighted 1 60 3, May i i. Chapman dedicated this play to Sir Thomas Howard. 16, 17. Byron's Coiispiracy, 1607, and Byron's Tragedy, 1608, were entered S. R. 5th May 1608. They were published with a dedication to Sir T. Walsingham and his son, in which Chapman calls them his " poor dismembered poems." It appears from a despatch from Beaumont, the French Ambassador (Ranmcr, ii. 219, in the translation), dated 5th April 1608,^ that he caused the acting of this play to be forbidden, that when the " Court had left town they ^ 1605 in the translation, and so in the inaccurate editions of Chapman hitherto published. Chapman has never yet been really edited. Some future Dyce may accomplish this work. CHAPMAN. 63 persisted in acting it ; nay, they brought upon the stage the Queen of France and Mademoiselle Verneuil. The former, having first accosted the latter with very hard words, gave her a box on the ear. At my suit three of them were arrested ; but the principal person, the author, escaped." It is plain from iv. i of the Conspiracy that Qaeen Elizabeth was in the original play also represented on the stage, that scene being clearly a rewriting in narrative form of a scene at the English Court. Note especially the absurdity of the line in the present version spoken by Crequi to D'Aumont — " Then spake she to Crequi and Prince d'Auvergne ; " the change of person in — " He said lie was no Orator, but a soldier, More than this air in which you breathe hath made me My studious love," &c. ; and the peculiar printing of the first eight lines, followed by 'J'hus, as if to point this word as the real beginning of the scene. No such type is used elsewhere in the play except at the beginning of i. i . The end of this scene and all the rest of Act iv. has been cut out. Again, in the final scene, from Enter Esp. to the end, great alterations have been made. The only remains of the original are Sav. " After — matter" (14 lines): Hen. "Well, cousin — happiness" (25 lines), and the final couplet. None of the characters, Espernoun, Vitry, Janin, D'Aumont, Crequi, Ladies, have been transferred from the original, so far as the present conduct of the play is concerned. Note also that in these altered passages Byron is called Duke of Byron, in the original Duke Byron, except once in a doubtfully bombastic passage, iii. i, "Within my left hand — Duke of B}^ron forth," where " Duke Byron " immediately precedes. If these alterations were made wholly or partly by Chapman at 64 THE ENGLISH DKAMA. the order of the Master of the Revels, he has made them intentionally in such a clumsy way as to show where the sutures occur. A peculiarity of the play is, that nine actors only are required. In the Tragedy still greater mutilations have been made ; the early part of Act ii. has been omitted, and a passage, " If this suffice — youi'S," has been inserted to partially fill the gap. The dance evidently ought to follow Cupid's last speech. Henry's utterance at the end of Act ii. about " the reconcilement of my Queen " is unintelligible as the play now stands. The part here omitted was that which offended the French Ambassador. In v. i Duke of Bijron occurs occasionally for Duhe Byron, but only by printer's error ; never, as in the former play, by necessity of metre. In v. 2 is a compliment to the Scots by way of amendment for Eastward Ho. In 1602, Sept.-Oct., Henslow mentions a play called Beroivne or Biironc which was acted by Worcester's men. It could not have been Chapman's play ; the entries, which refer only to properties, were probably preparatory to the production of The Unfortunate General, the " French his- tory " which was produced in Jan. 1603 ; or they may refer to Chettle's anonymous "tragedy " of Aug. 24. Byron was executed in July i6o2. A mask containing part of Byron is extant, Brit. Mus., Egerton MS., 1994, and ought to be reprinted. The plays on Byron were, in my opinion, the last brought on the stage by Chapman. The attemjjt to imprison him a second time deterred him henceforth from the theatre. But he had some unfinished plays at this time in hand. 18. The tragedy of Cesar and Pompey was entered S. R. 1631, INIay 18, and dedicated to the Earl of Middlesex. This is, I think, an old play which Chapman had on his hands when he left stage-writing in 1608, or perhaps in CHAPMAX. 65 1 604. It was never acted. The text is in a disgraceful state, never having been competently edited. In both stage- directions and text Brutus is continually misprinted for Butas, and Septimius, Septius, and Sextus are so confused that it is only by reading the play with constant reference to Plutarch's Lives, on which it is entirely founded, that the complication can be disentangled. The text was certainly not revised by Chapman, who expressly tells us that the style avoids hasty prose ; yet prose parts (apparently from the Admiral's play of 1594, Nov. 8) have been allowed to remain : in ii. i , (Fronto's part,) " thunder — supplied," except 10 lines, " See all — pickle ; " and in v. i, " See your princess — view me better." This early play may have been by Chap- man ; if so, he intended to rewrite the whole, but was interrupted. He says the play [as it stands] was written long since, before his age had attained timely ripeness. It may seem forced to even guess that a personal allusion is meant in the title " proposition," Only a just man is a free- man [sic, not free man], but see above under The Widow's Tears, and note that Sir Francis Freeman of Nottingham- shire was knighted 1607, May ii. Chapman was an inveterate punster. 19. The memorable Mash of the Middle Temple and Liri- colns Inn [Mask of Plutus and Honour'] was performed at Whitehall ^ 161 3, Feb. 15, at the nuptials of the Palsgrave and Princess Elizabeth. "Invented and fashioned . . . by our kingdom's most artful and ingenious architect, Innigo Jones. Supplied, applied, digested, and written by George Chapman."' " Next to himself only Fletcher [Beaumont ; Fletcher made none] and Chapman could make a mask " (Jonson, Conversations, iii,). The " vulgar esteemed upstart, ^ Note this 1613. Jonaon and Chapman begin their year Jan. I ; most other writers Mar. 26. These latter would have printed 1612. VOL. I. E 66 THE ENGLISH DEAIMA, the rank-brained writer and judge of poetical writing, who sells poesy's nectar and ambrosia, as well as mustard and vinegar " [for poultices], of Chapman's Introduction, is T. Campion, M.D., author of The Ai't of English Poesy, 1602, and supplanter of Jonson in The Lord's Mask of the day before Chapman's. Yet Inigo Jones contrived the motions for that mask also. The Insania attributed to Campion by Chapman will be understood on comparison with the mad- ness of Entheus (Campion) in The Lord's Mask. 20. The Ball. 21. Chalot. For these plays see Shirley, 13, 23. 22. Fatal Love, a French tragedy, S. R., for H. Mose- ley, 29th June 1660. MS. destroyed by Warburton's servant. 23. The Yorkshire Gentlewoman and her Son, T., S, R., for H. Moseley, 1660, June 29. MS. destroyed by "War- burton's servant. Cheeke, Henry. (Play.) I. Freewill, n.d., black letter. A tragedy written first in Italian by F[rancisco] N[ero] (Niger) B[assentino], trans- lated into English by Henry Cheeke, " wherein is set forth in manner of a tragedy the devilish Device of the Popish Religion, London, by John Tysdale." S. R. 15 61, May 11. Mr. Halliwcll says "about 1589." The original Tragedia del Lihcro Arhitrio, 1546, is in the Cambridge University Library ; also a Latin version, made by Nero or Niger him- self, Geneva, 1559. In the Trinity College Italian copy, 1547, the name is printed "Nero;" in the 1546 copy, " Niger." Chettle, Henry. (Plays.) 32. The Mind Beggar of Bcthnal Ch'een. See Day. I. 16. I. 2. Bohcrt Earl of Huntingdon. See Mon- day. CHETTLE. 67 25. Patient Grissell. See Dekker. 42. 45. Hoffmann. See Heywood. 47. /S't'r Thomas Wyatt. See Dekker. Chettle was born c. 1562; apprenticed to T. East, stationer, 8th Oct. 1577, for 8 years as from the preceding ]\Iichaelmas ; on 6th Oct. 1584 was admitted freeman of the Stationers' Company; in 1591 entered into partnership with J. Hoskins and J. Danter. He is mentioned as "your old compositor " in Nash's Have ivith you to Saffron Waldcn, 1 596. In the latter part of i 592 he edited Greenes Groats- worth of Wit ; the same year he prefixed an epistle to the second part of Monday's translation of Bordelois' Gcrileon ; c. Jan. 1593 he issued his Kindharfs Dream ; in 1595, Piers Plainness^ seven years Prenticeship ; in 1603, Eng- land's Mourning Garment, in which he speaks of himself as "young almost 30 years ago," and enumerates the then chief living poets, viz. : i. Daniel, 2. Warner, 3. Chapman (Coryn), 4. Jonson (English Horace), 5. Shakespeare (Meli- cert), 6. Drayton (Corydon), 7. Lodge (Musidore), 8. Dekker (anti-Horace), 9. Marston (young Melibee), 10. Petowe (Hero's last MusaBus), ii. the author of ^^ King James proclaimed," S. R. 30th Mar. 1603. Chettle died before Nash's Knight's Conjuring V7Q& published, Jan. 1606. His dramatic career, as far as known, lies between 1597 and 1603. ^^^ that follows is from Henslow's Diary. He was mentioned by Meres in 1598, 1. 1598, Feb. 20, 25, 28 ; Mar. 8. The second part of the Downfal of Earl Huntington, surnamed liohin Hood (with Monday). 2. 1598, Mar. 13. "A book wherein is a part of a "Welshman written '"' (with Drayton), probably the same as 3. 1598, Mar. The famous ivars of Henry i and the Prince of Wales (with Dekker, Drayton). 68 THE EXCxLISH DEAMA. 4. 1598, Mar. 25, 30. I. Earl Godwin and his three sons (with Dekker, Drayton, Wilson). 5. 1598 [April]. Fields of Exton (with Dekker, Drayton, Wilson). 6. 1598, May 22. i. Black Betman of the North (with Dekker, Drayton, Wilson). 7. 1598, May 6 ; June 6, 10. 2. Godwin (with Dekker, Drayton, Wilson). 8. 1598, June 13,14, 15,17,21,23,24,26. Richard Cordelions Funercd (with Drayton, Monday, Wilson). 9. 1598, June 26; July 8, 13, 14. 2. Black Betman (with Wilson). 10. 1598, July 14. A woman tragedy. 11. I 598, July 30 ; Aug. 8 ; Sept. 9, 16. The Conquest of Brute with the first finding of the Bath (with Day). 12. 1598, Oct. 12, 22. Brute [second part]. See Anon. 208. 13- 1598, Aug. 18. Hot Anger soon cold (with Jon- son, Porter). 14. 1598, Aug. 19, 24. Chance Medley (with Drayton, Monday, Wilson). The entry is self-contradictory, having Chettle in one place to correspond with Dekker in another ; but Chettle is more likely. Compare Cordelion's Fanei^al. 15- 159S, Aug. 21, 26, 29. Catiline s Conspiracy (with Wilson). 16. 1598, Nov. 18, 25. For Mending i. Fi^olin Hood for the Court. 17. 1598, Nov. 25, 28. 'Tis no deceit to deceive the Deceiver. 18. 1599, Feb. 26, 27. Troy's Revenge, with the tragedy of Folyphemus. 19- 1599. ^Jl^ar. 22. The Spencers (with Porter). 20. I 5 99, April 7, I 6. Troilus and Crcssida (with Dekker). CHETTLE. 69 21. 1599 [April]. Sir Placidas. 22. 1599, May 26. Agamemnon (with Dekker). 23- 1599, July 24; Aug. 23, 25 ; Oct. 14. r/i6 /S^e^- moihers Tragedy (with Dekker). 24. 1599, Sept. 3, 15, 16, 27. Bobert 2, King of Scots (with Dekker, Jonson, and " other Jentellman." Query Marston, or, as I think, more likely Wadeson). 2 5- 1599, Oct. ; Dec. 19, 28, 29. Patient Grisell (\Yith Dekker, Haughton). 26. I 599, Nov. 10, 27 ; 1 60 1, Sept. 24. The Orphans Tragedy. 2 7- 1599, Dec. 13, 17. Arcadian Virgin (with Haughton). 28. 1600, Feb. 16; Mar. 10; April 26. Damon and Pythias (licensed for press 1 6th May). 29. 1600, Mar. I, 2, 8. The Seven Wise Masters (with Day, Dekker, Haughton). 30. 1600, May 10, 14. The Golden Ass: Cupid and Psyche (with Day, Dekker). 31. 1600, May. The Wooing of Death. 32. 1600, May 26. The Blind Beggar of Bethnal Green (with Day). 33. June 19, 20. 2. Fair Coyistancc of Borne (with Day, Hath way). All the preceding plays were written for the Admiral's men at the Rose ; the next group for the same company at the Fortune. 34. 1 60 1, Mar. 31; April 6. All is not gold that glisters. 35. 1 60 1, April 18; May 16, 22. King Sebastian of Portingal (with Dekker). 36. 1601, June, 5, 28; July 14, 17; Aug. 18, 24. Cardinal Wolseys Life (licensed for press 3rd. Sept.). 70 THE ENGLISH DRAMA. 37. 1 60 1, Oct. 10; Nov. 6, 9, 12. The Rising of Car- dinal Wohry (with Drayton, Monday, Smith). 38. 1 60 1, Nov. 14; 1602, Jan. 6, 7. Too good to he true, or The Northern Man (with Hathway, Smith). 39. 1602, Jan. 21. Mending The Proud Woman [i)f Antwerp, by Haughton. I suppose for the Court]. 40. 1602, May 4. Love parts Friendship (with Smith). 1602, May 15. Mending the First Part (i.e., The Life) of Cardinal Wolsey. But I think, as properties, &c., were bought at this time for the performance of the Second Part, or liising, that Henslow has made a mistake, and meant the Second Part. The First Part had already been expen- sively produced. 41. 1602, May 16; June 2, 26, 27. Tohias. 42. 1602, July 7. Danish Tragedy \_Hoffw.ann'\. 43. 1602, Sept. 9, I 5. Femelanco. Robinson, unknown elsewhere as a playwright (although Mr. Collier asserts the contrary. Diary, p. 225), was paid £i on 9th Sept. (in part payment), but on 15 th Sept. Chettle got los. more (in part payment for " his tragedy of Femelanco "). Robin- son was, I think, to Chettle what Mrs. Harris was to Mrs. (ramp. 44. 1602, Dec. 17, 20, 22 ; 1603, Jan. 7. The London Florentine (with Hey wood). 1602, Dec. 29. A Prologue and Epilogue for the Court (probably for As Merry as may he). 45. 1602, Dec. 29; 1603, Jan. 14. A Tragedy called Hoffmann (with Heywood. N.B. — " LAJce to like " in this entry is a forgery). 46. 1603, Mar. 12. 2. Florentine. Here end the Admiral's plays by Chettle ; but simul- taneously with the latter part of them he was writing for Worcester's men at the Rose, also under Henslow. CO— COKAIK 71; 45. 1602, Aug. 24; Sept. 7, 8, 9 ; 1603, Jan. 14. A tragedy (with Heywood). Undoubtedly Hoffmann. In this instance, by no means a solitary one, Henslow entered the play to the debit of both the Admiral's company and Worcester's. The " Rohin hoodfclloto " (a second thought for " Bohin Rood ") and " Eohin Good/ellow," p. 239 of the Diary, are forgeries. Collier no doubt intended to identify the play with Gi^ini the Collier of Croydon. 47. 1602, Oct. 15, 21. I. Ladi/ Jane (with Dekker, Heywood, Smith, Webster). See Dekker. 48. 1602, Nov. 2, 23, 26. Christmas comes hut once a year (with Dekker, Heywood, Webster). 49. 1603, May 9. A play wherein is Shores Wife (with Day). All through these Henslow entries there is abundant evidence of Chettle's poverty. In June 1598 he borrowed I OS. of Henslow, and was then 30s. in his debt; on i6th Sept. he owed £^, 9s. ; on 22nd Oct. £g, 9s. ; in Nov. he borrowed i8s. 4d. "to arrest one with L. Leicester;" on 17th Jan. 1599 Henslow advanced 30s. for his charges in the Marshalsea ; on 22nd March he strikes los. off his debt, but on 27th March again borrows 5 s., and on 2nd May 20s. " to discharge Ingram's arrest." On 25th March 1602 he sealed a bond to write for Henslow's companies only ; on 1 6th July he borrows 5s., and on 7th March 1603 Henslow had to advance 20s. to get his play out of pawn. These details show great penury. Co, Ja. (Play.) I. " The design of a tragedy called Eomanus, by Ja. Co," Brit. Mus., MS. Earl. 4628, 17th century. CoKAiN, Sir Aston. (Mask and Plays.) 1. The Obstinate Lady, C, 1657, 1658, 1662. 2. Trajjpolin supposed a Prince, T. C, 1658, 1662. 72 THE ENGLISH DEA^IA. 3. Maslc at Brethic, 1658, 1662. 4. Ovid, T., 1662, 1669. Born 1608, Dec. 28, in DerLysliire ; member of Trinity, Cambridge, and of Oxford ; entered at one of the Inns of Court ; travelled on the Continent 1632; married Anne Kniveton of Mircaston, Derbyshire. Died at Derby, Feb. 1684. 1. The Obstinate Lady, C. The first edition was surrep- titious ; the second and third formed part of A chain of Golden Poems, along with Trajjpolin and The Mask. This play was written (and I think acted) before the closing of the theatres in 1642. It abounds with allusions to theatres as open (see pp. 30, 43, 54, 64, 'j'i)^ Maidment's edition), and once mentions the Blackfriars and Cockpit. I conjec- ture the date of production to be c. 1 6 3 i . 2. Trappolin supposed a Prince is, as he tells us in the Prologue, an adaptation of a piece he had heard twice at Venice, but not a translation ; it was therefore produced after his return from the Continent. 3. The Mash was presented on Twelfth Night 1639—40, at Bretbie, in Derbyshire, before Philip Earl of Chesterfield (the author's uncle) and his Countess, two of their sons acting in it. 4. Ovid's tragedy was published in 1662, with the 2nd edition of the poems, as " intended to be acted shortly ; " it was therefore probably written after the closing of the theatres in 1642. Cokain's information in his letter to his cousin Charles Cotton (repeated in his verses to the publishers of the Fletcher folio), that Massinger joined Fletcher in writing some of his plays, is of great value, as giving a certain basis for critical separation of Fletcher's work, Cooke, Joux. (Play.) I. Greene's Tii Quoquc, or The City Gallant, for John COWLEY. 73 Trundle 1614, John Dewe 1622, M. Flessher [1628]; acted bj Queen Anne's servants [at the Bull], Thomas Greene taking the Tu quoque part. As he died in August 1 61 2, a posterior limit of date is fixed. The allusion to the Bull, Sc. 12, gives an anterior limit, 15th April 1609. Heywood prefixed an address to the plaj, Cooke being dead. It was performed at Whitehall before the Prince 6th Jan. 1625 (the mask having been put off) by the Queen of Bohemia's servants, into whose hands it had passed on the breaking of the Revels company, formerly Queen Anne's. As Sc. 16 seems to be directed against Coryat, whose Crudities, S. R. 26th Nov. 1610, Cramhe, S. R. 7th June 161 1, and Banquet were published in 161 i, we may, I think, assume that to be the year of the first acting of the play. In Sc. 14 — " Speak but one word, aud I am satisfied ! Or do but say but mum, and I am answei'ed ! No sound, no accent ! Is tliere no noise in women?" palpably parodies Borneo and Juliet, ii. 1,9; iii. 2, 85. Cowley, Abraham. (Latin and University Plays.) f2. Naufragium Jocidarc, L. C, 1638, for Henry Seile.Z 1638. (i. Bove's Riddle, P. C, 1638. 3. The Guardian, 1650. I . Bove's Riddle was written " at the time of his being King's Scholar at Westminster School," and therefore before 1636, when he was elected at Cambridge a scholar of Trinity, a^tatis 17, having been born late in 1618, and published his Poetic Blossoms (S. R. 24th Oct. 1632, for Henry Seile, who also published his early plays) when he was i 3 years old. The statement of his older biographers is correct in this matter of age ; the portrait issued with the poems was taken evidently for this publication, " anno wtatis 13"; and 74 THE ENGLISH DRAMA. if his birthday was later in the year than 24th Oct. he would not have attained his 14th year at the time of the S. R. entry. Loves Bicldle was probably written 1635. 2. Ncuifragium Jocular e, Comcedia acta in Collegio S. et individuce Trinitatis quarto Nonas, Feb. [Candlemas, Feb. 2], An. Bom. 1638. [Not 1638-9.] Cowley must have, I think, taken his B.A. degree at this time, and commenced residence in 1635. 3. The Guardian was acted before Prince Charles at Trinity 12th Mar. 1641. At this time Cowley, I think, took his M.A. degree. The 1650 edition was printed im- perfectly during his absence in the country, it having been neither made nor acted, but rough-drawn by him and repeated by the scholars. Accordingly a revised version was acted at the Duke of York's theatre i6th Dec. 1661, which was published in 1663 as The Cutter of Coleman Street. The rest of Cowley's career does not concern us. Crouse, . (Latin.) Of Caius College, Cambridge. I. Eitrilates, 17th century. MS. in Emanuel Library. D., J. (Play.) I. 1639, June 18, for J. Okes. The knave in grain, or Jack Cottington. 1639, Oct. 22, assigned from J. Okes to J. Nicholson, A knave in grain, new vampt; 1640, written "by J. D." Halliwell, following Biog. Dram., makes two plays out of this one. It was ' ' acted at the Fortune many days " in its new shape. J. D. was the vamper, not the original writer. The scene was then laid in Venice ; originally it seems to have been in England. Compare for title The Whore " new vampt" most likely for the same reason: viz., personal satire in the original play. DABOENE 75 Daborne, Robert, (Plays.) I. 1 612, Feb. I, for W. Barrenger. A Christian turned Turk, or The tragical lives and deaths of the two famous pirates, Ward and Dansiher, T., 161 2. 9. The Poor Man's Comfort, T. C, 1655. The earliest notice I can find of Eobert Daborne, M.A., Gentleman, is in the patent granted to him in conjunction with Rossiter, Tarbrooke, Jones, and Brown ap]3ointing them Masters of the (Second) company of the Queen's Revels children. The date of this patent is 4th Jan. 1609—10. The next notice of Daborne is the entry in the Stationers' Registers, 1st Feb. 1611 — 12, of his play, ( I ) " -4 Christian turned Turk, or the tragical lives and deaths of the tivo famous pirates. Ward and Dansiker, as it hath been publicly acted. Written by Robert Daborne, Gent." This was probably acted early in 1 6 1 o (by the Revels children), being founded on a prose account of the same matter (S. R. 24th Oct. 1609) "by Andrew Barker," master of a ship, who was taken by the confederates of Ward, and by them some time detained prisoner. I next meet with Daborne in the correspondence with Henslow preserved among Alleyn's papers at Dulwich, and published in the Variorum Shake- speare, vol. xxi., by Malone, and afterwards by Collier in a perplexingly confused muddle, without regard to chrono- logical arrangement. As these letters are interesting, and give a unique narrative of the life of a third-rate dramatist in the pay of an extortionate stage-manager of the time of James I., I give here an abstract of them in chronological arrangement. Document i, p. 396. Daborne, on 17th April 161 3, agrees to deliver to Henslow before the end of this Easter Term (8th May) his tragedy of (2) Machiavel and the Devil for ;^20. He has already received £6, is to have £4. on 76 THE ENGLISH DRAMA. completion of 3 acts, and i^io on completion of the play. We see from this that for a play by an inferior writer, on which he spent about two months' labour, he got a sum of ^20, which was accounted "a vain thing" to expect when Jonson wrote his jjlay of The Case is altered in i 598. At that time £6 was Henslow's usual payment. 25 P- 397- On 28th April Daborne borrows £1 of Henslow to bail his man " committed to Newgate upon taking a possession " for him. 3> P- 398- On 3rd May Daborne gets another £1 from Henslow, and promises to deliver the 3 acts fairly written on Friday (7th May). 4. P- 399- May 8. Yet another £1 from Henslow. Machiavd not ready this term, but shall come " on the neck of the new play they are now studying." Daborne asks for appointment of " any hour to read to Mr. Allen." This Alleyn, it seems, was stage-manager ; Henslow looked after the finances. 5) P- 399- Daborne on May 16 has taken his wife home again, as " thank God, most of my troubles are ended ; will meet Mr. Allen with you and read some. The play shall be ready next term with the first." Asks for another pound, and gets it. 6, p. 400. He gives on May 19 receipt for the £16 received to this date, and Mr. John Alleyn the actor (not the Alleyn, famous Ned) notes that the play is to be delivered with all speed. Edward Alleyn was concerned at this time with the Palsgrave's men at the Fortune ; the Henslow- Rossiter company, for which Daborne was writing, was the Lady Elizabeth's. 7, P- 397- '^^'^ company were expecting Henslow to decide (on June 4) whether they should come over or go to Oxford. Daborne sends 2 sheets more (of Machiavel) and DABORNE. 77 has given one Act of (3) The Arraignment of London to Cyril Turner to write, that that play may also be ready for them. Asks for another £1, and gets it 5 th June. This " comming over " refers, I think, to the project of leaving the theatre in Whitefriars for Paris Garden, rebuilt and rechristened The Hope in 161 4. Henslow's company (Lady Elizabeth's) was most likely still performing at Whitefriars. Sj P- 398- June 10 (Thursday). Daborne expected Henslow on Monday (7th June) ; will deliver in the last word this week : wants another £i : \s> troubled by " neces- sity of term business." Trinity Term ended on 12th June. 9, p. 403. June I 8. Daborne sat up till past twelve the night before writing, and had to attend the Common Pleas this morning to acknowledge formal recovery : asks for £2 in earnest of The Arraignment, and will meet Henslow at the new play on Monday and conclude further. 10, p. 404. June 25. Has altered a scene in Act 3 of Machiaxel : if Henslow will be paymaster for The Arraign- ment they shall have it ; if not, " I must use other means to be furnished upon it " (in other words, he means to offer it to the King's men). "Before God I can have £2$ for it, as some of your company know." Will Henslow advance £2 " till we settle " ? I do not find any evidence that Henslow did advance any money on The Arraignment, or that this play was acted by his company. On the other hand, he certainly did advance ;^io on a play written by Field, Daborne, Massinger, and Fletcher, which play I have identified with (4) The Honest Mans Fortune (see Fletcher). In an undated letter (No. I i> P- 395) Field says, "Mr. Daborne and I have spent a great deal of time in conference about this plot." He asks 78 THE ENGLISH DRAMA. for ;^I0 on condition that it be brought in finished on August I. " On my knowledge Mr. Daborne may have his request of another company." In another undated letter (p. 404) Field says he is "taken on an execution of ^30. I can be discharged for ;^20. £10 1 have from a friend ; if now in my extremity you will venture i^io more for my liberty I will never share penny till you have it again." This advance is asked for as on Field's private account, and has nothing in common with Daborne ; but in a third letter it appears that Daborne and Massinger were in prison as well as Field {Variorum, iii. 337). Herein Field says, "You know there is ;^lO more at least to be received of you for the play. We desire you to lend us ^5 of that, without which we cannot be bailed, nor I play any more till that be dispatched." Daborne adds, " The money shall be abated out of the money remains for the play of Mr. Fletcher and ours." Massinger also adds a line. They got the ^5. Henslow had evidently advanced ^10 before, and the full payment was to be ^20 at least. All this must have occurred in the early part of July. 12, p. 402. On July 16 Daborne begs for one more £i, the very last " till the play be fully by us ended," and gets it. 13, p. 403. July 30. Daborne, anxious for "an answer and end to these businesses and debts betwixt us," requests Henslow either to be his " paymaster for another play or take £'i-0 of your money we have had into your hands again and security for the rest." Daborne " had good cer- tainty of means before I wrote unto you, which upon hopes of your love I forsook, and must now, if you and I had ended, return to them again." His occasions are urgent ; he must sell what estate he has. Will Henslow lend him £1 "till we deliver in our play on Thursday" (Aug. 5)? The " we " and " our" in this letter, with the coincidence of DABORNE. 79 month dates, fix the year of Field's undated letters, which evidently refer to the same transaction. 14, undated, p. 401. "I did think I deserved as much money as Mr. Messinger. ... I pay you half my earnings in the play, beside my continual labour and charge employed only for you. ... I beseech you ... let me have 10/— more." And in a postscript, " I pray, sir, let your boy give order this night to the stage keeper to set up bills against Monday [Aug. 9] for Eastward Ho, and on Wednesday the new play." I 5, August 23 (wrongly dated Aug. 3, compare Henslow's note), p. 405. Daborne has kept his bed, lame. Has come down from ^20 to £12 a play ; begs Henslow to go forward with the bargain about (5) The Bclhnan. We [Query Daborne and Turner ; certainly not Fletcher or Massinger] will have but £ i 2 and the overplus of the second day, whereof I have had 10/—, and desire but 20/— more till you have 3 sheets of my papers." Henslow lends him the 20/—. Daborne sent his wife with this letter. 16, October 14, p. 408. Will bring in the whole play next week; begs for £2 and acknowledges debt, " with my quarter's rent, ;^8 ; for which you shall either have the whole company's bonds to pay you the first day of my play being played, or the King's Marshal pay it and take my papers." 17, October 29, p. 406. Daborne wants Henslow's decision whether the company shall have the play or not. " They rate upon me, I hear, because the King's men have given out they shall have it." He sends 2 sheets besides one sent previously ; asks for 30/—, making just ^8, besides his rent, " which I will fully satisfy you either by them or the King's men as you please ; " i.e., according as Henslow determines to take the play or let the King's men have it. Henslow lends him 20 j-. 8o THE ENGLISH DRAMA. 1 8, November 7, p. 410. Daborne asks for 20/—, and " the Book you promised; " 10/— " will not do." 19, November i 3, p. 407. Henslow's man finds Daborne writing tlie last scene. Being Saturday night, lie wants I o/— more : " for your money if you please not to stay till Johnson's play \_Bartholomew Fair, not acted till 31st Oct. 1 8 1 4] be played. The King's men have been very earnest with me to pay you in your money for your courtesy, wherein you shall have 30/— profit, with many thanks." That is, 30/— interest on an advance o? £10 " besides m.y rent " — no small interest. He will finish the play to-morrow. 20, the same day, p. 409. Henslow's answer to No. 19 was an accusation of " breach of promise." Daborne sends " the foul sheet " and the partly finished fair one which he was writing when the man came, and gets a loan of 8/—. He will perfect the book, " which shall not lie on your hands."' Was it then to be sold to the King's men ? This does not read as if Henslow's company were to act it. And was this Bellman, which appears from Henslow's note on the 23rd August letter to have been called The Bellman of London, anything else than The Arraignment of London, the negotiation for which had fallen through ? Compare the Act 3 written by Turner (25th June) in the one, with the " us " ( 1 6th July) in the other. 21, November 27, p. 409. Asks for and gets 20/—; will settle on Tuesday (Nov. 30). 22, December 9, p. 411. Daborne asks for 20/— "on the play you have " {The Be'lman), or on " my other out of your book " (6) 7Vic Oid, borrowed on 7th Nov. He only wants ;^I0 for "as good a play for your public house as ever was played." This " public " house was Paris Garden, where the bears were baited. Henslow's other house, then. DABORXE. 8r must have been a private one ; i.e., that at Whitefriars, and not the Swan, as we might otherwise have supposed. 23, December 24. Daborne enters into a bond acknow- ledging receipt o£ £y out of i^io for The Owl; the balance to be paid on delivery of the play, fully perfected, on loth Feb. next ensuinfj. 24, undated. Begs for 10/— more on The Owl, and gets it. 25, December 31. Yet one more 10/-. Has been ill " of an extreme cold." Granted. Will come on Monday (Jan. 3) to "appoint for the reading the old Book" (The Bellman), and "bring in the new" {^The Old). So Hens- low's company, after all, act The Bellman. 26, undated. Borrows through Mr. Griffin 40/— on a Patent " worth ;i^ioo." 27, Mai". II, 161 3-14. "Sir, if you do not like this play when it is read you shall have the other, which shall be finished with all expedition. ... I pray send me lo/— , and take these papers, which wants [sic'] but one short scene of the whole play." What plays are these ? The second one is no doubt (8) The She Saint, hereafter mentioned ; but the first is not The Oivl. For in the next letter Daborne asks ;^I2 for it, and he had already sold The Owl for ;^io. I conjecture that it was (7) The Faithful Friends, a play written in the early part of 1614 (as is manifest from the allusions in it to the Masques, &c., at the marriage of Carr, Earl of Somerset), and very like in metre and style to the part of The Honest Mans Fortune assigned by me to Daborne. If this conjecture be correct, Henslow accepted the play. He sent the 10^- asked for bv Daborne's daughter, now first mentioned. 28, March 28 (wrongly dated 1613 ; compare Henslow's note). Daborne sends the play complete ; offers Henslow VOL. I. F 82 THE ENGLISH DRAMA. the choice of this one {The Faithful Friends t) now, or another {The She Saint) to come; asks £\ 2 each for them ; wants an advance of 20/—. Mr, Pallant is much discon- tented with Henslow's neglect of him. Henslow lets him have 10/— "in full payment of his new play last written," and on 2nd April pays him 8/— " in earnest of The She Saint at his own house." 29, Aug. I, p. 408. Daborne asks for a loan of 10/—. Being Sunday, he is pressed for money, because Lord Wil- loughby has sent for him to go to him on ]\Ionday morning by 6 A.M., " and I know not how profitable it may be to me, and without your kindness herein I cannot go ; he goes away with the King to-morrow morning." This is evidently a private transaction. Daborne left writing for the stage about June 1614, when " Mr. Pallant was brought in," i'.^., when Prince Charles' men joined the Lady Elizabeth's, and writes in August like a man freed from care and compara- tively cheerful. Henslow, of course, lent the money. This letter is undated by Daborne, but Henslow has added the date 2nd Aug. 16 14 either from ignorance (his Diary is crowded with similar mistakes) or to avoid dating a loan on a Sunday. The King set out on his progress early on Monday morning, and we may trust that Lord Willoughby was profitable to Daborne, for the next we hear of him — unless the bond of 161 5, July 4, noted under Massinger, be genuine — is as a preacher at Waterford in 1 6 1 8, where a sermon of his on Zechariah ii. 7 was published. The only other detail I know of his career is, that he wrote a play (which I have not seen) called (9) Tlie Foor Man's Comfort, published in 1655. Daborne as a writer is insignificant apart from his con- nexion with greater poets ; but the year of Daborne's life here epitomized is very interesting, being a unique example DABORXE. 83 of the dealings between the harpy managers and poor stage poets in the Jacobean time. Various points carrying with them inferences of some import for dramatic history are also here newly set forth, as will be evident to the careful reader. It may be useful, in order to show the special bearings of the dijfferent parts of this one year's correspondence, to summarize it thus : — 2. 161 3, April 17— June 25, Machiav el and the Devil, i. 3. 1613, June I 8— June 25. The Arraignment of Lon- don, ii. 4. 161 3, July. The Honest Mans Fortune, iii. 5 . 1 6 1 3, Aug, 2 3— Nov. I 3 . The Bellman of London, iv. 6. 1 61 3, Dec. 9-Dec. 31, The Owl, v. 7 . ] f The Fa ithful Friends, vi. g |l6,4, March I l-March 28.|y,^^ ^^^^ ^_^.^_^_ ^.. Daborne must have quitted play-writing at or before Henslow's death, 16 16, Jan. 8. I . The Christian turned Turk, T., was founded on Andrew Barker's book on them, S, E., for John Busby, junior, 1609, Oct. 24. He was a master of a ship taken by Ward's confederates, and " some time detained prisoner." John Busby, senior, had on July 3 published two ballads on them, and on June 2 entered a prose account of their piracies, called Neivs from the Sea, which was forbidden on June 12. The play was no doubt performed early in 16 10 by the Queen's Eevels children at Whitefriars. 9. The Poor Mans Comfort, acted at Drury Lane [by ■ Queen Henrietta's men], was no doubt originally acted by the Queen's Eevels boys about the same time as the pre- ceding ; certainly before 16 13. Of ])aborne's other plays enough has been said. See also, under Fletcher, for 4. The Honest Man's Fortune. 84 THE ENGLISH DKAMA. 6. The Old, entered S. E. 1624, June 29, is Drayton's poem, not Daborne's play. Daniel, Samuel. (Plays, masks.) I- 1593. Oct. 1 1, for S. Waterson. Cleopatra, T., i 594, his {Delia, with separate title), 1595,1598; 15 99 {Poetical Essays, with separate title); 1605 {small poems); 1607 {small works), 161 i ; 1601 (works), 1602, 1623 (altered), 1635 (1623 copies with new title-page). 2. The Vision of the Twelve Goddesses, mask, 1 604, by T. C[reede], for S. Waterson ; 1623 {works), 1635. Called The Wisdom of the 12 G^. in some copies by mistake. 3. 1604, Nov. 29, for S. Waterson and E. Blunt. Philotas, 1605 {small poems, with separate title), 1607 (by M. Bradwood for E. Blunt), 1607 (by J. W. for S. Waterson), 1 6 1 1 , 1623 {works), 1635. 4. 1605, Nov. 26, for S. Waterson. TJie Queens Arcadia, 1606 (by G. Elde), 1607 {small ivorks), 161 i; 1623 {works), 1635. 5«. Tethys Festival, or The Queens Wake, 16 10 (for John Budge) ; called " The Boyal Mask " in the main title. 5&. The Creation of Prince Henry, 1 6 1 o (for John Budge, with the preceding, but with separate title). 6. 161 5, Jan. 13, for F. Constable. Hymens Triumph, P. T. C, 1615. As the following notice of Daniel, which appeared in Anglia in 1889, was the last of my writings presented to and approved by Eobert Browning, the reader will perhaps excuse my dislike to remodel it into accordance with the usual form of those of other dramatic writers, or indeed to alter it at all. As the order of publication in Daniel's case coincides with that of production, I need not add a separate account of the plays and masks. Nor do I desire to enlarge the notice, except by the statement that " a very worthy DANIEL. 85 man, worthy to be one of your privy chamber or poet laureat," in Northward Ho, iv. i, certainly is meant to indi- cate Bellamont (Chapman) as a fitting successor to Daniel in those appointments. That play was acted by the Paul's boys early in 1605, just after Daniel's disgrace caused by his PMlotas : — Samuel Daniel, son of John Daniel, a music-master, was born not far from Taunton, in Somersetshire, in i 562-3 (Fuller). He was entered as a commoner at Magdalen Hall, Oxford, in 1579, cetatis 16. In 1582 he left Oxford without taking a degree (Wood), and was received under the patronage of Mary, the Countess of Pembroke, who " first encouraged and framed " him to rhyming measures at Wilton, " his best school." He was " drawn further on" by the approbation of her son, the Earl, to "bestow all his powers therein." On 26th JSTov. 1584 a translation of Paulus Jovius' Imprese was entered on the Stationers' Eegisters for Simon Waterson. To this " discourse of Mili- tary and Amorous Inventions " Daniel, the translator, pre- fixed a preface on the art of composing them, dedicating the work to the Queen's Champion, Sir Edward Dimmock. An epistle by N. W., dated from Oxford, accompanied this dedication. I venture the conjecture that IST. W. was a Waterson, and that he introduced Daniel to the publisher, who remained a .fast friend to him throucrh life, and was one of the overseers appointed in his will. In this epistle a certain M. P. is mentioned, who, " climbincr for an eagle's nest," was defeated by the malevolence of Fortune. That this person's name was M[aster] P[yne] is evident from the " devices " or " imprese " which he " limned " concern- ing himself, viz., " a Pine tree stricken with lightning," and " a Pi?i-nace " tossed with tempestuous storms, lie was probably the John Pyue, parson of Bear Ferres, who pub- 86 THE ENGLISH DRAMA. lished Latin Epigrams and Anagrams in 1626, many of which are of much earlier date. I see that Doctor Grosart says that " it is vain to conjecture " who M. P. was ; but, as he had not seen this conjecture when he wrote, and was thinking of the interpretation of M. P. as Mary Pembroke, I hope he may yet see reason to change his opinion. In I 59 1 Nash's edition of Sidney's Astrophcl and Stella was printed, containing twenty-seven Sonnets to Delia ; ^ three of these were never acknowledged by Daniel. Delia has never been identified ; Doctor Grosart does " not sup- j)Ose it is likely now that we shall ever know who Delia was." And yet in Doctor Grosart's edition of Nash's works, iii. 214, in the dedication of Tlie Terrors of the Night, 1594, to Elizabeth Carey, daughter and heir of Sir George Carey, we read that " the wittiest poets of our age have vowed to enshrine you as their second Delia." The first Delia was Queen Elizabeth. The second " clear lamp of Virginity " married Lord Berkeley, whose seat was Barkley Castle, on the Little Avon, in Gloucestershire ; which is, notwithstand- ing this fact, not the Avon of Daniel's Sonnet 55, "Avon poor in fame and poor in waters ; " though what " seat " Delia had on any Avon in 1592 is as yet unknown. But I do not think it vain or hopeless to attempt to discover it. It is very noticeable that in 1594, while Delia was still " a lamp of Virginity," Daniel retained his first version, "rich in fame," but in 1601 introduced the alteration. In like manner he altered " I'll .sound her name the river all along" to " No other prouder Brookes shall hear my wrong." " My wrong," taken with many similar expressions in these ^ "The only bird " Sonnet is a variant of Sonnet 13 of the collected edition. Grosart is wrong in saying that it was not reprinted by Daniel. DANIEL. 87. Sonnets, surely alludes to something more serious in this connexion than mere poetical Platonics. Was there at one lime ground of hope for Daniel's marrying this heiress ? At the time of the surreptitious issue of these Delia Sonnets Daniel was probably in Italy (see Sonnets 49, 50), where he met Guarini, the author of // Pastor Fido. He was then in the company of Sir E. Dymmock (see Daniel's Sonnet prefixed to The Faithful Shepherd). This fact, coupled with the dedication in November 1584 noted above, seems to point to Daniel's having attached himself to this patron on leaving Wilton, probably about that time (1584). On his return from Italy (and immediately so, in my opinion) Daniel hastened to publish a complete and more accurate issue of the Delia Sonnets, which were en- tered with The Complaint of Rosamond on the Stationers' Eegisters (for S. Waterson) 4th Feb. 1592.-' There was a second edition printed before 25 th March, and a third in 1594. Along with this third edition was printed The Tragedy of Cleopatra, which had been entered for Waterson 19th Oct. I 593. This tragedy was written at the command of the Countess of Pembroke, to whom it is dedicated. It is in the Seneca manner, with chorus presentation, and in rhymes ; but I cancel my weaker observations on this point in favour of Mr. Saintsbury's excellent essay printed in Grosart's edition. On iith Oct. 1594 the dissension betwixt the Houses of York and Lancaster was entered (for Waterson). This contained Four Books of The History of the Civil Wai^s. The original title shows that this poem was meant to be a poetical rival to the theatrical " contention of the two famous houses of York and Lancaster " by Marlowe, &c. 1 The Ode and Pastoral (very like Shelley in sentiment) were included in this issue. 88 THE ENGLISH DRAMA. (then on the stage), by one " whose verse respects not Thames nor Theatres" {Sonnet 55). The volume was issued in 1595 ; and in this same year, 27th Sept. 1595, William Jones Ms Nennio was entered on the Stationers' Eegisters. This book had verses by Daniel to the author prefixed, and was dedicated to the Earl of Essex. Daniel was now at the zenith of his reputation. I pass over the ludicrous attribution of the verses on Willoby's Avisa to Daniel (in which S. D., I take it, means not S[amuel] D[aniel], but S[alutem] D[at]) with the remark that they fully bear out my assertion in my Life of Shakespeare that Avisa was an innkeeper's daughter, not a lady of generous birth, as Dr. Ingleby supposed. In Every man in his humor (1598), v. i, and Every man out of his humor (i 599), iii. i, passages from Daniel's Sonnets and Mosamojid were ridiculed by Jonson for their absurdities. This was the beginning of the "jealousies" be- tween Jonson and Daniel mentioned in Drummond's Con- versations, which form one of the most important grounds for explanation of Daniel's career, but have hitherto been neglected by his biographers. On 9th Jan. 1598—9 the Poetical Essays, including The Civil Wars, Book v., and A letter from Octavia to Marcus Antoniiis in Egypt, were entered on the Stationers' Eegisters for Waterson. This book was dedicated to Mary Countess of Cumberland, the mother of Anne, the wife of Philip Earl of Pembroke. In my opinion she is the Octavia of the poem. It also contained a Sonnet to Charles Blunt, Lord Montjoy, who succeeded Sir E. Dimmock in the patronage of Daniel. In 1 600 Daniel became tutor to Lady Anne Cliflbrd, then eleven years of age, at Skipton, in Craven. This lady never lost her grateful memory of her tutor's in- structions ; Daniel's portrait still is extant in a large family DANIEL. 89 picture along -svith hers, and his whole works in verse in this painting stand on the same shelf as Spenser's. This is a very delicate compliment. The preparation of the edition of his works, known as the 1601 Folio, did not suffice to keep him in content during the three years he spent at Skipton. In 1603 he wrote to Egerton, the Lord Chan- cellor, of his " misery, that, whilst I should have written the actions of men, I have been constrained to live with children." His biographers regard this as ingratitude. Did they know the self-conceit, the intolerance of strangers, the rude ignorance, that have always characterized the inhabi- tants of the Craven Valley, they would be more forbearing to Daniel's natural weariness of his three years' residence there. During this time, on i6th Sept. 1601, a transla- tion of // Fastor Ficlo, to his old patron Dimmock and another, was entered on the Stationers' Eegisters. It is from Daniel's verses to this book that we learn the de- tails of his stay in Italy already noticed. The only other poetic work during this tutorship was a sixth book (Book vii. of the final edition) of The Civil Wars, dated 1602 in the Folio edition, and The Passion of a distressed man, with the accompanying Epistle to the Earl of Hertford. In March 1603 King James I. succeeded to the throne, and then came a great change in Daniel's position. He left Skipton and Lady Anne, and distributed copies of his 1 60 1— 2 Folio broadcast to every one whose patronage was likely to be useful to him. One copy he dedicated in 1 604 (with specially printed verses) to the Bodleian Library at Oxford ; another (with dedicatory MS. letter) to Lord Keeper Egerton. Of these more hereafter. To this same nobleman, in 1603, a year earlier, he printed an Epistle ; as also to Lord Henry Howard, Margaret Countess of Cumber- land, Lucy Countess of Bedford, Lady Anne Clifford, and 90 THE ENGLISH DRAMA. (to his praise be it spoken) to Henry Wriothesley, Earl of Southampton. All these Epistles date c. April 1603; the specially printed dedications to the Queen, &c., a little later, c. May 1603-4, ^fter the publication by E. Blount of his Folio volume (entered 30th May 1603), containing the Panegyrich delivered to the King at Burley Harington, in Kutlandshire, in April ; the Six Epistles, and Musophilus, called in this first edition A Defense of Rhyme. This last- named poem, in answer to Campion's Observations (1602), was dedicated to Fulke Greville. Doctor Grosart is mis- taken in assigning any of these to 1601 or 1602. At this same time he also addressed verse to " my dear friend " riorio on his translation of Montaigne, printed in 1603. Many of Jonson's sneers against Italianate authors who borrowed from Montaigne are directed against Daniel rather than Shakespeare. This has not been sufficiently considered by Mr. Jacob Feis in his useful but misleading book on the subject. The result of all these panegyrics was, that Lucy Countess of Bedford recommended him to the Queen to write the Court Masque (his first one) for Christmas. This was The Vision of ilic Twelve Goddesses, presented at Hamp- ton Court 8th Jan. 1603—4 by the Queen and her ladies, and published the same year by Waterson, with a dedica- tion to the afore-named Countess. Immediately afterwards, 30th Jan. 1303—4, the children of the Chapel were taken under the Queen's protection, and a patent for them was issued to Kirkham and others under the title of Children of tlie Queen's Revels. They were not to act any play which liad not been allowed by Samuel Daniel. His gratitude for this appointment is shown in his verses to the Queen already mentioned. The selection of Daniel as masque-writer and licenser aroused Jonson's " envy ; " and naturally so, for Jonson's superiority was even then DANIEL. 91 sufficiently patent; and in his EjJistle to the Countess of Rutland, which, though undated by his editors, is certainly uf the year 1 604, he mentions " Lucy the bright : " — " Who, though she have a better verser got (Or Poet, in the Court account,) than I, And who doth me, though I not him, envy." One of the first plays allowed by Daniel was his own tragedy of Fhilotas. The analogy between the careers of Philotas and the late Earl of Essex was so evident that indignation was at once excited, and in self-defence Daniel published the play, together with his Ulysses and the Siren, and reprints of his Ode and Pastoral under the title of Certain Small Works. These were accompanied by a letter to Prince Henry, and an apology — one of the weakest con- ceivable — to the effect that he had written Acts i. to iii. a few months before Essex' execution ; as if that excused his licensing Acts iv., v. three years after. This volume was licensed for Waterson and Blunt 29th Xov. 1604. It is clear that Daniel had been summoned before the Council on account of this play. In his letter to the Earl of Devon- shire he says : " I told the Lords ... I had read some part of it to your house. ... I beseecli you let not an Earl of Devonshire overthrow what a Lord Montjoy hath done, who hath done me good and I have done him honor : the world must or shall know mine innocency," &c. This is simply insolent ; evidently written before the publication, which did not mend matters. In the Eevels accounts at Court we find that the children who acted Philotas pre- sented one play 20t]i Feb. 1603—4, for which payment was made to E. Kirkham ; and two plays, ist, 3rd Jan. 1604—5, for which payment was made to H. Evans and S. Daniel; but iu 1606 Kirkham had gone to the Paul's 92 THE ENGLISH DKAMA. children, and Daniel's name occurs there no more. Neither do we hear of any children of the Queen's Eevels again till the new company under Eossiter 1609—10, although a company of children of the King's Eevels did act from 1607 to 1609. The inference is plain: Daniel was deprived of his licensing office, and the company recon- stituted. But he did not lose the Queen's patronage ; he was appointed some time before 1 6 1 1 a Gentleman of her Privy Chamber. In 1605 Grosart tells us Daniel prefixed verses to the translation of Du Bartas by J. Sylvester, " my good friend ; " and Hazlitt's Dictionary mentions similar verses to Evon- dale's French Garden. Bat the event of this year was tlie acting of The Queen's Arcadia at Christ Church, Oxford, before the Queen in August. This fact proves that Daniel was still in favour with her, although he had been displaced as Court poet by Jouson, whose Masque of Blackness had been acted at Whitehall at the usual Christmas festivities on Twelfth Night 1604-5. Daniel's "Pastoral Tragi- comedy" was entered for publication by S. Waterson 26th Nov. 1605. On 3rd April 1606 the Duke of Devonshire died, and Daniel published his Funeral 2^oem on him soon after. In the margin of the 1607 edition occurs a mention of Sir William Godolphin, " his faithful friend." This poem was incorporated in the 1 607 edition of the Small Works. In 1 609 another book was added to the Civil Wars (Book viii. of the final edition) ; and in the same year, January 1609-10, Jonson, in his Epicene, ii. i, speaks disparagingly of comparisons between Daniel and Spenser, Jonson " and t'other youth " (Daniel), and so forth. Jouson also wrote, but did not publish, "A Discourse of Poesy both against Campion and Daniel, especially this last, where he proves couplets to be the bravest sort of verses, especially DANIEL. 93 when they are broken like Hexameters, and that cross rhymes and stanzas (because the purpose would lead him beyond eight lines to conclude) were all forced " (Drum- mond's Conversations). The date of writing this discourse is unknown ; but I would place it after the production of Daniel's and Campion's Masques in February 1612— 13, In I 6 10, June 5, Daniel's Queens Wake, or Tethys' Fes- tival, was performed at Whitehall by the Queen and her ladies at the creation of Henry, Prince of Wales. This was published by Budge. In 1 6 1 i Daniel addresses John Florio, in verses prefixed to his Queen Anna's Neio World of Words, as his " dear friend and brother." As he does not use this form of address to any other author on similar occasions, I think that the old tradition of a connexion between Florio and Daniel by marriage has a basis of truth. But, on account of the foreign name Justina, I prefer the form of tradition which gives Florio's sister to Daniel for wife to that which makes a sister of Daniel married to Florio. It occurred to me tliat the term " brother " might mean fellow Gentleman of the Queen's Privy Chamber ; but Daniel in these verses, while expressly mentioning Florio as occupying this position, does not claim this title himself, as he was careful to do in 161 3. It is sinc^ular that Doctor Grosart, in discussing this matter, should say of Daniel, " But he had no sister, so far as appears," and on the next page should quote (in his will), " I bequeath to my sister Susan Bowre." On 27th June 161 2 Daniel's Histonj of England was entered on the Stationers' Eegisters for Waterson, and about the same time, I think, he was appointed Gentleman Extraordinary of Her Majesty's most royal Privy Chamber ; \inder which title he signs in 161 3 the verses to Florio in his Ifontair/ne, altered from the 1603 edition. On 3rd 94 THE ENGLISH DRAMA. Feb. 1613— 14 Daniel's Pastoral, Hymen's Triumph, was performed at Somerset House at the marriage of Sir Eobert Ker of Cessford, Lord Eoxburgh, to Mrs. Jane Driimmond ; " solemn and dull," writes Mr. Chamberlain. It was pub- lished by F. Constable 13th Jan. 1614— 15. Between tlie performance and publication Jonson's Bartholomew Fair was acted publicly and at Court in the early winter (Oct. 3 i , Nov. i). In this play Daniel is satirized as Littlewit. The grounds for this bold assertion of mine are the following : — Littlewit is the author of the interlude performed by the puppets. These puppets are described as " pretty youths ; all children, both old and young ; " they are " as good as any for dumb shows." Cokes pays not two but twelve pence for admission. All this and more, too long to extract here, shows that the Queen's Revels children, to which Daniel had been manager and licenser, are the com- pany ridiculed. But there are allusions still more personal. " Hang the author's wife ! Here be ladies will stay for ne'er a Delia of them all." There is no possibility of mis- taking that. Again, Cokes inquires at the puppet-show booth for " the master of the monuments." This brinfrs us to the Epigrams of Sir John Davis on Dacus. Ep)igram 45 identifies Dacus and Daniel. It ridicules the "silent elo- quence " of Daniel's Rosamond, which was, in like manner, jeered at in Jonson's Every man out of his humor, in. 1 . And Epigram 30 on this same Dacus runs thus : — " Among the poets Dacus numbered is, Yet could he never make an Englisli rhyme ; But some prose speeches I have heard ol' his, Which liave been spoken many a Imndred time. The man that keeps the elephant hath one, Wherein lie tells the wonders of the beast ; Another Banks pronounced long agone, When he his curtal's qualities exprest ; DAXIEL. 95 He first taught him that heeps the monuments At "Westminster his formal tale to say ; And also him which puppets represents ; And also liim which with th.e ape doth play. Though all his poetry be like to this, Amongst the poets Dacus numbered is." Dacus is Dauiel ; Littlewit is Dacus : the Euclidian reader will draw the iuference. After all, it comes to much the same as Jonson's prose statement — "Daniel was a good honest man : had no children, but no poet." Another direct allusion to Dauiel occurs iv. 2, where Quarlous takes his word Argalus from Sidney's Arcadia, Winwif e his Palemon ^ from Daniel's Hijmen's Triumph. Notice also the numerous allusions to masques in iii. i. From a letter of Sir George Buck, the Master of the Eevels, it appears that, on the mediation of the Queen on behalf of Samuel Daniel, the King appointed a company of youths to perform plays at Bristol under the name of the Youths of Her Majesty's Ptoyal Chamber of Bristol. Buck consented, " as being without prejudice to the rights of his office." This letter is dated loth July 161 5. A week afterwards the patent was issued (17th July), not for Samuel, but John Daniel, his brother. This John was not a player (as Mr. Collier tells us), but a Bachelor of Music in the Prince's service who had published (6th April 1606, S. E.) Songs for the Lute, &c. The authority of this patent was resisted, and in April 161 8 "letters of assistance" were granted to John Daniel authorizing him to assign by letters to these players (Martin Slaughter and others) power to act anywhere in His Majesty's dominions. The attempt to establish a permanent stage at Bristol was clearly a failure. Dr. Grosart has omitted notice of these documents (given ^ This Palemon has nothing in common with the Paliimon of Palamon and Arcite, as supposed by the commentators. 96 THE ENGLISH DRAMA. in Collier's Stage Annals, i. 411), on the ground of that gentleman's well-known propensity to forgery : he did not notice that it was also given us earlier by Chalmers. At the time of this appointment of Bristol players, July 161 5, we must, I think, place Daniel's retirement from London, where he had resided in Old Street, to Eidge Farm, Beckington, in Somersetshire, where we know nothing of his proceedings until 4th Sept. 16 19, when he made his will. He died in October. In his will Daniel left a legacy to his sister Susan Bowre, and appointed Simon Waterson (who had published the majority of his works) and John Phillips, his brother- in-law, overseers. As there is no mention of his wife, she probably died before him. He was buried at Beckington, and his former pupil. Lady Anne Clifford, erected a monu- ment to his memory in that church. She was then Countess- Dowager of Dorset, Pembroke, and Montgomery. I have reserved for this place the most important dis- covery contained in this paper. Daniel was not merely " at jealousies " with Jonson, but was actually represented by him on the stage as Hedon in Cynthia's Revels as early as 1600. In iv. i Philautia (Hedon's mistress, and there- fore Mrs. Elizabeth Carey) says, " I should be some Laura or some Delia, methinks." In Sonnet 40 to Delia, Daniel expressly calls her Laura : — "Though thou, a Laura, hast no Petrarch found ;" and again : — "For though that Laura better limned he." No other Laura-Delia is known in English literature. In ii. I Mercury describes Hedon as "a rhymer, and that's thought better than a poet." So in Drummond's Conversa- DANIEL. 97 tions Jonson says Daniel was " no poet ; " and in his lines to the Countess of Bedford he calls him " a verser or poet in the Court account." But the conclusive passage is iu v. 2. Crites says to Hedon : " You that tell your mistress her beauty is all composed of theft ; her hair, stole from Apollo's goldy locks ; her white and red, lilies stolen out of Paradise ; her eyes, two stars plucked from the sky," &c. Compare the lines in Sonnet 19 : — "Restore thy tresses to tlie golden ore, Yield Cytherea's son those arcs of love, Bequeath the heavens the stars that I adore, And to the Orient do thy pearls remove. . . . Restore thy blush unto Aurora bright." This identification of Hedon with Daniel will be found to be the key to many other personal allusions in Jonson's plays, and gets rid at once of the foolish conjectures which have been set forth that Hedon is Dekker, Marston, or Shake- speare, to none of wliom does he bear the faintest resem- blance. It seems probable, on comparing Jonson's three comical satires, that Hedon and Anaides are the same per- sonages as Fastidious Brisk and Carlo Buffone in Every man out of Ms humour, and Hermogenes Tigellius and Crispinus in The Poetaster} I thought that, if anything was settled in criticism, it was the identity of Crispinus and Carlo Buffone with Marston ; yet recently one ignorant critic has identified Crispinus with Shakespeare, and has been praised by a still more ignorant criticaster for his " research " in so doinij. It is clear that the beginning " of the turmoil among the three theatrical houses arose from Marston's abuse of Jonson and ^ As Fastidious Brisk is palpably the same personage with Einulo in Patient Grissd, this identification also gets rid of a foolish assertion put forth by a Demi-Doctor some years since, that Emulo meant Jonson. ^ " Beginning." That is, on the stage. The true beginning of the quarrel lay in the rivalry of the poets patnmized by INIary Countess of Pembroke : Jonson and Donne, Daniel and Drayton. VOL. I. G 98 THE ENGLISH DRAMA. praise of Daniel and Drayton in his Satires (entered S. E. 27th May 1598). Hence Jonsou's coupling of Marston and Daniel (Hedon and Anaides) ; hence also, which is of more importance, Daniel's retirement from Court in 1600 to the Scythian barbarism of the Craven Valley. Otho.r resulting conclusions from this Old Comedy passage-at- arms must be deferred for consideration to a more suit- able occasion. I have only to add that, in my judgment, Jonson's estimate of Daniel, in spite of a few splendid purple patches, such as the Sonnet to Carecharmer Sleep, and the recognition of Thyrsis and Sylvia in v. i of Hymens Triumph, was in the main a just one. He was an honest man, but a verser, and no poet. P.S. — I have thought it best not to disturb the text as first written; but since p. 86 was penned my anticipation that the Avon on which Delia had her seat might be discovered has been fulfilled. It was not the Stratford-on-Avon river (so that all Mr. Collier's inferences as to Shakespeare's want of fame in 1592, when we know that his Talbot scenes in i . Henry 6 were exciting a furore in London, are altogether dismissed to the limbo so well deserved by his numberless forgeries), but the Avon on which Bath and Bristol stand, the Lower Avon. It appears from a letter of Mr. Chamberlain's, 8th July 1602 (Nichols' Progresses of James i, iii. 573), that Sir George Carey, Delia's father, had a residence at Bath sufficiently important to receive a visit there from Queen Elizabeth. The visit, however, did not take place. I ought also to have noted, for the clearer explanation of the allusions in the words " Second Lamp of Virginity," that this was the title under which the Queen's own trans- DAVENANT. 99 lations of Queen ]\Iargaret's prayers were published. See Nichols, ii. 396; he adds that the book was entered S. E. 1582. It contained 7 Lamps; the Queen's translations are in the second. Each Lamp has a separate title-page. This Lamp of Virginity, by T. Bentley, was entered S. E. 7th November 1581, for H. Denham, and published 1582 as The Monument of Matrons. Nash's use of the words " Second Lamp of Virginity " was a direct insult to the Queen. Mary Sidney, Countess of Pembroke, had also been called Delia, but Nash could not reckon her as his first lamp of Virginity ; she was a married woman. Davenant, William. (Plays and Masks.) I. Albovine, T., for E. M[eighen], 1629. 1630, Jan. I, for Ephraim Dawson. 3. The Colonel, T. C. f 2. The Cruel Brother, T., 1630, Jan. 10, for John! 1630. Waterson. 4. The Just Italian, T. C, 1630. 7. The Temp)le of Love, 1634. I. The Platonic Lovers, T. C, 1636. '5. The Wits, C, 1636. 1636, Feb. 19. 10. Prince d' Amour, mdiQ\, 1635. I I. Britannia triumphans, mask, 1637. 15. Salmacida Spolia, mask, 1639. 12. The Unfortunate Lovers, T., 1643. 6. Love and Honor, T. C, 1 649. WorJcs, 1673, containing 8. News from Plymouth, C. ; I 3. Fair Favorite, T. C. ; 14. Spanish Lovers^ T. C, &c., in Folio. William, second son of John Davenant, vintner, who owned the Crown Tavern at Oxford, was born in Feb., and 1636, Feb. 4, for Eichard Meicfhen. loo THE ENGLISH DKAMA. christened 3rd Mar. 1606; was educated at All Saints' School, and wrote an ode on Shakespeare's death in 161 6. In 1 62 I John Davenant was elected Mayor of Oxford, and died in the same year/ a fortnight after his wife. That same year William had been entered at Lincoln College. John's will was proved 21st Oct. 1622. He left three daughters and four sons. William, being 1 6, was to be apprenticed to a merchant in London. He did go to London in 1622, but became not an apprentice, but first page to Frances Duchess of Kichmond. Somewhere about 1626 he left her service for that of Fulk Greville, Lord Brook, who died 30th Sept. 162S. Davenant had then begun to write plays. Between 1630 and 1633 he had a long illness, which interrupted his play-writing (see Prologue to The Wits). In 1637 Jonson died, on 6th August. May and Davenant sought the Laureateship ; Davenant got the patent i 3 th Dec. 1638. He had written a tract against Socinianism in 1637, but his first laureate production was Madagascar, and other poems, S. E. 13th Mar. 1638, for T. Walkley, by W. Dave- nant, " her Majesty's servant." Madagascar was addressed to Prince Eupert. Habington, in his verses commendatory, assumes that Davenant had the " laurel," thus anticipat- ing the patent by nine months. On i6th Mar." 1639 he obtained a patent to build a playhouse in Fleet Street ; and on 27th June he was made Governor of the King and Queen's players at the Cockpit (vice W. Beeston), " for the remainder of Mrs. Beeston's lease," on account of their " disorder ; " but in May 1 64 1 Davenant was accused of subverting the army. He iied, was apprehended, brought to London, iniprisoned for two months; was bailed, again ^ So the biographers say ; but compare William's age and the date of proving the will. Surely it must have been in 1622. "^ Malone has 1640, but he also says " in the following year" to Dec. 1638 ( Variorum, iii. 242). DAVEXANT. loi seized, but escaped to the Queeu in France. His subse- quent career is most interesting as the principal link between the ante- and post-Eestoration drama, especially in connexion with alterations in Shakespeare's plays, but is, unfortu- nately, beyond my limits. Tlie Cockpit in 164.1 seems to have relapsed to W. Beeston. See under Brome, Richard. 1. The Tragedy of Albovine, Kiiig of the Lombards, was not acted ; it could not be personated by " copper-laced Christians." See Howard's Commendatory Verses. It was probably written in 1626, but touched up before publication in 1629. The plot is from Bandello's Histoires Tragiques, iv. 19, and the play is dedicated to the Earl of Somerset. 2. The Cruel Brother, licensed 12th Jan. 1627, was acted at Blackfriars by the King's men. It is dedicated to Lord Weston. Wither's Abuses strict and whipt is alluded to in ii. 2. Wither is the Castruccio of the play. 3. The CoZo?ie/, licensed 22nd July 1629, is evidently the same play as The Siege, T. C, of the 1673 Folio, in which the Colonel is a prominent character. Not one of Dave- nant's plays was left unpublished, and he was continually altering their names before publication. 4. The Just Italian was licensed 2nd Oct. 1629, and acted by the King's men at Blackfriars. Dedicated to the Earl of Dorset. In iv. i — " D'ye walk like Neptune in a mask, Attended on by two of tlie calm winds ? " alludes to Jonson's Fortunate Isles, Jan. 1625. Note that the character-names Mervolle and Florello are repeated from The Siege. 5. The Wits, licensed 19th Jan. 1634, acted at Black- friars by the King's men, was dedicated to Endymion Porter. In the Prologue we hear of Davenant's long sickness, 1630— 102 THE ENGLISH DRAMA, 1633. The whale in the pageant, iii. i, must have been in Hey wood's London's Mercatura, 1633, which I have not seen. The plot should be compared with Fletcher's Wit without money. There are verses commendatory by Carew. 6. Love and Honour was licensed 24th Nov. 1634. Acted by the King's men at Blackfriars. MilJmay saw it in December. This play was called at first The Courage of Love ; then The Nonpareilles, or The Matchless Maids ; finally Love and Honour. 7. The Tem2}le of Love, " by Inigo Jones, Surveyor of His Majesty's works, and William Davenant, Her Majesty's servant," was presented by the Queen and the Ladies at Whitehall, Shrove Tuesday, i 8th Feb. 1635. ^^e my His- tory of the Stage, p. 319, 320. The dates in Maidment's edition are quite wrong, and seem to be made out on the hypothesis that Shrove Tuesday always fell on the same day of the month. 8. News from Plymouth, licensed ist Aug. 1635, was acted by the King's men at the Globe, which at this time, according to the Prologue, was rather used for " shows, dancing, and buckler fights than art or wit." This play is evidently an alteration by Davenant from one by a superior author, who had laid the scene at Portsmouth, i. 2, Dave- nant did not publish it; it first appeared in the 1673 Folio. 9. The Platonic Xovcrs, licensed i6th Nov. 1635, was acted by the King's men at Blackfriars. It appears from the Prologue, spoken by an actor who had been of the com- pany "in sucks and buskins" thirty years (i.e., by Lowin), that this play was written, at the Queen's command, on tlie same sul)ject as her mask of The Temple of Love. This J'latonic nonsense came up in 1634. 10. The I'riumphs of the Prince d^ Amour was presented DAVENANT. 103 in the Middle Temple, Wednesday, 24th Feb. 1636, to the Elector Palatine by the members of the Middle Temple. Written in three days. I I. Britannia triitmphans, by Jones and Daveuaut, was presented at Whitehall by the King and his Lords, Sunday, 7th Jan. 1638. Omitted in the 1673 Folio. See my Histoi'ij of the Stage, p. 352. 12. The Unfortunate Lovers, licensed i6th April 1638, was acted by the King's men at Blackfriars. Dedicated to the Earl of Pembroke. Altered when revived after the Restoration. All Davenant's plays printed before 1639 were published by himself. 13. The Fair Favorite, licensed 17th Nov. 1638, appears only in the 1673 Folio. No company is mentioned. It may have been acted by the King's men or by Beeston's boys, of whom Davenant became manager in June 1639. 1 4. The Spanish Lovers (only in Folio 1 6y 3), undoubtedly the same play as The Distresses, licensed 30th Nov. 1639, is open to the same doubt as the preceding as to the com- pany who acted it. The stage directions in the play prove that it (and doubtless the other abridged Folio plays) was printed from a stage copy. In v. 2 — " Some tale in Dieava [Diana] de Monte Major Taught you this trick of wandring after your lover," refers to The Two Gentlemen of Verona, not to the Lovers' Progress. 15. Sahnacida Spolia was presented by the King and Queen at Whitehall on Tuesday, 2 i st Jan. 1 640. In this, as in all the masks, the week-day being given, I am enabled to correct the erroneous year dates hitherto assigned to them. The reckoning is throughout in the old way, with the year end- ing 25 th March, and not, as in Jonson, on 31st December. I04 THE ENGLISH BEAM A. Davenport, Egbert. (Plays.) 3. 1639, Mar. 28, for Humphrey Blundon. A New Trick to cheat the Devil, C, 1639. 5. King John and 3Iatilda, T., 1655, 1662. 2. The City Night Cap, or Grccle quod hahcs et habcs, T. C, 1661. 1. 1624, April 10. The History of Henry i was licensed by Herbert (Reed). It is not, however, included in Chalmers' extracts from Herbert under that date. This play was entered S. R. 1653, Sept. 9, as Henry i and Henry 2, "by William Shakespeare and Robert Davenport," and was pro- bably a prentice work of Davenport's refashioned from an older play, perhaps The Famous Wars of Henry i and the Prince of Wales, by Drayton, Dekker, and Chettle, March I 598. The MS. of this play was destroyed by Warburton's cook. 2. 1624, Oct. 14. The City Nightcap was licensed by Herbert [for the Lady Elizabeth's men] at the Cockpit, It is founded on The Curious Impertinent in Don Quixote and Boccaccio's Decameron, vii. 7. I think the passage in iii. I, " I intend to compose a pamphlet of all my wife's virtues, put them in print, and dedicate them to the Duke as ortho- doxal instructions against he marries," is a palpable allusion to Sir T. Overbury's A Wife, which had reached its eleventh impression in 1622. Yellow starch is alluded to as objec- tionable in iii. 3. The clown's rhymes and disclaimers in iv. 2 plainly show the play to have been a personal satire. In ii. 2 is a couplet adapted from Venus and Adonis ; iv. i should be compared with Pericles, iv. 2, 6. This play is included in Beeston's 1639 list. 3. A Nciv Trick to cheat the Devil was, like the preceding plays, acted at tlie Cockpit by Queen Henrietta's men ; being also included in Beeston's 1639 list. DAY. 105 4. A Fool and her maidenhead soon parted, S. E. 1663, Nov. 29, is included in the same list. 5. King John and Matilda was also acted at the Cock- pit by Queen Henrietta's men, as we learn from the title- page and from the same list. For the characters see my History of the Stooge, p. 311. This was published by A. Pennycuicke, who acted Matilda. As the Beeston list con- tains only plays acted before the plague broke out in May 1636, all these plays date between 1625 and 1636. 6. The Fatal Brothers was entered S. E. 1660, June 29, as Davenport's. 7. The Politic Queen, or Murther will out, was entered as his at the same date. Besides these plays entirely from his hand — 8. The Woman's Mistaken was entered S. E. 1653, Sept. 9, by T. Drue and E. Davenport. It was probably an early work, c. 1622, before he had learned to run alone. 9. The Bloody Banquet. See Drue. Davenport also wrote poems, &c., for which see Hazlitt's Handhook. 10. " The Pedler, a comedy by Eobert Davenport," was entered S. E. for [Eobert] Allott 1630, April 8. But this was no doubt The Conceited Pedlar, by T. Eandolph, which was in 1630 published by Allott, althougli it had been entered with Aristippus 26th Mar. 1630 for John Marriott. Day, John. (Plays.) 23. The Isle of Gulls, C, 1606 (for John Hodgets), 1633. 25. 1607, June 29, for John Wright. The Travels of the Three English Brothers, H., 1 607. 24. 1608, Mar. 28, for Eichard Moore. Who would have thought it? C, 1608. io6 THE ENGLISH DRAMA. 26. 1608, April 12, for John Helme. Humour out of Breath, C, 1608. 29.) 163 I, May 16, for (The Wonder of a Kingdom, T. C. 30.) Jolm Jackman. \T/ie Noble Spanish Soldier, T. 32, The Parliament of Bees, mask, 1641, for William Lee. 5. Lust's Dominion, T., 1657, for F[rancis] K[irkman] ; sold by R Pollard. 8. The Blind Beggar of Bcthnal Green, C, 1659, for E. Pollard and T. Dring. — . Peregrinatio Scholastica, MS. (prose tract). Day was a student at Caius College, Cambridge. 1. 1598, July 30, The Conquest of Brute ivith the first finding of the Bath was purchased by Henslow for £2. It was therefore an old play. Chettle rewrote it in two parts, Sept.-Oct. 2. 1599, J^ov. I — 14. John Cox of Collumpton, T. (with Haughton). 3. 1599, Nov. 21, 27; Dec. 5, 6. The Tragedy of Thomas Merry (with Haughton). This play was licensed as Beeeh's Tragedy Jan. 1 600. See Yarington. 4. 1600, Jan. 10. Henslow paid Day £2 in earnest of The Italian Tragedy, which may be the same as The Orjjhans' Tragedy. See Chettle and Yarington. On 4th Jan. Day had borrowed 5s. (Diary, i). 95). 5. The Spanish Moor's Tragedy of 13th Feb. 1600 (with Dekker and Haughton) is evidently the play published in 1657 as Lust's Dominion, or The Lascivious Queen. Collier pointed this out. See Haughton. 6. 1600, Mar. i, 2, 8. The Seven Wise Masters (with Chettle, Dekker, Haughton). 7. 1600 [April 26], May 10, 14. The Golden Ass, Cupid and Psyche (with Dekker, Chettle). DAY. 107 8. The Blind Beggar of Bethnal Green (with the Merry Humour of Tom Stroud, the Norfolk Yeoman) was paid for 26th May 1600 (written with Chettle). This play was published for R. Pollard ; cf. Lust's Dominion. Chettle, I tliink, wrote i. i, ii. i, 3, iii. 2, iv. 2 ; and Day i. 2, 3, ii. 2, 4, 5, iii. I, iv. I ; the denouement being, as usual, of joint composi- tion. Day spells Villiers, iii. i ; Chettle, Veleires, i. i , v. i . Sill. Clark acted Westford, iv. 3, but probably not in 1600; perhaps when performed by Prince Henry's men. In iv. i Stroud says, " Tully's Oj[)ices says that the capitol that Caesar was stabbed in was Eome." Canbee answers, " Impute the gross mistake to the fault of the author." This unques- tionably applies to Shakespeare's play, which therefore dates before May 1600. 9. 1600, June 19. "A book" was partly paid for (los.) to Day (with Chettle). Thus far the payments were for the Admiral's men at the Eose. The following were for the same company at the Fortune. The book was possibly 2. Fair Constance of Ronfie ; cf. entry June 20. 10. 1 60 1, Jan. 29, Feb. 10, Mar. 10 [April], May 5. The Second imrt of The Blind Beggar of Bethnal Chxen (with the end of Thomas Stroud), also called The Second part of Thomas Stroud (with Haughtou). They received £6 in full payment, but no " honorarium," as Mr. Bullen alleges, beyond this the usual amount. 11. 1 60 1, May 21 ; July 18, 25, 30. The Third 'part of Thomas Stroud (with Haughton). 12. 1 601, April 4, I I ; May 2, 21; Aug. 5, 11, 26; Sept. I. The Conquest of the West Indies (with Haughton, Smith). 13. 1 60 1, May 20; June 4, 6, 8. Six Yeomen of the West (with Haughton). As only £'^ was paid, this was possibly the "book" of 1600, June 19. io8 THE ENGLISH DRAMA. 14. 1 60 1, July 4, 14. Friar Rush. I think The Proud Woman of Anhvcrp was a separate play by Chettle alone. 15. 1 60 1, July 30; Sept. 3, II. The Second part of Thoinas Dough (with Haughton). The First part was pro- bably the same as The Six Yeomen of the West. Only £4 paid. But Day was hardly pressed ; he had borrowed petty sums of 2s. in July. 16. 1602, May 4, 23, 28. The Bristol Tragedy. Not The Fair Maid of Bristol, C, which belonged to the King's men. 17. 1602, Nov. 8, 17. As Merry as may he (with Haughton, Smith). " For the Court," and therefore paid £'S,, an unusually large amount. 18. 1603, Mar. I, 7, 12. The Boss [not Boast] of Bil- lingsgate (with Hathway and perhaps Smith ; his " fellow- poets " are mentioned). At the same time, 1602—3, Day was writing for Wor- cester's men at the Eose, also under Henslow. 19. 1602, Nov. 24, 25 ; Dec. 20. The Black Dog of Newgate (with Hathway, Smith, and " the other poet," pro- bably Haughton). 20. 1603, Jan. 7, 10, 16, 19. The Unfortunate General, a French history (with the same three poets). 21. 1603, Jan. 29; Feb. 3. 2. Black Dog of Newgate (with the same three poets). 1603, Feb. 21, 24, 26. "The four poets" get £2 more for " additions " to the same : £() in all ! 22. 1603, May 9. A Play " when-in Shore's wife is written " (with Chettle). We next meet with Day as a writer for the children of the Revels. 23. The Isle of Chills was acted at Blackfriars by the DAY. 109 children of the Eevels. As they are uot called " of the Queen's Eevels," this must be after the Uasticard Ho affair. It was, in fact, as we learn from the Induction, of later date than Weshvard Ho, Eastward Ho, and Northward Ho, which last was produced early in 1605. The exact date was Spring 1605. The Induction mentions "against Summer." Tills play was produced, then, at the time when the King had been brought upon the stage, and his wife had attended the public " representations in order to enjoy the laugh against her husband" (Raumer, ii. 207), and was almost certainly one of the series in which royalty was thus satirized ; for, firstly, it was published surreptitiously 5 and, secondly, Basilius and Gynetia, who in the extant version are called Duke and Duchess, had in the original version been called King and Queen. " Queen " still remains in one place, i. I, and once in iv. i ; and in v. i we find " Duchess " rhyming to " spleen " and " Duke " rhyming to " spring." The "Lacedemonians" in ii. 5, who complain of grievances " since your Majesty left the land," are, of course, the Scotch. The entertainment of the last ambassador, when Dametas loses his chain and purse in the great chamber at the Eevels, iii. i, is the mask at the marriage of Sir Philip Herbert, 1604, Dec, when the Ambassador of Venice was the only stranger bidden. " There was no small loss that night of chains and jewels," says Sir Dudley Carleton (Nichols, James, i. 471). On 28th Mar. 1605 (Nichols, i. 500) Calvert writes, "The players do not forbear to represent upon their stage the whole course of this present lime, not sparing either King, State, or Eeligion, in so great absurdity and with such liberty that any would be afraid to hear them." This is too late for Eastioard Ho, and refers, I believe, to the present play. Other allusions therein are to the executions of 29th Nov. 1603, " Shall 's no THE ENGLISH DRAMA. quarter ourselves ? " &c. (Induction), and to the peace of 1 604 : " Men and war were worn out of fashion both in a summer," iii. i. Dametas, who is acknowledged in the Induction to be a satirical character, is, I think, Daniel. In iv. 4 he makes a rhyming speech, of which the i Captain says, " Sure he had some reason to make this rhyme an a man could pick it out." 2 Captain, rather than be counted inquisitive, contents himself with the rhymes, and leaves the reason to the scanning of poets whom it more nearly con- cerns. These poets are Marston, Chapman, and Jonson, iii prison for Hashoard Ho. Daniel had written his Defense of Rhyme against Campion. That Marston is the poet specially referred to is evident from the unmistakable allusion to him as the Poetaster, and from the Induction, where i. the Critic is Jonson (who, by the bye, alludes to Eowland's Letting of Humours hlood in the Head Vein, as Jonson had in his early version of the Tlie Tale of a Tub), 2. the Bawdy writer is Chapman, and 3. the Fustian tragedian Marston (Jonson had given him his cognomen in Every Man out of his Humour). The whole story of the Eastward Ho affair is told in the two passages referred to. Moreover, Dametas acts a Comical-Historical-Tragical- Musical -Pastoral, iv. 4 (compare the Comical- Pastoral - Tragical - Musical - History of Apollo's Vicar in iii. i). Daniel published his Hymen's Triumph and Queens Arcadia as Pastoral Tragi-Comedies ; and Tlie Queens Arcadia, although it is not known to have been acted till 1605, Aug, 30, had been prepared earlier (and perhaps acted at Her- bert's marriage, 1604, Dec. 27), for it is called ''Arcadia, reformed" (Nichols, i. 553). Again, in i. 3, Dametas is applying for a patent, "if it were granted once," to take up men for the King's service. Julio does not think the Duke [King] will ever grant it; so Daniel, who had lost DAY, III his patent on account of Eastward Ho, was trying, through the Queen's influence, to get another, and did get it, though not till 1615. Once more, in iv. 2, Julio and Aminter have received only 50 crowns out of the 200 allowed for them by the Duke [King], and therefore they " acquaint the world with his coward business." Daniel, 24th Feb. 1605, had received ;^20 for two plays acted before the Court. He had, if my interpretation be right, only handed over £<) oi this sum to the players by May, when this play was acted. I have no space to dwell on the allusions to Harrington's A-jax, Middleton's Trich to catch the old one, Jonson's Fox, the " Dargison " ballad, &c., but must notice that in the Induction the time of performance is indicated as about 3.30 to 5.30 p.m., and that the custom of leaving before the end of the play is deprecated. 24. Law tricks, or Who would have thought it ? was also acted by the children of the Eevels (at Blackfriars, of course). The date is probably 1606. "Justice Slender" is men- tioned, i. I. ; and in iii. i it appears that ( ) was an indi- cation of " horns," just as V is known to be. 25. TJie travels of the three English Brothers (with W. Kowley and Wilkins) was acted by the Queen's men June 1607. See Wilkins. 26. Humour out of Breath was acted by the children of the King's Eevels. It was written in conjunction with another author. " Had it been all of one man's gettimr," says the Address to Siguier Nobody, which was written by Day. Nohocly and Somebody (Heywood's version) was pub- lished in March 1606. I think Day wrote the Anthonio, Hermia, and Lucida scenes, i. 2, iii. 2, iv. i, v. 2 (part). The date is c. 1607-8, Christmas, but the indications are very slight. The main one is the fact that it must be a Christmas, ii. i ; and the "last great frost," iii. 4, must. 112 THE ENGLISH DRAMA. for the joke' sake, have been existing or recent. There was no great frost between 1598 and that from Dec. 1607 to Feb. 1608. The King's Eevels children are only known in 1607 and 1608. There is here a large gap in Day's theatrical career (com- pare Dekker), but he seems to have had other employment. On 7 th Aug. 1 6 10 The Mad Pranks of Merry Moll [Cut- purse] of the Bankside, " with her walks in man's apparel, and to what purpose " (a prose story, not a play), was entered S. E. for H. Gosson. The next four of his plays will be more conveniently treated under Dekker, q.v. ; they are : — 27. The Life and Death of Guy Earl of Warwick, S. R. 15th Jan. 1620 (with Dekker). 28. The Bellman of Paris, a French Tragedy, licensed for the Prince's men at the Eed Bull 30th July 1623 (with Dekker). 29. Come see a Wonder [The Wonder of a Kingdom], licensed for a company of strangers at the Eed Bull i8th Sept. 1623 (with Dekker). 30. The Nolle Spanish Soldier (with Dekker ?). See The Spanish Fig. 31. The Maiden's Holiday, the MS. of which was de- stroyed by Warburton's servant, was entered S. E. 8 th April 1654 as by Marlow and Day. Compare Lust's Dominion, also attributed to Marlow. 32. The Parliament of Bees, by John Day, "sometime student of Caius College, Cambridge," was published for William Lee, 1641. This was posthumous, for Tatham, in his Fancy's Theatre, S. E. 15 th Oct. 1640, had published an elegy on Day. Day, liowever, had prepared it for the press. We may, then, place his decease as c. Sept. 1 640. This " mask " has, in Mr. BuUen's edition, been so care- DAY. 1 1 J lessly arranged, and it is so important in relation to the authorship of the Dekker plays, that I must dwell on it more than I should otherwise think needful. It is arranged in 1 2 cliaractei's. In i char. Prorex the speakers are : a. Prorex, I). CEconomicus, c. Aulicus, d. Martio, c. Dicastes, /. Villicus. In an earlier version, Lansdown MS. 725, which I will distinguish as containing 1 2 colloquies, and note in paren- theses, these are (i coll., Master Bee : a. Master Bee, h. Steward, c. Controller, cl. General, e. Attorney, /. Bailiff), In 2 char., Eleemosynus, the speakers are : a. Eleemosynus, h.c. Cordate (2 coll., The Hospitable Bee : a. Russet Bee, h. Cordate, c. Fidetto) ; 2a is the same character as if. In The Wonder of a Kingdom, from which this character is taken, the speakers are : 2a. Gentili, 2h. Philippe, 2e. Martinelli. In 3 char., Thraso or Polypragmus, we have : a. Pelypragmus, h. Servant (3 coll., The Plush Bee : a. Plush Bee, h. Servant). In The Wonder of a Kingdom these are : 3a. Torrenti, 3&. Gallant. In 4 cliar., a. is Don Cockadillio (in Mr. Bullen's reprint " Donne. Cockadillio "), h. Armiger, c. Prorex (4 coll. : a. Chamber Bee, h. Field Bee, c. Master Bee. These speakers appear in The Nohle Spanish Soldier, from which this charac- ter is taken, as : 4a. Cockadillio, ^h. Baltazar. In 5 char., Poetaster: a. Gnatho, h. lUtriste, c. Poetaster (5 coll., TJie Poetical Bee : a. Servant, h. Stuprata, c. Poetaster). In The Noble Soldier: ^a. Corn ego, 5&. Noelia, 5 c. Poet. In 6 char., Rivalis : a. Arethusa, b. Ulania (7 coll., a. Stuprata disguised, b. Rivalis). In 7 char.. Parsimonious : a. Parsi- monious, b. Acolastes (6 coll.. The Thrifty Bee : a. Thrifty Bee, b. Prodigal). In The Noble Soldier : ya. Nicoletti, yb. Torrenti. In 8 char., Inamaratho : a. Chariolus (Inania- rathe or Meletus), b. Arethusa (10 coll., a. Relictus, b. Stu- prata, as in 6 char.). In 9 char., Pharmacopolis : a. Senilis, b. Steward, c. Pharmacopolis (9 coll., The Quacksalving Bee : VOL. I. H 114 THE ENGLISH DRAMA. a. Law Bee, h. Steward, c. Quacksalving Bee). lu The Wonder of a Kingdom, ga. is Gentili, gl. Servant, gc. Apo- thecary. In I o char., Fenerator : a. Dicastes, h. Servitor, c. Fenerator, d. Impotens (8 coll., The Usuring Bee : a. Eusset Bee, h. Servitor, c. Hornet, d. Lame Bee). In The Wonder of a Kingdom : i oa. Gentili, i oh. Steward, i oc. Broker, locl. Lame Soldier, ii char, {coll.), Ohcron in Progress : a. Oberon, &. Agricola, c. Pastoralis, d, Flora, c. Vintager. 12 char, (coll.): a. Oberon, h. Fairies, c. Master Bee or Prorex, d. Vespa, e. Hornet, /. Humble Bee, g. Fucus or Drone. The personages in i char, are evidently repro- duced later on ; Martio in Armiger, Q^^conomicus in Senilis, Aulicus in Parsimonious, Dicastes in the Eusset Bee, Villicus in Eleemosynus, the Hornet in Fcenerator. That this mask dates in 1 640, and not in 1 607 (although ]\Ir. E. W. Gosse " remembers reading The Bees in a quarto of early date, which he found, after a personal search, in the King's Library in the British Museum," where no earlier copy than that of 1641 ever was or could have been, is clear from the dedication to William Austin in the Lans- down MS., which refers to a previous dedication to him, viz., that of the Pcregrinatio, in which Day mentions Austin's " serious endeavours," that is, his Meditations and Ha'c Homo, published in 1635 and 1637. Day's dedication to him was probably written c. 1639, and not being accepted, was trans- ferred to ]\Ir. George Butler when The Bees was published. Moreover, in char. 4 there are allusions to Tlie Whore " new vampt" (Sept. 1639), and Taylor's Praise of the Needle ( 1 640). The mask was founded on two plays (for which see under Dekker), with the addition of the framework in I , II, 12 char., and an enlargement of the character of Stu- prata in 6, 8 cliar., which was afterwards separated with a new name, Arcthusa. This constitutes a distinct claim DEKKER. 115 by Day to part authorship in these plays. Much of The Bees is evidently topical and political, and would repay research for the allusions contained in it. I have small doubt that the Fceneralor, or Usitring Broker, is sketched from Henslow as a model. The Peregrinatio Scholastica, or Learning's Pilgrimage, was evidently written just before The Bees, which alludes to it in the " Truth and Time " bit near the end. It contains an allegorical account of Day's early career, but is not definite enough to enable me to say more than that Day, who had been devoted to play-writing under Elizabeth and James, found a more conrreuial and hioher calliny in Charles' time. Did he " marry Latria," i.e., take orders ? Dekker, Thomas. (Plays and Entertainments.) Plays. 26. ? Tlie Shoemaker's Holiday, 1600 printed and sold by Valentine Sims, 1610, 1618, 1631, 1657. 32. 1600, Feb. 20, for AVilliam Aspley. Old Fortunatus in his neiu livery, C, 1600. 31. 1600, Mar. 28, for Cuthbert Burby. Patient Grisell, C, 1603. 40. 1 600, Aug. I I , for Thomas Pavier. Captain Thomas Stukely, H., 1605. 41. 1 60 1, Nov. 1 1, for John Barnes. The Untrussing of tlte Humorous Poets, 1602. 56. 1604, ^ov. 9, for Thomas Man, junr. The humours of the Patient Man, the Longing Wife, and the Honest Whore, C, 1604, 1605, 1615, 1616, 1635. 59. 1607, April 20, for N. Butter and J. Trundell. The Whore of Babylon, H., 1607. 55. 1607, Aug. 6, for George Elde. Northward Ho, C, 1607. ii6 THE ENGLISH DRAMA. 54. Westward Ho, C, 1607, sold by J. Hodgets. 51, 52. Sir Thomas Wyatt, H., 1607, by E. A[llde], for T. Archer, 161 2. 58. The Roaring Girl, C, 161 i, for Thomas Archer. 60. If it he not good, &c., 161 2, by J. Trundell for E. Mar chant. 62. 1 62 1, Dec. 7, for Thomas Jones. The Virgin Martyr, T., 1622, 1651, 1661. 57. 1630, June 29, for Nathaniel Butter. 2. Honest llliore, C, 1630; but also entered 1608, April 29, for T. Man, junr., as 2. Converted Courtesan, or 2. Honest Whore. 61. 1630, Nov. 8, for Henry Seile. Match me in London, T. C, 163 i. Gy. 163 1, May 16, for John Jaclcman. The Wonder of a Kingdom, C, 163 6. 42. 163 1, May 16, for John Jackman. The Nolle Spanish Soldier, 1634. 62). The Sun's Darling. A moral mask, 1656. By J. Bell for A. Pennycuicke. 65. The Witch of Edmonton, T. C, 1658. By J. Cottrell for E. Blackmore. Entertainments. Dekker's Device, 1603. See 53. 53. 1604, April 2, for Thomas Man, junr. The Mag- nifcent Entertainment on James' Passage through London, 1604 (three editions, one printed at Edinburgh). Pageants. 63. 161 2, Oct. 21, for Nicholas Okes. Troia Nova Tmtmjjhans, 161 2. "To be printed when it is further authorized." DEKKER. 1 1 7 72. Britannia's Honor, by ISTicholas Okes and John Norton, 1628. 7T). London's Tempe, n.d. [1629]. Non-Dkamatic Woeks. 1598, Jan. 5, for Thomas Purfoot, senr., and Thomas Purfoot, junr. The destructio7i of Jerusalem ly Titus, son of Vespasian : in English metre. Published for Henry Tomes as Canaan's Calamity, Jerusalems Misery, and England's Mirror, 1598, 1604, 161 7, 161 8, 1625. Dedi- cated to Eichard Kiugsmill, Esq. The Wondcrfid Year, 1603, by T. Creede. Dedicated to M. Cuthbert Thoresby, Water-bailiff. On the plague in London, with addition of tales. The Bachclo7''s Banqiict, 1603, by T. C[reede] ; sold by T. Pavier; 1604; 1630; 1660. On the humours of Women. 1603, Oct. 29, for J. Pioberts. Verses prefixed to The Fasting of a Maiden of Confolcns, 1604. 1605, Dec. 9, for J. Trundel and E. Edgar. The Duello. A Papist in arms . . . encountred ly the Protestant. . . . Published 1606 by T. C[reede]. Sold by J. Hodgets with " The douhle P. P." instead of The Duello as title. 1606, Jan. 15, for N. Butter. The Return of the Knight of the Post from Hell ivith the Devil's answer to Piers Penniless' supplieation. " Provided that he get further authority for it before it be printed." This was not got, and the book was apparently re-entered ; — 1606, Jan. 25, for AV. Ferbraud. The Devil's let loose. Both entries were cancelled, Feb. 1 7, by order of the Court, but Neivs from Hell brought hy the Devil's Carrier (which I ii8 THE ENGLISH DRAMA. take to be a third title to the same book) was printed by E. B. for W. Ferbraud 1606, and reprinted with a fourth title as A KiiigMs conjuring, by T. C[reede] for N". Barley, 1607. 1606, Oct. 6, for N". Butter. The. 7 Deadly Sins of London, &c,, 1606, n.d. 1607, Oct. 6, for N. Butter. Jests of Code Watt to make you merry, &c., 1607. Written by T. D[ekker] and G. Wilkins. 1607, Nov. 3, for J. Trundel. The Dead Term. 1608, for J. HodG;etts. A dialocrue between London and West- minster. 1608, Mar. 14, for IST. Butter. The Bellman of London, &c., 1608 (thrice). Founded on The Groundworh of Coney- catching, 1592, by J. Danter for W. Barley; whicli I believe to have been written by Dekker. It is largely taken from Harman's Caveat for Cursitors, 1567. 1608, July 7, for Laurence Lyle. The Raven's Almanac, Foretelling of a Plague, Famine, and Civil War in 1609, "this present year" 1609, by E. A[llde] for T. Archer. 1608, Oct. 25, for John Busliby. Lanthorn and Candle- lights, or the second part of TJie Bellman. 1609, " Tlie Bell- man's second Night wcdk " (twice) ; 1 6 1 2, with additions called " per se ; " 1 6 1 6, Villanies discovered, &c ; " 1620; 1632, '^ Fnglish Villanies six several times pressed to death, &c. ; " 1638," seven times pressed ; " 1 640, " seven times;" 1648, "eight times." In the dedication printed in 1638 Dekker mentions his "threescore years." I have no doubt that this dedication belongs to the 1632 edition, when the title was last changed. But I have not met with this edition. This would date Dekker's birth c. 1567-72. DEKKER. 119 An answer to this book, 3 fart in Markall his defence^ was entered S. E. 161 o, Mar. 3 i . Work for Arjnourers, &c., 1609, for N. Butter. Four birds of NoaKs Ark : The Dove, The Eagle, The Pelican, The Phoenix, 1609, for N. Butter. The Gidl's Hornhook, 1609, for E. S. 1 6 1 I , Oct. 4, verses prefixed to Taylor's Sculler. The next four were written in prison, 161 3-19. 1613, Jan. 21, for Joseph Hunt. A strange Horse race (with the Catchpoll's mask, the Bankrout's Banquet, and the Devil's will, 161 3). Dedicated to T. Walthal, Esq. 1 6 1 5, jSTov. 29, for John Trundle. The Artillery Garden, a poem, 1616. 161 8, Jan. 22, for Laurence Lisle. Dick Diver-Deepes, or The Owl's Almanac, 161 8 (twice), with the second title only. 1 6 1 9, Oct. I I (inserted after July 8), for Nicholas Okes. Dekkcr, his Dream, 1620. In the Dedication to Endymion Porter lie speaks of having been in prison 7 years. A Rod for Runaivays, for J. Trundle, 1625 [c. June-Dec], on the players and others leaving London in the plague- time. Query plagiarized from The Whipping of Runaways, by Henry Petowe 1603 ; S. E. 1603, Nov. [Dec] 26. Wars, Wars, JFar.^, for J. G., 1628. Dedicated to Sir Hugh Hammersley, Lord Mayor. 1630, for Edward Blackmore. Penny loise, Pound foolish, by Thomas Decker. 1632, Mar. 24. Verses prefixed to Brome's Northern Lass. This is the latest certain note of Dekker's being alive. A spurious edition of English Villanies was issued in 1637. Dekker must have been then dead. Thomas Dekker was born probably c. i 567 ; wrote plays I20 THE ENGLISH DRAMA. for the Admiral's company 1588— 1604; was imprisoned in the Counter, and released by the advance of £2 by Henslow 1598, Eeb. 4 ; was arrested by the Chamberlain's men, and discharged on Henslow's advancing ^3, los., i 599, Jan. 30, to be repaid on Feb. 28. He' and Chettle, April 7, 16, wrote then Troilus and Cressida, which, I think, con- tained satire on the Chamberlain's men. The title was changed to Agamemnon, and it was licensed June 3 [for publication]. He borrowed ;^i of Henslow, 1599, Aug. i. During the 1603 plague he wrote pamphlets and prepared his Entertainment. In 1604, Nov., he left the Prince's men for the Queen's. From 1605, Dec. 5, to 1609 he wrote pamphlets. In 16 10, after the plague, he again wrote plays for the Queen's men, and in 1 6 1 2 the Mayor's pageant. From 1 6 1 3 to 1 6 1 9 he wrote pamphlets in prison in the King's Bench ; and while there addressed Alleyn in verse " in praise of charity," a eulogium of " God's gift" at Dulwich (Collier's Alleyn, p. 1 3 i). On his release he renewed his play-writing in 1620-24 for the Eevels, Prince Charles', Lady Elizabeth's, a strange company, and the Palsgrave's — in fact, for any one that would employ him. In 1625, 1628, 1630 more pamphlets, varied by Mayors' pageants in 1627, 1628, 1629, during which time he was City poet. At last came the final resource, the publication of old plays not entirely his in 163 i ; and before these could be issued he died, almost certainly in 1632. The saddest story in all this book. A Thomas Dekker, supposed to be the poet's father, M'as buried in St. Saviour's, Southwark, 1594; and his widow lived in Maid Lane, Southwark, 1596. At St. Giles, Cripplegate, Dorcas, daughter of Thomas Dycker, gent., was christened 1594, Oct. 27; Anne, daughter of Thomas Decker, yeoman, christened 1602, Oct. 14; Elizabeth, DEKKEE. 121 daughter of Thomas Dekker, buried 1598; aud at St. Botolph's, Bishopsgate, a son of Thomas Dekker was buried 1598, April 19. The name was too common for us to set much value on these extracts. It is doubtful still \Yhether Dekker married or no. For his portrait see the rough woodcut prefixed to Belcher, his Dream. Old Plays Eevived for the Admieal's Men, i 594-1 596, AT THE EOSE. WeITTEN BEFORE I 592. Among the old plays of i 588— i 592 revived by this com- pany, the following were, in my opinion, probably written by Dekker wholly or in part : — 1. Philip-po and Hypolito, revived 1594, July 9. See Massinger. 2. Boetor Faustus, revived 1594, Sept. 30. See Marlow. 3. TJie French Boetor, reviyed 1594, Oct. i8. Probably the same as Dekker's Jeiu of Venice, entered S. E. 1653, Sept. 9. In the German version of The Bighteous Judgment of a Girl Graduate, or The Jew of Venice, certainly, I think, a rough traduction of Dekker's play, the Prince disguises himself as a celebrated French Doctor. The Jew is called Joseph or Barabbas as in Marlow's Jeiv of Malta ; and the plot is, for the Shylock part only, that of Shakespeare's Merchant of Venice, also called The Jew of Venice. The objection that Silvayn's Orator was not published till 1596 is refuted by the S. E. entry of 1590 (see Monday); the supposed allusion to the battle of 1605 may refer to the " victories by Gilan and Azerbijan over the Turks " in i 590 (Engl. Cyc, Ahhas the Great) ; and as to the filth of this play making its ascription to Dekker disrespectful to his memory (see Furness, Merchant of Venice, p. 331),! would suggest that a reading of TJie Virgin Martyr will dispose of this objection. 122 THE ENGLISH DRAMA. 4. Dioclesian, revived 1594, Nov. 16. See Massinger, Virgin Martyr, and 62 below, 5. Antonio and Valea, revived 1595, Juue 20. See Massinger. 6. The first part of Fortunatus, revived 1596, Feb. 3. See below. Four of these appear in the German plays derived from the English, as Doctor Faiisf, Fortunatus, The Jew of Venice, and The Martyr Dorothea. See my Life of Shakespeare, p. 308. For The Set at Maw, i 594, Dec. 14, and The Mack, 1595, Feb. 21 (both new plays), see further on, 61, ^j. New Plays foe the Admiral's Men at the Eose, I 598-1600. 1598, Jan. 8. Dekker sold them "a book," i.e., an old play, for 20s. 7. 1598, Jan. 15. Phaeton. See below, 1600, Dec; see also The Sun's Darling. 8. 1598, Alar. i. The Triplicity (or Triangle) of Ctickolds. Dekker, hitherto a sole author (except in Faustus), now appears chiefly as a coadjutor. 9. 1598, c. Mar. 20. The famous Wars of Henry i and the Prince of Wales. With Chettle and Drayton. On Mar. 1 3 Chettle and Drayton had received £2 for a play, " wherein is the part of a Welshman written," and " pro- mised to deliver it on the xx dav next following." Find- ing their work in arrear, they seem to have applied to Dekker for help. It was read at the Sun in New Fish Street, and the company spent 5s. [for liire of the room, I suppose], and 5s. in " good cheer." There was also a private DEKKER. 123 performance in Fleet Street, when the carman had 3s. "for carrying and bringing of the stuff back again, and then our stuff was lost." This play may be The Welshman s prize of Henslow's inventory. 10. 1598, Mar. 25, 30. I Godivin and Ms three sons. With Chettle, Drayton, Wilson. 11. 1598, Mar, 28; April 7. Fields of Exton. With Chettle, Drayton, Wilson. 12. 1598, April [May] 6; June 6, 10. 2 Godwin. With Chettle, Drayton, Wilson, 13- 1598, May ( ) 22. i Black Batman of the North. With Chettle, Drayton, Wilson, 14. 1598, June 31 [30]; July 9, 10. The Madman s Morris. With Drayton, Wilson, 15. 1598, July 17, 26, 27, 28. Hannilal and Hermes, or [i] Worse af eared than hurt. With Drayton, Wilson, 16. 1598, July 28; Aug. 8, 10. Piers of Winchester. With Drayton, Wilson. 17. I 598, Aug. 19, 24. Chance Medley. Either Dekker or Chettle, with Drayton, Monday, Wilson. But as Dekker nowhere else appears as writing with Monday, the insertion of his name (replaced by Chettle in the latter part of the entry) seems to be a mistake. 18. 1598, Aug. 30, [Sept.] 4. [2] Worse afearcd tJum hurt. With Drayton. 19. 1598, Sept. 29. I Civil Wars in France. AVith Drayton. 20. 1598, Oct. 16, 20. Connan Prince of Cornicall. With Drayton. 21. 1598, Nov. 3. 2 Civil Wars in France. With Drayton. 22. 1598, Nov, 18; Dec. 30. 3 Civil Wars in France. With Drayton. 124 THE ENGLISH DEAMA. 2 3- 1599; Jan- 20. The first introduction of The Civil Wars in France. 24. 1599, April 7, 16. Troilus and Cressida ; May 26, 30. Agamemnon (the same play : both titles are given in 26th May entry). With Chettle. The authors got £'S, 15s. for this play, an unusually large sura. It was licensed June 3 [for the press]. Was it published ? If so, its recovery would be of the greatest interest in connexion with Shakespeare. 2 5- 1599) ^^ay 2. Orestes fur es (furious). 26. 1599, July 15. The Gentle Craft {The Shoemaker's Holiday) was bought by Henslow for ^3. This form of entry is only used in the Diary of old plays, and by no means implies authorship on the part of the seller. Slaughter, Dutton, and others have been repeatedly promoted from actors to authors through mistaken interpretation of such entries. This play was published in 1600 anonymously (which is not the case with any play written by Dekker alone), in consequence of its having been selected for per- formance at Court 1600, Jan. i. It was not entered S. R., but was doubtless one of the two books licensed by the Master of the Eevels 1599, Dec. 19 ; Look ahout you being the other. The arrangements for the Court plays this year were made before Dec. 12. I do not believe the play to be Dekker's. I think it much more likely that it had been entrusted to him by some other writer to sell it to Henslow. He certainly would not have accepted £t) for a new play of his own at this time, nor have kept an old one longer than he could help. The Dutch in the play is remarkable, only to be paralleled by the German in Al})honsus of Germany. There are reminiscences of other plays ; e.g., " We are all mortal " and " All flesh is grass," from Tlie Merry Devil of Edmonton, and " Here sit thou down upon this flowery DEKKER. 125 hank," Sc, 2. Compare Midsummer Night's Dream, iv. i. i. The latest reference I find is to plays of 1597, and this, I believe, is the original date of this comedy. Compare the references to the French, especially at the end, which suit this date. The humour of nicknaming from names of char- acters or plays adopted by Eyre is identical with that of Tucca in The Poetaster ; and had Dekker written the present play, he would, I think, have referred to Eyre, not to Cap- tain Hannam, as its originator. The actor list published by Dramaticus for the Shak. Soc. Pa-pers, iv. 1 10, with Day, Flower, and "Wilson as actors, is doubtless a forgery. 27- 1599, July 24; Aug. 23, 25 ; Oct. 14. The Step- mothers Tragedy. With Chettle. 28. 1599, Aug. I. Bear a Brain, or Better Late than Never. Sold to Henslow for £2. Another case of an old play of doubtful authorship. Can it be that this title was discarded for Looh about you, which I have attributed to Wadeson ? See Sc. 10, where "bear a brain" still remains, though apparently altered elsewhere. 29. 1599, Aug. 10 ; Sept. 2. Page of Plymouth. With Jonson. A murder play. £^. 30. 1599, Sept. 3, 15, 16, 27. BoUrt 2, King of Scots, T. With Chettle, Jonson, and " other Gentleman " of name apparently then unknown to Henslow. Query Wadeson. 31. 1599, Oct. [16]; Dec. 19, 26, 28, 29. Patient Ghnsell. With Chettle, Haughton. The £6 entry, Dec. 26, is, I think, an inclusive one. If not, they received the unprecedented payment from Henslow of 10 guineas. The maximum elsewhere in the Diary is the £^, i 5 s. for Troilus and Crcssida. See Haughton. 32. 1599, Nov. 9, 24, 30. The whole History of Fortu- natus. £6. Nov. 31 {sic), alterations £1 ; and Dec. 12 £2 " for the end for the Court," where it was acted at 126 THE ENGLISH DRAMA. Christmas. Published as The Pleasant Comedy of Old For- tunatus. This play is important as showing the estimation in which Dekker was then held. He was paid as if for a new play ; yet Sc. i-6 are manifestly the old play acted 1596, only Sc. 7-12 forming the "new addition" men- tioned in Sc. 6. The date of writing the first part is fixed as 1590 by Sc. i, in which Fortunatus speaks "no language but An Almond for Parrat and Crack me this Nat" The allusions to Lyly and his imitators are too minute and numerous to be worked out here. "^^t- 1600, Jan. 18, 30. Truth's Supplication to Candle- light. See below, Tlie Whore of Bahylon, 59. 34. 1600, Feb. 13. The Spanish Moor s Tragedy. With Day, Haughton. See Haughton. 35. 1600, Mar. I, 2, 8. The Seven Wise Masters. With Chettle, Day, Haughton. 36. 1600 [April 27]; May 10, 14. The Gulden Ass, Cupid and Psyche. With Chettle, Day. The subject is the same as that of Heywood's Love's Mistress. 37. 1600, June 3, 14. I Fair Constance of Rome. With Drayton, Hathway, Monday. £^, 9s. The lis. (to make up the usual £6) were retained for Wilson, who aided in this play. See Variorum, xxi. 395, where xls. is a mis- print for xis. Hence we learn that absence of authors' names in Henslow is not absolute proof of absence of co-operation. Xew Plays for thh Admiral's Men at the Fortune, 1 600- 1 60 1 . 38. 1600, Sept. 6. " Forteion tenes," i.e. Fortune's Tennis ; certainly not Fortunatus : or possibly Hortcnzo's Tennis, cf. Lust's Dominion, v. 5. DEKKER. 127 7, 1600, Dec. To Decker, "for his pains in Pliaeton" 103., Dec. 14. "For altering of Phaeton for the Court," 30s., Dec. 22. This was the play written originally 159S. Presented at Court; probably 1600, Dec. 28. 39. 1 60 1, April 18; May 16, 22. King Sebastian of Portugal. With Cliettle. Founded on Monday's Don , Sebastian of Portugal, S. E. 1601, Mar. 30, translated from the French, and ballad of the same, S. 11. 1601, April 12. Plays Acted at Paul's and the Globe, 1601. 40. 1596, Dec. II. Stewtlcy. S. E. 1600, Aug. 11, The Famous History of The Life and Death of Captain Thomas Stukeley, " with his marriage to Alderman Cartels' daughter, and valiant ending of his life at the Battle of Alcazar." As it hath been acted. This play is evidently l)y three authors. Act v. I think by Peele : the Alcazar part. It was meant to contain one act in London, one in Ireland, one in Portugal, one in Eome, and one in Africa, but the Eome part has been clumsily cut out, and there are further alterations in the play as published. Sc. 5, in which the buckler-maker appears as Thump instead of Blunt, and in which Curtis does not use his characteristic " bones a dod," is an insertion ; so is Sc. 7&, an alternative scene for ya, put in for the sake of the Irish dialect ; while the varied spellings of Aphrick, Africa ; Hernandes, Her- nando, Herando; Botellio, Botella ; Danulo, Davila, show two hands concerned in the alteration. The altered play, dating probably 1600, was not made for the Admiral's men — their name would have appeared in the title — but more likely for the Paul's boys. All this is explained in Satiromastix, Sc. 4, where Horace (Jonson) says Fannius (Dekker, Crispinus', i.e. Marston's 128 THE ENGLISH DRAMA. play-dresser), " to make the Muses believe their subjects' ears were starved, and that there was a dearth of poesy, cut an innocent Moor i' th' middle to serve him in twice, and when he had done made Paul's work of it." Dekker had patched up the play with half of one by Peele on the Moor Mahomet, and then published it. Satiromastix must, then, date after Aug. i i. 41. Satiromastix, or The untrussing of the Humoroits Poet, was acted 1601, c. Sept., publicly by the Chamber- lain's servants, privately by the Paul's boys. This is Dekkers answer to Jonson's Poetaster. It is too crowded with personal allusions, some of which are still unexplained, to bear analysis here. It must be studied as a whole. Compare Jonson and Marston. Plays foe the Admiral's Men, 1602. 42. 1602, Jan. 6. The Spanish Fig. Certainly, I think, the same play as The Noble Spanish Soldier, entered S. E. 163 I for John Jackman, as by Thomas Decker, along with The Wonder of a Kingdom ; re-entered 1633 f or IST. Vavasor, and published 1634, after Dekker's death, as The Spanish Soldier^ by S[amuel] R[owley]. In it the King is poisoned with a Spanish fig. It is partly by Day; i. 2h ; ii. i, 2; iii. 2 ; iv. 1 ; v. i, 2, 4 (part). This part includes Signor No (Pioderigo in the rest of the play), Carlo, Alonzo (Alba), Cornego, and Juanna. Cf. Day, The Parliament of Bees. The characters mentioned are omitted in the Dram. Pers. list. I think the play is allegorical, the King being I'hilip 2 ; the Queen, his Italian possessions ; and Noelia, Ireland. The allusion to Butter's Corantos would indicate for Day's share a date c. 1625. I think the original play was written by Dekker and (?) S. Rowley, and that after DEKKER. 129 Dekker's death Rowley reclaimed it. There are allusions in it to Hamlet, Julius Ccesar, Look about you, &c. ; but the most important is, as I think, " of a new play ; if it ends well, All's well," v. 4. This, written in Jan. 1602, gives 1 60 1 as the date of Shakespeare's AlVs Well. Dekker certainly wrote iii. 3. 43. 1602, Jan. 12. Prologue and Epilogue to " Pone- sciones Fillet " (Pontius Pilate), i os. Probably an old play revived. 44. 1602, Jan. 16; Nov. 3; Dec. 4. For altering Tasso\^s Melanclioly], £4. An old play of 1594, Aug. 11, perhaps originally by Dekker. 45. 1602, May 5. Jephtlia. With Monday. This was rehearsed at the Tavern c. May 1 6. 46. 1602, May 22. Caesar's Fall. By Drayton, Mid- dleton, Monday, Webster, and " the rest." I think " the rest " means Dekker. See the next entrv. 47. 1602, May 29. Two " harpcs." By Drayton, Middleton, Monday, Webster, and Dekker. 48. 1602, July 19, 31. A medicine for a curst wife. But see below. Plays for Worcester's Mei^ at the PtOSK, 1602. 49. 1602, Aug. 17, Sept. 7. Additions to [2. >S'ir JbAu] Oldcastle. Dekker was not one of the original authors. 50. 1602, Aug, 27, Sept. I, 2. A medicine for a curst 'wife. £6 in full. Sept. 27, los. "over above his price." The Admiral's men had paid £4 for this play " in earnest." Henslow has other double entries of this kind. One thing is certain, Dekker didn't get 10 guineas, if Henslow did. 51., 1602, Oct. 15, 21. I. Lady Jane. With Heywood, Smith, Webster, £^. VOL. L I I30 THE ENGLISH DRAMA. 52. 1602, Oct. 27. 2. Lady Jane. The part of these two plays contributed by Dekker and Webster was pub- lished 1607 as The Famous History of Sir Thomas Wyatt, phayed by the Queen's men, who had been Worcester's. See Webster. 52*. 1602, Xov. 2, 3, 26. Christmas comes hut once a year. With Chettk, Heywood, Webster. Entertainment, 1604. 53. 1604, Mar. 15. W. C. Hazlitt, in his Dictionary, mentions as a separate work Dekker's Device (projected but not published), that should have served at His Majesty's first access to London, 1603; but this seems to be the same as The Magnificent Entertainment " given to King James, Queen Anne, his wife, and Henry Frederick, the Prince, upon the day of his Majesty's Triumphant Passage (from the Tower) " througii his Honorable City (and cham- ber) of London, being the 15th of March 1603; the second title of which is A Device, "projected down, but till now not published, that should have served at his Majesty's first access to the City." As this was not entered S. E. till 1604, April 2, it is hard to believe copies were printed in 1603. Hazlitt does not say where such copies are to be found. There were seven pageants, the first and last by Jonson, q.v.y the second and third by the Italians and Dutch, the three others by Dekker. I\Iiddleton wrote a speech in the sixth. Jonson's first pageant replaced one of Dekker's. Tiie speakers in Jonson's part were AUeyn, of the Prince's company (Thamesis), and a Queen's llevels boy (Genius) ; in Dekker's and Middleton's, Paul's boys under Mulcaster. Jonson was the first to publish his part of The Entertainment by itself, S. R., Mar. 19. Evidently he and Dekker dis- DEKKER. 131 agreed on this matter. Dekker refers to Jonson's " weapons, borrowed of all the old Masters of Poesy," &c. Stephen Harrison invented the architecture. Plays Acted by the Paul's Boys, 1604-5. 54. 1604, Nov. Westward Ho. 55. 1605, c. Feb. Northivard Ho. These two plays were written in conjunction with Webster, q.v. Dekker's connexion with the Paul's boys, which began in 1601 with Satiromastix, ends here. Plays Acted by the Prince's Men (formerly THE Admiral's), 1604-5. 56. 1604, c. April. The Honest Whore, "with the Humours of the Patient Man and the Longing Wife," w^is written by Dekker and Middleton (Henslow, Diary, p. 232) as The Patient Man and the Honest Whore. The siege of Ostend is alluded to in iv. i ; Leap-year, when " knaves wear smocks," iv. 2, Contrary to the general opinion, I believe that Middleton wrote much of this play, viz., Sc. 2, 4-12; Dekker's share being Sc. i, 3, i 3-1 5. It is the last of the Shrew or wife-taming series, which included Patient Grisell, A medicine for a curst loife. The Woman Killed vAth Kindness, and The Taming of the Shrew. " Aloof oft'," Sc. 6, " siibaudi," Sc. 9, &c., are Middletonian phrases. In Sc. i 5 Towne, one of the Prince's men, appears as an actor. In Sc. I there is a parody on Richard 3, " Set down the body," &c., and a much more important allusion to Othello: — " Tliou kill'.-t her now again, And art more savage than a harbarous Moor." Tlte Comedy of Errors is mentioned Sc. 1 2, and many 132 THE ENGLISH DEAMA. other plays are alluded to. In the 1635 edition this play is mentioned as acted by Queen Henrietta's players. 5 7. 1 604. Soon after the first part. The Second part of the Honest Whore, &c. (with " the Comical Passages of an Italian Bridewell "). In Sc. 1 4, the " 1 600 soldiers " who went aboard scarce a year since must, I think, be the 800 "vagabonds" seized in two nights in 1603, April, and sent aboard the Dutch fleet by Cecil (Pictorial History of England, iii. 3) ; and the purging of the suburb houses, Sc. 10, is surely contemporaneous with Measure for Measure. There are allusions to Othello, As You Lihc it, Satlromastix, &c., but to nothing of later date than 1604. '-The "fire- works on lines," Sc. 4, occur continually in Dekker. This play was entered 1608, April 29, but not printed till 1630, when it was again entered. 58. c. 1604, Dec. Tlie Boaring Girl, or Moll Cutpurse (with Middleton), "lately acted on the Fortune stage," 161 I. Middleton wrote, I think, ii. 2, iv. i, v. 2. In iv. 2 the "fireworks on lines" again appear. The original writing of this play must be after Westward Ho, 1 604, Nov., and before St. Dunstan's Day, iQtli May 1605 (see iv. i); but it was probably not acted till 1610, when it was produced by Middleton, not by Dekker. It had been " expected long," as the Prologue (by Middleton) says. Day's prose account of Moll Cutpurse was entered S. E. I 6 10, Aug. 7 (cf. S. Pt. 1 61 2, Feb. 18, for another narra- tion). In the Epilogue an appearance of Moll in another play a few days hence is promised. The only other play known to me in which she appears is Amends for Ladies, but this is of later date, and was not acted at the Fortune. In V. I the Swan is mentioned as open; query in 161 i, after August. 59. 1605. The Whore of Bahjlon. In Sc. 2 The Isle DEKKER. 133 of Gulls is alluded to, and that play was produced 1605, after Northward Ho. Dekker had left the company. He says Lectori, " How true Fortune's dial hath gone, whose players, like so many clocks, have struck my lines and told the world, how I have spent my hours, I am not certain, because my ears stood not within the reach of their alarums," But the play as extant was altered from an earlier version produced in Elizabeth's reign. In Sc. 10 a passage begin- ning how " a jury of bright stars " found the Moon that borrowed light from Elizabeth, i.e., Mary of Scotland, " un- worthy to shine again," goes on in allusion to Essex quite beyond the scope of the original play. All the " he's " in this passage have been changed from " she's," but clumsily, and not by Dekker, who wrote the Address without seeing the proof-sheets. Again, Sc. 5, "For let me whisper — it may not be," is a manifest interpolation. I think the original, which should occur in Henslow's Diary, was ^^. Truth's supplication to Candlelight, 1600, Jan. But the title was soon altered, for among the play-title epithets applied by Tucca to Miniver in Satirornastix, "Whore of Babylon" is one. Note the "fireworks on lines," Sc. 5. During 1606-9 Dekker was writing prose pamphlets. When the theatres reopened, after the long plague, in 1 609, Dec, and the QUEEN'S MEN removed to the Bull, Dekker wrote for them : 60. 1 610, c. Christmas. If this he not a good plag the Devil is in it. So the running title. The title-page has If it he not good the Devil is in it. " A new play lately acted " by the Queen's men at the Eed Bull. They ac- cepted it when the Prince's men had rejected it at the Fortune, having already a play on Friar Bush (see Day). The date of writing was 16 10, when Aug. 14 fell on a Tuesday, Sc. 8. In the Address Dekker refers to his 134 THE ENGLISH DRAMA. "worthy friend's " next new play, which was, beyond doubt, The Devils Law Case, by Webster, 1610. Webster M-as the only coadjutor of Dekker in writing for Queen's men (see Sir T. Wyatt), and had before this written his White Devil for them. All the time-allusions confirm this date. The plague of 1609 is alluded to in Sc. i ; the painted giant of the Turners' show in Sc. 3 ; Armin's Nest of Ninnies, 1608, in Sc. 3 ; Bermudas, "the isle of hogs and devils," in Sc. 14 (compare Shakespeare's Tempest, 16 10); Moll Cut- purse, " late sore tormented," i.e., on the Fortune stage, 1 6 1 o, in Sc. 16 (see supra. The Roaring Girl); the revival of Hey wood's Golden Age, 1 6 1 o, in Sc. 2 ; and Eavaillac, who stabbed Henri 4 on 14th May 16 10, in Sc. 16. Xote the fireworks in Sc. 3, the Dekkerian lame soldier in Sc. 2, and the origin in Sc. i o of Jonson's title. The Devil is an Ass. In the Induction and Sc. 10, "Fortune favours nobody but Garlick " alludes to an actor of that name who appeared on the stage with chains of garlick hung round him, men- tioned also in the The Hog hath lost his pearl, Amends for Ladies, and The World's Folly (a tract by J. H., 161 5). This is, of course, one of the passages inserted when the play was altered with a new Frontispiece for the Queen's men. The name Grumshall or Grumball was at ilie same time substituted for Lurchall in the "Frontis- piece." The retention of Lurchall in the main play shows that the alteration was hurried. Compare Armin's Nest of Ninnies. 61. c. 1 6 1 I . Match me in London. This play was iicted at the Bull by Queen Anne's men, and afterwards at the riioenix by the Lady Elizabeth's men, 1623, Aug. 21 (Herbert), and again ("lately," in 1630) by Queen Henrietta's, This shows the way in which Dekker's plays passed into the hands of Queen Henrietta's men, and justifies the sup- DEKKER. 135 position tliat The Honest Whore, in like manner, was revived by Queen Anne's men at the Bull. The allusions to The Roaring Girl, i. 2, and the 1609 expedition to Virginia, ii. I, make likely the date here given. But, like all Dekker's plays for Queen Anne's men, this play is no new one, being pretty clearly an alteration of The Set at Maw, 1594, Dec. 14, an ohl Admiral's play. In ii. i, "Play out our set at maw; " in iii. 2, "I called that sound card to me ; " in iii. 3 — " Since we must needs be sharers [partners] use me kindly, And play not the right citizen to undo Your ]iartner, who i' th' stock lias more than you ;" in iv. I, "I did but shuffle the first dealing: you cut last and dealt last ; by the same token you turned up a Court card." All these allude to the Maw game, which is nearly the same as the modern Spoil Five. 62. c. 161 1. The Virgi7i Martyr was probably acted by the Queen's men about this time. The Eevels men had it in 1 62 1 as reformed by Massinger, and must have in- herited it from the Queen's men, I think, as there is no trace of Dekker's writing for the Eevels men elsewhere, nor indeed of his writing any plays between 1 6 1 i and 1622. This also was probably an Admiral's play re- fashioned, viz., the Diocletian of 1594, Nov. 16, which was then an old play. On the Bevels version see Massinger. 6t,. 161 2. Troia Nova Triumphans ; London Trinmiph- ing : the 161 2 pageant for Sir John Swinerton's Mayoralty. A ship laden with wine was a principal part of this Show, and I fancy this Ship was that afterwards exhibited on the Fortune stage, which has so troubled the stage historians, who insist on its being the name of a play. i-,6 THE ENGLISH DKAMA. J 64. Tlie life and death of Guy of Warivich, T. H., was entered S. E. for J. Trundle, 1620, Jan. 19, as by John Day and Thomas Dekker. Gay Earl of WarwicJc, by B[en] J[onson], was printed 1661 ; but I have not met with it. Taylor, the Water poet, in his Penniless Pilgri- mage, 1 618, speaks of this play as acted by Derby's men. Plays, 1622-4. 65. 1622, The Witch of Edmonton. With Ford and Eowley. See Ford. Acted by the Princess Elizabeth's men. 66. 1 62 3, July 30. The Bellman of Paris. With Day. Acted by Prince Charles's men at the Bull. 6"/. 1623, Sept. 18. Come see a Wonder, by John Day, was licensed for a company of strangers at the Bull. See my History of the Stage, p. 302. This was almost certainly The Wonder of a Kingdom, in which Day wrote the Gentili and Torrenti parts, i. 4, iii. i, iv. 2, afterwards reclaimed by him in The Parliament of Bees. Gentili's "gift to charity" is certainly Alleyn's "God's gift" at Dulwich: compare the title-page, Quod non dant proceres dahit Histrio. Alteration of a preceding version is shown by the omission of Montinelli, Buzzardo, Steward, Brother, Gallant, Apothe- cary, Soldier, Broker, Goldsmith (all Day's characters), in the Dram. Pers. Mutio, Philippe, and Tornelli are also from his hand. In i. i, "We shall your will — we'll hence," and in v. 2, " Xo more — nobly spoke," are insertions by Day. The original Dekker play was a " Card play " (see the last nine lines), probably The Hack, an Admiral's play of 1595, Feb. 21, which, like the others noticed above, may have been revived at the Bull. Compare Match me in London. DENH AM— DRAYTON. 137 - Witli Ford, See Ford. 68. 1624, Mar. 3. The Sun's Darling. 69. 1624, Oct. 22. The, Fair]) Knight. 70. 1624, Oct. 24. The Bris- toiv Merchant. Pageants, 1627-9. 71. 1627, Dekker wrote the pageant for the Mayoralty of H. Hamerton. Not extant. 72. 1628, Britannia's Honor, for E. Deane's Mayoralty (Skinner's company). The " works " by Gerard Christmas and his son John. yT). 1629, London's Tempe, or The Field of Happiness (Le Beau Champ, Camp-Bel), for J. Campbell's Mayoralty (Ironmongers' Company). The works by Gerard Christmas. Plays Entered S. Pt. for H, Moseley. 74. Gustavus King of Sivedland, entered 1660, June 29. 75. The tale of Jocundo and Astolpho, 1660, June 29. The MSS. of both these were destroyed by Warburton's servant. y6. The Jew of Veniee, 1653, Sept. 9. Denham, Sir John. (Play.) I. The Sophy. Pol. 1642, 1671. This play was acted in 1 64 1 at Blackfriars by the King's men. It is founded on a story in Herbert's Travels. Of Denham as a poet this is not the place to speak. Drayton, Michael. (Playwright and I'oet.) 20. 1600, Au^. II, for T. Pavier. i. Sir John Old- castle, Lord Cohham, H., 1 600, " by William Shakespeare ; " 1600, with no name of author. 138 THE ENGLISH DRAMA. The following have been more or less ccnjecturally as- cribed to him by me : — 24. 1602, Aug. I I, for W. Cotton. The life and death of the Lord Cromwell, C. H., 1602, "by W. S." for W. Jones; 161 3, by T. Snodhain. 28. The London Frodigal, C, 1605, by T. C[reede] for N". Butter ; " by William Shakespeare." 2. 1607, Oct. 22, for A. Johnson. The Merry Devil of Edmonton, C, 1608, by H. Ballard for A. Johnson; 161 7, 1626, 1655. 29. 1608, May 2, for T. Pavyer. A Yorhshire Tragedy, 1 608, by R. B[onyon], for T. Pavier ; " by W. Shakespeare," 1 6 1 9. But this play is by Shakespeare : q.v. I. Sir Thomas More, Harleian MS. 7368. Poems. I 591, Feb. I, for R. Jones. Tlie Triumphs [^Harmony'] of the Church, 1591, "by M. D.," dedicated to Lady Jane Devereux of Merivale ; 1 6 1 o. 1593, April 23, for T. Woodcock. Tdea [Anne Goody ere], The Shepherd's Garland fashioned in nine eclogues, Roioland's sacrifce to the nine Muses, 1593. 1593, Dec. 3, for N. Ling and J. Busbie. Piers Gaveston, Earl of Cornwall, n.d. 1594, ]\fay 30, for K Ling. Ldea's Mirror, Amours in Quatorzains [Sonnets], 1594. Dedicated to Antony Cook. Matilda, the true glory of the nohle house of Sussex, i 594, by James Roberts for N. L[ing] and J. Busbie. Dedicated to Lucy Harrington. Commendatory verses by H. G[oodyere], W. G., [Sir] R[ichard] L[ong], and Anonymos. 1594, by V. Sinimes for N. L. and J. Busbie. DRAYTON. 139 1595, April 13, for J. Busbie. Endymion and Phcebe, Ideas Zatmus, n.d. ; same motto, " Fhcehus erit, &c.," as V. Simiues' edition of Matilda. Dedicated to Lucy Countess of Bedford. Sonnet in Moiiey's First Book of Ballet ts, 1595. 1596, April 15, for M. Lownes. Mortimeriados, 1596. Dedicated to the Countess of Bedford : n.d., " for H. Lownes." 1596, Xov. 21, for N, Ling. The tragical legend of Robert Duke of Normandy, i 596, with Matilda and Gaveston " augmented." Verses by H. G[oodyere], E. L., and Miro- cinius [Query Myro-cycnus]. Dedicated to the Countess of Bedford. I 597) Oct. I 2, for IST. Ling. England's Heroical Epistles, I 597. Dedicated to the Countess and the Earl of Bedford. 15985 1599? 1600 (with Idea), 1602. [Written before 1593-] Verses in England's Helieon, 1 600 ; and in Christopher Middleton's legend of Diike Humjihry, 1 600. 1602, Oct. 8. 3Iortimeriados, assigned from H. and M. Lownes to N". Ling ; rewritten and published as The Barons' Wars, 1603 (with Heroical Epistles and Idea, i.e., the Sonnets, 1602). Dedicated to Sir. W. Aston. Gratidatory poem to King James, 1603, by J. Pioberts for T. M. and H. L[ownes]. See Nichols, i. xxxix. 1604, Feb. 8, for E. White and N. Ling. The Owl, 1604. Dedicated to Sir W. Aston. 1604, Mar., for J. Flaskett. A Pcean triumphale to King James, for the Goldsmiths' Society, 1604. 1604, June, for T. Man and T. Man, junior. Moyses in a map of his Miracles. The collected Poems of 1605 contain The Barons' IFars, Heroical Epistles, Soniiets (Idea), and the Legends, Gaveston, Matilda, and Robert, but not Die Harmony of the Church, I40 THE ENGLISH BEAM A. Shepherd's Garland, Eyidymion and Phwle. Other editions, 1608, n.d., 1 6 10, 161 3, 16 19 (enlarged), 1628, 1630 (augmented), 1637. 1606, April 19, for J. Flaskett. Poems Lyric and Pastoral, n.d., viz., Odes dedicated to Sir H. Goodyere, Eclogues {The Shepherd's Garland, altered) dedicated to Sir W. Aston, and The Man in the Moon, n.d., by E. B. for N. L[ing] and J. Flasket. 1607, Oct. 12, for J. Flasket. The Legend of the great Cromwell, 1607, 1609 (for W. Welby, greatly altered, " The History, &c., of the Lord Cromwell, sometime Earl of Essex"). This was inserted in the 16 10 Mirror of Magis- trates, F. Kingston's edition. Verses in De la Serre's Care of Silkworms, 1 609, and Da vies of Hereford's Jfoly Hood, 1609. Verses in David Murray's Sophonisha, 1 6 1 1 . 161 2, Feb. 7, for M. Lownes, J. Browne, J. Helme, J. Busby, junior. I-^olyolhioii [Songs i — 18, with Selden's notes], 1 61 3. Dedicated to Prince Henry. Verses in Tuke's Discourse against Painting and Tinctur- ing of Women, 16 16, Elegy in Fitzgeoffrey's Epigrams, &c., 1 6 1 7, by M. D. ; with others by Fr. B[eaumont] and N[athaniel] H[ookes]. Verses in Chapman's Hesiod, 1 6 1 8. Verses in Monday's Primaleon, 16 19. Verses in Manuduction, 1622, and Holland's Naumachia, 1622. 1622, Mar. 6, for J. Marriott, J. Grismond, and T. Dewe. The second part of Pulyolbion [Songs 19—30], 1622. Finished 16 19, April 14. Dedicated to Prince Charles. 1627, April 16, for W. Lee. The battle of Agincourt [with Margaret, Nimphidia, Cynthia, Sircna, Moonccdf, and Elegies^, 1627, 163 i. DRAYTON. 141 Verses in Sir J. rjeaumont's Poems, 1629. 1630, Mar. 6, for AVaterson, junior, The Muses' Ulizium [ I o Xyinplials] : and 3 Divine i^ocms, Noe's Flood [pro- nounce " No "], Moses' Birth and. Miracles, David and Goliah, 1630. Dedicated to the Earl and Countess of Dorset. 1631. Verses by M. Drayton, "poet laureat," the night hefore he died. MSS, Ashmole 38, art. 92. Drayton's List of English Poets. This is taken from his Ej^istle to H. Reynolds, c. 16 18. I. Geoffry Chaucer; 2. John Gower ; 3. Henry Howard, Earl of Surrey; 4. Thomas Wyatt ; 5. Francis Brian; 6. George Gascoigne ; 7. Thomas Churchyard ; 8. Edmond Spenser; 9. Philip Sidney; 10. William Warner, "my old friend." Then the dramatists : — ii. Christopher Mar- io w ; 12. Thomas Nash, " proser ; " 13. William Shake- speare, "comic vein;" 14. Samuel Daniel, "too much historian;" 15. Benjamin Johnson, "long lord of the theatre." Then the translators : — 1 6. George Chapman ; 17. Joshua Silvester; 18. George Sandys. Then his personal friends: — 19. William Alexander; 20. William Drummond ; 21. [George] Beaumont; 22. [John] Beau- mont; 23. William Browne. He omits Lodge, Sackville, Constable, and James I., all of whom he had praised in his early poems, afterwards withdrawn. Connexion of " The Heroical Epistles " with other Poems and Plays. I . llosamond and Henry. Poem : Rosamond, by Daniel. Play: Henry i, by Drayton, Dekker, and Chettle. (Robert of Normandy, by Drayton, treats of the same period.) 142 THE ENGLISH DRAMA. 2. John and Matilda. Poem : Matilda, by Drayton ; Folyolhion 26, by Drayton. Plays: i. 2 Bobin Hood, by Cliettle and Monday. 3. Isabel and Mortimer. Poems : Gavcston, -by Dray- ton ; Mortimeriados, by Drayton. Plays: Edivard 2, by Marlow ; The Fall of Mortimer, by Jonson [and Chap- man]. 4. The Black Prince and Alice of Shrewsbury. Play : Edvjard 3 [by Marlow and Shakespeare]. 5. Isabel and Eichard 2. Plays: Richard 2, by Shake- speare ; Piers of Keton, by Drayton, Chettle, Dekker, and Wilson. 6. Catherine and Owen Tudor. Play: Oivcn Tudor, by Drayton, Hath way, Monday, Wilson. (Agincourt, by Dray- ton, Henri/ 5, by Shakespeare, and i. 2 Sir J. Oldcastle treat of this period.) 7. Elinor and Duke Humphrey. 8. Suffolk and Mar- garet. Poems : Margaret, by Drayton ; Civil tvars, by Daniel; Polyolbion 22 by Drayton. Plays: 2. 3 Henry 6 [by Peele, Greene, Lodge, Marlow]. 9. Edward 4 and Jane Shore. Poem : Ja/ic Shore, by A. Chute. Plays: i. 2 Fdivard 4, h\ Hey wood (?) ; Richard t,, by [Marlow and] Shakespeare ; Jane SJiorc, by Day and Chettle ; Richard Crookhack, by Jonson. 10. Mary and Brandon. 11. Surrey and Geraldine. Poem : Cromwell, by Drayton. (The plays of Henry 8, by Shakespeare [Fletcher and Massinger], JFhen yon, see me, &c., by S. Rowley, Sir T. More, Cromivell, i. 2. Cardinal Wolsey, by Drayton, Chettle, ]\Ionday, Smith, treat of this period.) 12. Jane Grey and Dudley. Plays: i. 2 Sir T. Wyatt, by Dekker, Hey wood, Smith, and Webster. DRAYTOX. 143 Drayton's Pastoral Names. These are so important for the history of English poetry, as well as English drama, that I make no apology for giving a full list of them. I have compiled such lists for Browne, Spenser, P. Fletcher, Drummond, and other poets, which, not being connected with the drama, I cannot here insert, but I trust to publish them elsewhere. References in- cluded in brackets imply that the characters are mentioned only ; when not included they are interlocutors in the poems. From the Eclogues, 1593, April 23 (A), and 1606, April 19 (B). 1. Alexis [A 4, B 6]. Sir W. Alexander. 2. Ambry [B 9]. 3. Batte, A 7, B 7. 4. Borril, A 7, B 7. 5. Cassanen, A 8, B 4. 6. Cuffe of the fold, the virgin of the well [B 9]. 7. Daffodil [B 9]. 8. Dowsabel [A 8, B 4], 9. Elphin [A 4, B 6]. Sir Philip Sidney. I o. Goldy locks [B 9]. I I. Gorbo il fidele, A 8, 4, 6 ; B 4, 6, 8, 9, 12. Idea [A 5, 6; B 5, 8, 9]. Anne Goodere. 13. Lettice [B 9]. 14. Mary Sidney of Wilton. Countess Pembroke. [A 6, B8]. I 5. Melibffius [A 4, B 6]. 16. Mirtilla [A 6, B 8], a sister of the Beaumonts. 17. Motto, A 2, 8, 5; B 2, 4, 5, 9. 144 THE ENGLISH DKAMA. 1 8. Olcon [A 6, B 8]. (?) Sir John Davies. 19. Palmeo [A 6, B 8]. One of the Beaumonts. 20. Panape [A 6, B 8]. Idea's sister ; of Arden by Ankor. A Good ere. 2 I. Parnel [B 9]. 22. Perldn, A 3, 6 ; B 3, 8, 9. 23. Phillida [B 9]. 24. Eosalinde, the widow's daughter of the glen [B 9] ; Ptosa Dinle (Dinley), Spenser's beloved : see my Introduc- tion to Spenser. 25. Ptowland of the Eock, Ai,3, 5,9;Bi,3, 5,9, 10. Drayton, whose Muse doth like himself heroically sound : Spenser's ^tion. 26. Winken the old ; Eowland's teacher, A 2, 4 ; B 2, 6. Probably Warner. Eclogue B 9 was added in 1606. Endymion (Drayton) Godfrey, Hodge, Pandora (C. Pem- broke), Eobin (Essex), all occurring in A 4, 6, 10, were then omitted. From The Muses' Elybium, 1630, Mar. 6. 1. Claia [3], 5, 8, 10. 2. Clarinax [5]. 3. Cleon, 2. 4. Cloe, 3. 5. Cloris, 3, 4, 8. 6. Codrus, a fisher, 7. 7. Corbilus, 10. 8. Dorida, i. 9. Dorilus, 3. Compare The Shepherds' Sirena. 10. Doron, 3. I I. Felicia [4, 7, 10]. 12. Florimel [i, 3], 7. DRAYTON. 145 13. Ilalius, a fisher, 6. 14. Lalus, 2, 15. Lelipa [i, 8], 5, 7. 16. Lirope, 2. 1 7. Melanthus, a shepherd, 6. 18. Mu'tilla, 3, 4, 8, a Beaumont. See Eclogues. 19. Eodope, I. 2 I . Silvius, a forester, 6. 22. Tita [8], of her marriage. From The Quest of Sirena, 1627, April 16. 1. Colin. Spenser. 2. Dorilus. See The Muses' Elysium. 3. Gill. Giles Fletcher ? 4. Olcon. Sir John Davies. See Eclogues. 5. Ealph. 6. Eock. Drayton ? 7. Sirena, who lived near Trent. Sylvia, one of the Astons. Michael Drayton was born at Hartshill, near Atherstone, in Warwickshire, in 1563. He became "a proper goodly page, much like a pigmy, scarce ten ^ years of age," probably in the family of Sir Henry Goodere (not Goodeve, as Mr. Bullen says) of Powlsworth, as he tells us himself in his Epistle to Henry Eeynolds. He afterwards was sent to a University, most likely to Cambridge, at Sir Henry Goodere's expense, and soon after attaining his majority came to London, where he was intimate with Lodge (whom he calls Goldey) and Daniel (Musreus). About 1587 he wrote his Elegy on Sidney, which was afterwards inserted in his Eclogues. Many other poems were probably produced and ^ Mr. Bullen saj's "two years," witli his usual inaccuracy. VOL. I. K 146 THE ENGLISH DRAMA. circulated by him some years before his first publicatiou ; in fact, it seems to have been his usual custom to delay com- mitting his works to the press until they had been handed round and criticised by a circle of friends. I 590-1, Feb. 10. This is the date of his preface to his first publication, The Harmony of the Church, entered on the Stationers' Eegisters (S. E.) ist Eeb., and dedicated to Lady Jane Devereux of Merivale. This book was " seized " and ordered to be destroyed, but forty copies were preserved by Archbishop Whitgift in Lambeth Palace. 1593, April 23, Idea, Nine Eclogues, published. Idea is the lady to whom all Drayton's love-poems were addressed, and was identified by me in my Land of Shakespeare. She was a member of the Goodere family, and her name was Anne, as will be seen by comparing the following passages. In Eclogue viii. two sisters are mentioned, the eldest, Panape, who is sick in Arden, by the river Ankor ; the younger. Idea, who lives by the Meene, a mountain in Cotswold look- ing over the Stowre, near the vale of Evesham, but was " bred " where Panape now abides, i.e., in Arden. This part of Eclogue viii. was published in 1606. In the Hymn to his Lady's hirthiolace [c. 1604] we are told that Idea was born in Mich Parke, a street in Coventry, on 4th Aug., that Godiva was " but her type," and Elizabeth was queen in order that " a maid should reign when she was born." From Polyolbion, Song xiii., it appears that the lady by whom Coventry was to be made so great was Anne Goodere ; that An-cor prophesies her Christian name and G^o^-iva half her surname. There is, then, no mystery in this matter, which critic after critic failed to decipher ; unless, indeed, it be a mystery how to reconcile the fact of their not having read the Polyolhion with the lavish praises they have bestowed on it. It appears further, from DKAYTOK 147 Polyolhion, xiv., that the place to which Idea removed was probably Clifford, in the extreme north of Gloucestershire, " which many a time hath been the Muses' quiet port." It should be noted that no work of Drayton is openly dedi- cated to this lady. A list of Drayton's published works has already been given, and should at this place be referred to. It now becomes desirable to set down what results I have succeeded in attaining as to the pastoral names under which Drayton shrouded his allusions to contemporaries in his Eclogues. Mr. Bullen, with the magisterial assurance of youth and inexperience, says, " At this date it cannot be discovered to whom some of the allusions refer." I need not say that Mr. Bullen has not had the industry to dis- cover to whom any one allusion refers, although merely a careful perusal of his author must have led him to several. For instance, I have already pointed oat that Goldey is Lodge, and Musaeus Daniel ; and that Idea and Panape are Anne Goodere and her elder sister ; so Elphin is, of course, Sidney, and Alexis Sir W. Alexander : Rowland of the Eock is Drayton's self-chosen pastoral name. But most of these identifications lie on the surface, and were evident even to Mr. Collier. Those that follow have never before been noted, and are, indeed, not easy to find out. Sylvia, that once lived in Moreland, in Staffordshire, and has now removed to Kent, near the Eavensbourn {Eclogue, viii.), the admired of Motto {Eel. ix.), is certainly a member of the Aston family, of Tixhall, on the Trent, the head of which, Sir. W. Aston, was, as we shall see, Drayton's patron. Sirena, who also left the Trent for another home {Sirena's complaint), is either identical with Sylvia or another lady of the same family ; Myrtilla, that lives in wild Charnwood, by the Soar, and her brothers, Thyrsis and Palmeo, are cer- tainly Elizabeth, John, and Francis Beaumont, Francis being 148 THE ENGLISH DKAMA. the celebrated dramatist, and John the poet. The " widow's daughter of the glen " I have shown in my Guide to Spenser to be Spenser's Eosalynde, Eosa Dynle(y). The " shep- herdess on Willy's banks " is, of course, Mary Countess of Pembroke, who lived at Wilton. So far all is clear; but the hardest nut remains to crack. Who is Olcon ? He is a personage important to Drayton's biograph}'-, yet no guess even has been made as to his iden- tity. The following are the passages referring to him : — " So did great Olcon, which a Phoebus seemed (Whom all good shepherds gladly flockt about), And as a god of Rowland was esteeu)ed ; Which to his praise drew all the rural rout : For after Rowland (as it had been Pan) Only to Olcon every shepherd ran. But he forsakes the herdgroom and his flocks, Nor of his bagpipes takes at all no keep ; But to the stern wolf and deceitful fox Leaves the poor shepherd and his harmless sheep : And all those rhymes, that he of Olcon sung, (The swain disgraced), participate his wrong." Eclogue viii., i6c6 edition ; not in 1593. " Roguish swineherds, that repine At our flocks like beastly clowns, Swear that they will bring their swine And will root up all our downs. Angry Olcon sets them on And against us part doth take, Ever since he was outgone Offering rhymes with us to make." The She2jherd's Sire7ia, 1627. The name Olcon, and the fact that Olcon is a person of authority over the law^-officers or "swineherds," seem at first to point to Cecil Lord Burleigh, whose seat was near DKAYTOX. 149 the river Olcon (see Polyolhion, vii.), but Burleigh was not a poetical writer, as Olcon was. I think Sir John Davies is meant. It should be noticed that in the enumeration of English Poets in the Epistle to Reynolds there are noteworthy omis- sions of the names of Lodge and Davies. Drayton habitu- ally, when ojffended with any writer or patron, ceased to mention him, and, more than that, cut out of his later editions any mention that existed in earlier ones. In this way he cancelled his allusions to Lodge and Daniel when he rewrote his Eiulimion and Phoebe, his compliments to the Bed fords in his Mortimeriados and his Sonnets addressed to various persons. If, then, the Sirena can be dated about 1604, he is very likely to be Olcon, But can we so date Sirena ? The occurrence of the pastoral name Dorilus links Sirena with the Muses Elizium, which was published in 1630, and dedicated to Edward Sackville, Earl of Dorset. Drayton's usual custom was to publish his more important works by themselves, and to gather up his lyrics at intervals. Had these poems, published in 1627, been written as early as 1608, we should have expected them to have been in- cluded in the editions of his poems in 16 10, 161 3, or surely in 161 9, in which sundry pieces were inserted never before imprinted. On the other hand, the separation of the Sirena from the Muses' Elizium, with which it would natu- rally be classed, and its publication with the Agincourt, &c., in a separate volume, by a different publisher, and not dedi- cated to the Earl of Dorset, certainly looks as if there were nothing in that poem connected with the Sackville family. The great influence which Davies had with James I. in the early years of his reign seems to indicate him to be Olcon, and no other poet has been suggested as even likely to be so. See further under Shakespeare, Sonnets. ISO THE ENGLISH DEAMA. I have introduced tins digression in this place because in 1597 we reach a distinct epoch in Drayton's career. He was at this time driven by necessity, and the failure (as he alleges) of liis patron's promises, to write for the theatre. He continued to do so for five years ; and not till after the accession of James, and his meeting with a new patron in Sir W. Aston, was he able to give up this, to him, unpalatable occupation. It is specially to be noted that he, like Beaumont, never allowed his name to appear in print as an author for the stage. The only published play in which we positively know him to have been concerned (Sir John Oldcastlc) bore on its title-page " by William Shakespeare." As no play by Monday, Wilson, or Hathaway, his coadjutors in this one, was ever attributed to Shakespeare, and as Drayton was the only one of the four ever connected with Shakespeare's com- pany of players, it becomes a matter of great interest to investigate what connexion Drayton may have had with other plays wrongly attributed by publishers or tradition to the great dramatist. For if this attribution of the Old- castle play was due to Drayton's connexion with it, as it manifestly was, the same thing may have happened in cases hitherto unsuspected. From the list of plays written for Henslow (fur which see further on) many results follow important for Drayton's biography. It is evident from the smallness of the sums advanced in some instances that it was during this period that money was urgently needed by him ; for instance, on 6th June 1598 we find an entry in these terms, "Lent unto Thomas Dowton to lend unto Drayton, I say lent for the 2 part of Godwin, los." Moreover, not one of tliese twenty-four plays was ever published with Drayton's name attached to it, and only one published at all. He evidently DRAYTOX. 151 regarded his connexion with the stage as a degradation. Again, in his list of contemporary poets in his Epistle to R. Reynolds he does not mention one of his coadjutors in these plays, not Monday, Chettle, Dekker, Wilson, Webster, Hathaway, Smith, or Middleton ; the dramatists whom he does mention are Chapman (but only as a translator), Nash, Marlow, Shakespeare, and Jonson, the latter three all con- nected with the company known till i 594 as Lord Strange's, and afterwards as the Chamberlain's, This seems to point to a connexion between this company and Drayton of a date subsequent to his engagement with Henslow. This conjec- ture is confirmed by the tradition that he was the author of the Merry Devil of Edmonton, and I think that whoever carefully compares the characters of the Host in that play with his eternal refrain of " I serve the good Duke of Nor- folk," and Sir John with his " Grass and hay, we are all mortal, &c.," with that of Murley in Oldcastle with his " paltry, paltry, to and fro, &c.," will come to the con- clusion that all these characters were the productions of one brain. But we know that Drayton was one of the authors of Oldcastle; it is, therefore, very likely that the tradition is a true one, and that he wrote the Merry Devil for the Chamberlain's company. A further examination of Henslow's list shows that, of the twenty-four plays there given, eighteen were written in about a year, in 1598 ; while in the remaining four years, I 599-1603, during which Drayton continued to write for the stage he only assisted in producing six plays for Henslow. It seems probable that during this time he must have been writing also for another company ; he had to live, had lost his patronage from the Bedford family, and certainly produced nothing for the press. Is there any trace left of what he produced for the theatre ? 152 THE ENGLISH DRAMA. The clue to an answer is, I think, to be found in the fact that the Merry Devil has been assigned to Shakespeare by- tradition. I might seem to strengthen my subsequent hypothesis if I coupled with this the fact that Oldcastle was also published with Shakespeare's name on the title-page ; but this was, no doubt, merely a device of its dishonest publisher, Pavier, to get the play mistaken for Shakespeare's Henry 4-5, in which Falstaff was originally called Old- castle. The false statement was quickly discovered and suppressed ; only a few copies bear Shakespeare's name. Putting this aside, then, it is worth while to examine what other unauthentic plays of date 1599— 1603 ^^^ con- nected with the name of Shakespeare. These are The Life and Death of Cromiuell, written 1601, published 1602; The London Prodigal, written early in 1603, published 1605 ; the revision of 2. 3 Henry 6; and the revised or Folio version of Richard 3. In my opinion, ■^ Cromwell and the Prodigal are certainly by the same author, and that author was probably Drayton ; and the similarities between the portions of 2. 3 Henry 6 added in 1 600-1 and Drayton's poems are so great as. hardly to allow us to doubt of their authorship. I must now ask the reader to consider carefully the table already given of Drayton's Heroical Epistles as connected with poems and plays on the same subjects. I may now gather retrospectively the remarkable omis- sions made in the later editions of Drayton's early poems ; 1 The only coiripetitor for the authorship of these plays hitherto brought forward is Weiitworth Smith, who.7, 43. 46, 47, 48, 50, 51, 52, 57, 58, 61. The ABBA form occurs in 12, 13, 14, 16, 17, 18, 26, 34, 35, 38, 42, and in 18 A, but never in the addi- tions. The Sonnets of this form are, therefore, probably the earlier. In 9 he says he lost his wit "nine years T54 THE ENGLISH DRAMA. since," therefore in 1584. In 47 he had striven for the laurel with those that press the thronged theatres. The exact date of the addition of this Sonnet I am unable to "ive, not haviucj access to all the old editions ; but it is important. That these Sonnets were the immediate model of Shakespeare's I cannot doubt. See especially 31, 44 (on his old age), 56, &c. Endymion and Phoebe, 1595, April 14. Lodge is called Goldey, and Daniel Musaeus. This poem, and consequently these allusions, was suppressed altogether in the collected editions of 1605 onward. Matilda, 1594. Daniel's Rosamond, Chute's Jane Shore, Lodge's Elstrcd, and Shakespeare's Lucrccce, " lately revived . . . acting her passions on our stately stage," are alluded to; but the Lucreece allusion was omitted in the 1605 edition. It occurs in that of 1596. 3forti7neriados, 1596, April 15, contained a reference to Lucy Countess of Bedford, which was withdrawn in the 1602, Oct., edition. As the Sonnet to her was still retained in 1600, this fixes the rupture with Drayton to c. 1601. In ii. 69 of the rewritten poem (The Barons' Wars) we find that Drayton's " rhymes first begun of Idea's bower " in 1593 ; and from ii. 70, that he had in 1602 adopted Sir W. Aston as patron in Lucy Bedford's place. In v. 9, the allusion to the Muse being forbidden to " report what toucheth the deposing of a king " refers to the Essex trial and the liichard 2 performance in 1601. Compare the lines on "the deposing of a king" in The Heroical Epistles (Isabel to liichard 2), 1597. liohert Duke of Normandy, 1596, Nov. 21. Drayton, in his dedication to Lucy Bedford, complains of being "still poor." The Heroical Epistles, i 597, Oct. 12, but probably written before 1595. Tiiis is important in relation to Spenser's DRAYTON. 155 ^tion allusion in 1595. They contain some matters of interest to the dramatic student. " Diana in the fountain " (Rosamond to Henry) was taken up by Shakespeare (from the 1597 edition) in As You Like it, iv. i. The story of the Black Prince and Lady Salisbury from Bandello is differently treated from the version in Edward 3 [Shake- speare, 1594]. In the next epistle (Isabel to Eichard 2) Hertford is used for Hereford, as in Shakespeare's play. In another (Humphrey to Eleanor) " path " is used as a verb, and so in Polyolhion, ii. Compare Julius Ccesai\ ii. i. I have no doubt that Shakespeare read and studied Drayton's early poems. From all this it is evident that Drayton habitually omitted in his collected editions all allusions to persons whose personal relations to him had been interrupted. Thus v:q find dates for these ruptures : that with the Countess of Bedford, 1 600-1 602; those with Lodge, Shakespeare, James I., and, I think, Sir John Davies, all before or in 1605 ; but want of access to all the old editions compels me to leave exact investigation incomplete. As to Davies, however, I have little doubt that " The Swallow whose swift Muse doth ran^e throuuh rare Ideas," mentioned in Orchestra (S, E. 1594, June 25 ; not 1593, as W. C. Hazlitt tells us), must be Drayton. " Ideas," i.e., the Sonnets, was licensed 1594, May 30; and "Idea," the Eclogues, 1593, April 23. Dr. ^ Locibus Grosart suggests Eichard Martin, the Eecorder, as the owner of this swift Muse. Davies, in 1622, followed Drayton's example by omitting this allusion. In connexion with this, the curious entry of Amours, by ^ So named by me from the astounding " in locibus " in his edition of Davies, p. 356. Did the learned LL.D. and D.D. (Double Doctor) complete his classical education in the third form ? 156 THE ENGLISH DRAMA. J. D[avies], with certain other Sonnets by W. S[hakespeare], S, R. 1600, Jan, 3, for E. Edgar, must not be omitted. Were these parodies on Drayton's " Amours in Quatorzains" 1594, and Shakespeare's So7inets, then in MS., and are the extant mock-amorous Sonnets of Davies a portion of them ? The epithet " golden-mouthed " seems to be appropriated to Drayton. See Meves, Falladis Tamia, 1598; Guilpin, Skialetlieia, 1598; C. Fitzgeoffrey, Affanim, 1601. For minor matters connected with Lady Frances Goodere, Sir J. Swinnerton, and J. Huish, I can add nothing to what Collier has said in his 1856 edition, q.v. Thus far for Drayton's life in Elizabeth's reign. When James succeeded, Drayton addressed his Pecan and his Gratulatory to him, and expected, as being the most forward to " teach his title in rhyme " (^Letter to G. Sandys, c. 162 i), to be specially patronized ; but James, on whom " next my God I built my trust," forsook him, as the Countess of Bedford and Sir John Davies had done. The Owl, 1604, Feb. 8, is filled with personal satire, which cannot be dilated on here. In 1605 he certainly gave up all connexion with the stage and betook himself entirely to poetry. He began by collecting his Poems (with the remarkable omissions already noticed) in 1605 and 1606, wrote his Rolert Duke of Normandy in 1607, and then devoted himself to his great work, the Polyolhion, under the patronage of Prince Henry, 1607—12, and of Prince Charles, 1612-22. The patronage of Sir Walter Aston had extended from 1602 to 1606, and that of Sir H. Goodere from 1584 or earlier to at least the same date. Under Charles I. his chief patrons were the Earl and Countess of Dorset. Among his personal friends should be noted the dramatists with whom he wrote (for whom see the list further on) : Selden, who wrote the annotations on Polyolhion, 1612; G. Sandys (see the Epistle DRAYTOX. 157 to him c. 162 i) ; Henry Eeynolds, in the JEputle to whom not earlier than 16 16 are mentioned Warner, "my old friend," who must be one of the interlocutors in the Eclogues ; Shakespeare, Jonson, Sandys, all personally known to him ; Alexander and the " love twixt us ; " then " my dear Drum- mond ; " then " the two Beaumonts and my dear Browne, my dear companions." To these we must add the authors for whose works he wrote verses, and for his early time those whose names were omitted in his later editions, especially that of Lodge. Drayton died in 163 i. Plays. 1. Sir Thomas More, c. 1596. See Anonymous, 233. 2. The Merry Devil of Edmonton, c. 1596—7. See Anonymous, 236. These were for the Chamberlain's men. The following; were for the Admiral's men at the Eose : — 3. 1597, Dec. 22, 28; 1598, Jan. 3. Mother Redcap (with Monday). 4. 1598, Mar. 13. "A book wherein is a part of a Welshman " (with Chettle), " which they have promised to deliver by the xx day next following " [Mar. 20]. The next entry is [c. Mar. 20] (not dated, but before Mar. 25) for The famous Wars of Henry i and the Prince of Wales, by Drayton, Chettle, and Dekker ; evidently the same book. It was read at the Sun, in New Fish Street. 5. 1598, Mar. 25, 30. I. Earl Godwin and his three sons (with Chettle, Dekker, "Wilson). 6. 1598 [April c. 4]. Piers of Exton (with the same). 7. I 598, May [c. 3] 22. I . Black Batman of the North. I'robably the same story as the ballad of Bateman's Tragedy (with the same). 158 THE ENGLISH DEAMA. 8. 1598, April [May] 6; June 6, 10. 2. Godwin (with. the same). 9. 1598, June 13-26 (8 entries). Michard Cxur de Lion's Funeral (with Chettle, Monday, Wilson). 10. 1598, June 31 [30]; July 9, 10. The Iladman's Morris (with Dekker, Wilson). 11. 1598, July 17, 26, 27, 18 [28]. Hannibal and Hermes, otherwise called Worse feared than hurt (with the same). 12. 1598, July 28; Aug. 8, 10. Piers of Winchester (with the same). 13- 1598? -^ug- 1 9' 24. Chance Medley (with Monday, Wilson, Dekker, or more likely Chettle. See Henslow's entry, and compare authors of Richard Cordelions Funeral). 14. 1598. Aug. 30; [Sept.] 4. 2. Worse afeard than hurt (with Dekker). 15. 1598, Sept. 29. I. Civil Wars in France {\V\ih. Dekker). 16. 1598, Oct. 16, 20. Connan [Goxin] Prince of Corn- wall (with Dekker). 17- 1598} Nov. 3. 2. C'un7 TFars m France (with Dekker). 18. 1598, Xov. 18 ; Dec. 30. 3. Cm7 ^ars w France (with Dekker). 1 9- 1599, Jan. 20. William Longsioord[p.ot Longleard, as Henslow has it. Cf. Drayton's own receipt, Jan. 21, Diary, p. 95]. Lodge had written a novel on W. Longbeard. 20. I 599, Oct. 16. I. Sir John Oldcascle (with Monday, Hathway, Wilson). The only one of these Eose plays extant. See under Hathway. 21. 1599, Oct. 16; Dec. 19. 2. Sir John Oldcastle. 22. 1600, Jan. [c. 14]. Given Tudor (with Hathway, Monday, Wilson). DEAYTOK 159 23. 1600, June 3, 14. I . Fair Constance of Rome {with. Dekker, Hath way, Monday). This ends the Eose plays of Drayton. He seems to have then gone away from the Admiral's company, for whom, in twenty-seven months, he had written as a coadjutor in twenty-one plays. I conjecture that he then wrote for the Chamberlain's men ; that he corrected Henry 6, and wrote 24, Cromwell, for them. See further on. However this may be, he rejoined the Admiral's men at the Fortune. 25. 1 60 1. Oct. 10; Nov. 6, 9, 12. The Rising of Cardinal WoIsctj, written after the The Life of Wolsey, by Chettle, 1 60 1, June; (with Chettle, Monday, Smith). Note that Drayton wrote in neither the 2. Fair Constance of 1600, June 19, nor in the i. Wolsey, 1601, June, these plays being intimately connected with his last play at the Rose and his first at the Fortune. He must surely have been away from the company for sixteen months. He had previously written for them in some new play every forty days. 26. 1602, May 22. Ccesars Fall (with Middleton, Monday, Webster, and " the rest " [Dekker] probably). This entry was not noticed by Malone, but I do not think its genuineness has been disputed. 27. 1602, May 29. "Two harpcs" (with Dekker, Middleton, Monday, Webster). After this I conjecture that Drayton again wrote for the Globe company, 28, The London Prodigal, but not 29, Tlie YorJcshire Tragedy. These plays are discussed under W. S., but I may here note a few remarks on the plays falsely ascribed to Shakespeare in the 1664 Folio. This edition added seven plays, viz. : — 4. Sir John Oldcastlc [by Drayton, Monday, Hathway, Wilson, for the Admiral's men], published 1 600, "by William i6o THE ENGLISH DKAMA. Shakespeare," but this was withdrawn in the second 1600 issue. 5. The Puritan Widow [by T. Middleton, for the Paul's boys], published 1607, by " W. S." 7. Zocrine [by G. Peele], pubHshed 1595, "newly set forth, overseen, and corrected by "VV. S." 1 . Pericles, published 1 609, " by William Shakespeare " [and W. Eowley], for the King's men ; reprinted 1 6 1 1 , 1 6 1 9. 3. Lord Cromwell, published 1602, "by W. S.," for the Chamberlain's men at the Globe ; reprinted 161 3. 2. The London Prodigal, published 1605, " by William Shakespeare," for the King's men at the Globe. 6. The Yorkshire I'ra^ref^y, published 1608, "by William Shakespeare," for the King's men at the Globe ; reprinted 16 19. Evidently this collection was made up from all the plays that had had Shakespeare's name or initials in their title- paces ; but 3, 2, 6, with which only we are here concerned, differ from the others in the following respects : they were never disavowed by Shakespeare, they were written for his company, and two of them reached second editions without alteration of author's name. The author must, I think, liave had authority for the use of Shakespeare's name or initials, have been a " shadow " or " journeyman " of Shakespeare, have been an author who had some reason for not wishing his own name to appear, and, of course, have been connected with Shakespeare's company. Of all the authors enumerated in this present work only two can be regarded as eligible. The first is Wentworth Smith, and the identity of initials would make him appear at first sight as a likely candidate, if the initials only were concerned ; but the absence of any connecting-link between him and Shake- speare or Shakespeare's company, and the appearance of DRUE. i6i tlie name in full in two plays, disqualify him. The second is Drayton, whose career tallies in every way. He had written TJie Merry Devil for the Globe ; he had not allowed his name to appear on the title of that play or of Old- castle ; he is mixed up with the Falstaff-Oldcastle " comical humours " and the Cromwell- Wolsey series of plays. The plays here concerned exactly fill up the blank periods of his theatrical career, and the similarity between his Barons Wars, &c., and the added portions of Henry 6 and the alterations of Bichard 3 in the Folio edition, point to him as the journeyman employed by Shakespeare in their revival. This hypothesis would solve the difficulty of Henry 6 having been attributed to Shakespeare. It would require such an edition as that prepared by me at the request of the New Shakspere Society in 1874 (but not printed, owing to their not having kept to their engage- ment to issue it) to show the similarities here spoken of. One instance must here suffice : — " So many years as he had worn a crown : So many years as he had hope to rise : So many years upon him did I frown : So many years he lived without his eyes : So many years in dying ere he dies : So many years shut up in prison stron<,', Though sorrows make tlie shortest time seem long." Robert Duke of Normandy, 1596. Compare 3. Henry 6, ii. 5, 31-40. Note especially that the same publisher, Pavier, who had had to immediately withdraw " William Shakespeare " from the Oldcastle title was allowed to retain it in The York- shire Tragedy from 1608 to 161 9. Dkue, Thomas. (Plays.) 3. The Bloody Banquet, "by T. D.," for T. Cotes, 1630, 1639. VOL. I. L i62 THE ENGLISH DRAMA. 2. 1629, Nov. 13, for Jasper Emery. Tlie Life of the Duchess of Suffolk, H., 1 63 i . 1. The Woman s Mistaken. See Davenport, 8. 2. 1624, Jan. 2. The Life of the Duchess of Suffolk was licensed for the Palsgrave's men at tlie Fortune, but " much dangerous matter " was reformed by Herbert, who had £2 for his pains. 3. The Bloody Banquet, which follows Davenport's plays in Beeston's 1639 list, and which, therefore, must have been acted at the Cockpit [probably by the L. Elizabeth's men in the time of James I.], has been assigned to E. Davenport by an idle guess, and to E. Barker by some old catalogues. But there ban be little doubt that " T. D.," the author, was Thomas Drue. Drury, William. (Latin.) Dramatica Poemata. Douay, 1628. Antwerp, 1641. This Englishman was imprisoned for his religion ; released at the intercession of Count Gondomar ; taught poetry and rhetoric at the English College at Douay from Oct. 161 8 onward ; and died abroad. He dedicated his plays to Gon- domar. They were performed privately in the Douay refec- tory, and publicly in the quadrangle. 1. Aluredus sive Alfrcdus, T. C, performed three times I 6 1 9. Strumbo (cf. Locrine) is a comic character in it. 2. Mors, C. 3. Reparatus (desperahundus) sive Depositum, T. C, prima pars. Eades, Dr. EiCHAKD, of Christchurch, Oxford, 1571- 1 604, was, according to Meres, " one of our best for Tragedy" before i 598, but even the names of his plays are all lost. Edwaedes, Eichaed. (Plays.) 2. I 567-8, for E. Jones. Damon and Pythias, C. I. MS. Misogonus. ELDERTON— FERRERS. 163 Edwardes was born in Somersetshire 1523; scholar of Corpus Christi, Oxford, i ith May 1540; student of Christ- church and M.A. 1547; Master of the Chapel children 1559; died I 566. 1. 1559, Dec. 31. Misogonus. My reasons for attri- buting this play to Edwardes are given in my History of the Stage, pp. 58, 60. 2. 1563— 4, Christmas. Damon and Pytliias. ^ee His- torg of the Stage, p. 60. 3. 1566, Sept. 3. Falwmon and Arcyte, in two parts, was presented to the Queen in Christ Church, Oxford. The only performances of the Chapel children in Eliza- beth's rei Dec. 20. He was entered as pensioner of Bene't College, Cambridge, i 59 1, Oct. i 5, as " of London," when his father, then High Almoner and Bishop of Bristol, had also a London residence ; and was a Bible clerk in 1593. His father, by will 1593, Oct. 29, left his books to be equally divided between him and his elder brother Theophilus. Eichard Fletcher, then Bishop of Worcester, died I 596, June 15, in debt to the Exchequer. No doubt I'LETCHER. 169 John Fletcher's University career was then iuterrupteil, but nothing more is known of him till he became a play- maker, c. 1608. Francis Beaumont, third son of Judge Beaumont of Grace Dieu, in Leicestershire, was admitted gentleman commoner of Broadgates Hall, Oxford, 1597, Feb. 4, at the age of 1 2 ; he was therefore born between 1584 Feb. and 1585 Feb. He was " 13 years or more" when his father died, 1598, April 22. He then left Oxford, and became a member of the Inner Temple 1600, Nov. 3, There is no direct ground beyond the S. R. entry, 1639, Sept. 2, by Laurence Blaick- lock for assigning Sahnacis and Hermaphrodite to " Francis Beaumont;" it was published in 1602 by J. Hodgetts, without any author's name, with verses commendatory by W. B[arksted ?], J. B[eaumont], and A. F. ; but the pub- lisher also published Beaumont's first play, the only one written for the Paul's boys 1607, and the verses by J. B. look as if Beaumont was the author ; and if, as Dramaticus (Sh. Soc. pajKTs, iii.) says, Blaicklock printed from the 1602 edition and not from a MS., how came he to enter the book in S. R. at all ? On the other hand, he certainly did include in it as Beaumont's many poems by at least eight other authors, and the S. R. entry may have been neces- sitated by the addition of these, though it does not mention them ; and though Hodgetts published The Woman Hater, it was entered for Edgar and Jackson. On the whole, we are driven to rely on internal evidence, and this, I think, is against Beaumont's authorship. In 1607 both Beaumont and Fletcher prefixed verses to Jonson's Volpone, and before this their meetings at the Mermaid must have taken place, probably in the same year, " What thiugs have we seen done at the Mermaid," says Master Francis Beaumont in his " Letter to Ben Jonson, written I70 THE ENGLISH DRAMA. before he and Master Fletcher came to London with two of the precedent comedies [1647 folio], then not finished, which deferred their merry meetings at the Mermaid." This letter was written soon after the outburst of " Sutcliffe's wit " in 1606. Sutcliffe published three tracts in that year. The unfinished plays may have been Four plays in One and Loves Cure. Jonson had left the King's men on account of the offence given by Volpone, and was now connected with the Revels boys at Blackfriars, to whom he no doubt introduced Beaumont and Fletcher in 1608. Marston had left writing after the Eastward Ho troubles in 1605, and Chapman was hiding on account of Byron. They con- tinued to write for these boys till 1 609 (in which year Beaumont wrote his Elegy on Lady Markham), and for Rossiter's new company in 16 10; but in the autumn of 1 6 1 o Shakespeare left writing for the King's men, and Jonson, Beaumont, and Fletcher succeeded him c. Sept. They remained with the King's men till 161 3, Feb., when Beaumont wrote his mash for the Lady Elizabeth's marriage, and retired from writing for the stage on account, I think, of his own marriage to Ursula, daughter of Henry Isley of Sundridge, Kent. During this time he wrote verses pre- fixed to Jonson's Epiccene (S. R. 16 10, Sept. 20), and to his Catiline 1 6 1 1 , to which Fletcher also prefixed some verses ; his Eleyy on the Countess of Itittland, who died 1 6 1 2, Aug., and whom, while alive, he had addressed in verse ; and his Elegy on Lady Penelope Clifton, who died 16 1 3, Oct. 26. He died 16 16, Mar. 6, and was buried in Westminster Abbey Mar. 9, leaving two daughters, Eliza- beth and Frances (a posthumous child). Jonson, and after him H. Moseley, say that he was not 30 when he died ; but he must have been 3 i. Philip, son of Arthur Massingcr, who was a gentleman FLETCHER. 171 in the service of Henry Earl of Pembroke, was born i 584 at Salisbury, and was probably brought up as a page to the Countess. He was entered at St. Alban's Hall, Oxford, 1602, May 14, at the expense of the new Earl William; (Henry Herbert died 1601, Jan. 19). In 1606 he left Oxford, perhaps at the death of bis father, but more likely from having become a Roman Catholic, for he took no degree, although he had ample time for doing so. Nathaniel Field, son of John Eield, preacher (the virulent reviler of stage plays), was baptized at St. Giles without Cripplegate 1587, Oct. 17. He was the youngest of a family of seven, one of whom was Theophilus Field, after- wards Bishop of Llandaff. The father, John Field, was buried in the same church 1588, Mar. 26. Nathaniel, son of John Field, clerk, deceased, was bound to Ralph Jackson, stationer, 1597, Feb. 7, for eight years from Michaelmas 1596 (S. R., ii. 215). He was educated under Mulcaster at Merchant Taylors' School, but before 1600 was " taken " by JST. Giles to act as one of the Chapel children (see my History of the Stage, p. 128). He was their chief actor at Black friars in Jonson's Cynthia s Revels, 1 600 ; The Poetaster, 1 60 1 ; and also for the [second] Queen's Revels boys (a continuation of the same company) in his Epicoene, 1609-10. He must have acted in such Beaumont and Fletcher plays as the first Queen's Revels boys produced 1608—9. In 1609 he prefixed verses to one of these. The Faithful Shepherdess. He published his own play, A Woman is a Weathercock, 161 1, iSTov. 23, with verses by Chapman, which tell us that — "To many forms as well as many ways Thy active muse turns like thy acted woman ; " and addressing the reader, he says, " Thou knowest where 172 THE ENGLISH DRAMA. to hear of me for a year or two and no more, I assure thee." This is explained by his admission to the freedom of the Stationers' Company 1611, June 3 (S. E., iii. 683). He meant to turn publisher. He did not do that yet ; nor did he follow Fletcher to the King's men in 1 6 1 i , but remained in Eossiter's company till their junction with Henslow's, 161 3, Mar. Fletcher, Massinger, Field, and Daborne {q.v.) were writing for the Lady Elizabeth's men under Henslow 1 6 1 3 ( Vario- rum, iii. T^T,"/, xxi. 404), when Field, c. Aug., wrote to " Father Hinchlow " for a loan of £10, "being taken on an execution of £'^0." Daborne and Massinger also required to be bailed, and Field could not " play any more till this be despatched." The three asked for a joint loan of £^ on a play " of Mr. Fletcher and ours," ^ and got it. I suppose Field got his £10 also, as they could not well play without him. He acted in Jonson's Bartholomeiv Fair 1 614, Oct. 31, for the Lady Elizabeth's men, into which the Duke of York's had been absorbed ; but in Amends for Ladies their title appears in full as " The Prince's servants and the Lady Elizabeth's." This was acted at Eossiter's new theatre at Blackfriars 161 5 (see my History of the Stage, p. 263); on 1616, Jan, 9, Henslow died; and as Field was not one of the players who came to an agree- ment with Alleyn on Mar. 20 (Collier's Alleyn, p. 129), he doubtless left the company for the King's c. Feb., accompanied by Jonson, Fletcher, and Massinger as play- writers. In 1 6 16 {Domestic Papers, No. 334) Field wrote his letter of remonstrance to M. Sutton, preacher at St. Mary Overy, Field's parish. He acted in The Queen of ^ Massinger and Daborne still owed £t, to Henslow 1615, July 4, and gave a bond to him for that amount (Collier's Alleyn, p. 121). Compare Daborne. This document was not known to Malone. FLETCHER. 173 Curinth, The Loyal Subject, The Knight of Malta, and The Mad Lover, for the King's men, 161 6-1 9, and wrote for them also in conjunction with Fletcher and Massinger. His stage career closes simultaneously with Burbadge's, their names last appearing in the patent, dated 16 19, jVfar. 27, hut drawn up earlier, for Burbadge died Mar. 16. I infer that Field was disappointed at Taylor's being imported as Burbadge's successor, and retired disgusted. He had recently married ; his first child was baptized at St. Anne and St. Andrew's, Blackfriars, 161 9, Sept. 9. In S. E., 1624, Dec. 31 ; 1625, April 5; 1626, Sept. 18; 1627, Dec. 19, entries to N. Field of his brother Iheophilus' writings occur; and 1627, Xov. 9, ffijJpolito and Lsahdla was entered for N. Field, published (with verses by Cliapman) by K Field and T.Harper 1628. Chapman's Jdsiijication of Nero was published by Harper alone in 1629. I think Field had then disposed of the business to liim. Field died 1633, Feb. 20. He had been Jonson's " scholar, and he had read to him [which is he and which him ?] the Satires of Llorace and several Epigrams of Martial" {Conversations with Drummond). During 161 9 and part of 1620 Fletcher and Massinger went on writing for the King's men; but in 1 620-1 Mas- singer was altering old Dekker plays for the Revels men at the Bull, and Fletcher writing without a partner. Middleton and Rowley then went to the King's men, and Massinger also returned to them in 1622, but in 1623 left them for the Lady Elizabeth's men, with whom he remained till after Fletcher died of the plague, 1625, Aug., and was buried at St. Saviour's, South wark, Aug. 29. Massinger returned immediately to the King's company, and continued to write for them till his death. He was buried in the 174 THE ENGLISH DRAMA. same grave with Fletcher 1639, Mar. 18. He had resided on the baukside. As a supplement to Massinger's later career I give the names of his patrons, derived from his dedications, in chro- nolosiical order : — 1623, Jan. 20. Lady Catharine, wife of Philip L. Stan- hope, Baron of Shelford. The Duke of Milan. He men- tions his misfortunes. 1624, Mar. 12. Philip Herbert, Earl of Montgomery. The Bondman. Arthur Massinger had served the Herberts. Montgomery and the public had praised this play. 1629. Sir Philip Knyvet, Bart.; Sir Thomas Jeay, Knight ; and Thomas Bellingham, of Newtimber, Sussex. The Roman Actor. " My only supporters " in this play ; " the most perfect birth of my Minerva." 1630. The Society of the Inner Temple. The Picture. 1630, Mar. 22. George Harding, Baron Berkeley. The Benegado. 163 1, Nov. 19. John Lord Mohun, Baron of Okehamp- ton. The Emperor of the East. Uncle of Aston Cockaine. 1632, Jan. 6. Sir Francis Foljambe, Bart., and Sir Thomas Bland. The Maid of Honor. " I had not to this time subsisted " but for your " courtesies and favors." 1 63 2, Nov. 10. Piobert Earl of Carnarvon. A new way to pay old dehts. 1635, Dec. 7. Sir Eobert Wiseman, of Thorrell's Hall, Essex. The Great Duke of Florence. " For many years I had but faintly subsisted if I had not often tasted of your bounty." 1639, Feb. 14. Antony Sentleger, of Oakham, Kent. The Unnatural Combat. Had held converse with Sir Warham S., Antony's father. Massinger wrote verses for Shirley's Grateful Servant FLETCHER. '75 1630; "to his son J[ames] S[rnith] " on liis Minerva, and to Foljambe, with The Maid of Honor, 1632 ; and to Philip Herbert, Earl of Pembroke, on the death of his son Charles, 1635- Before considering the plays some important notes re- quire attention. 1 . Beaumont's name appears on the title-page of no play published in his life-time. 2. When the 1679 Fletcher Folio was published all the previously issued Quartos were included ; and to those pre- viously published in 1 647 lists of chief actors, where pos- sible, were added. These lists necessarily include nearly every play acted by the King's men, and one or two others. The names had been probably supplied by Fletcher himself. 3. The use of Prologues and Epilogues must be carefully noted. The fashion of using them fluctuated a good deal, and in late Quartos they are often wrongly ascribed. 4. The limits of date of Herbert's ofhce-books are im- portant. We have complete extracts from 1623 May to 1625 Feb. made by Chalmers; and extracts, apparently complete, by Malone (from 1622 May onwards) for Fletcher, Beaumont, and Massinger, 5. The character of Court performances is important. Some were of new plays, some of revivals. 6. The division into scenes may prove valuable as a means of investigating dates ; but having in many instances only modern reprints to work from, I have not been able to use it for every author. I have in the present instance noted the plays so divided. 7. In this more than in any other instance is the use of metrical tests necessary to separate the authors' parts in the various plays. As I have long ago published data sufficient for the purpose in the N. S. S. Transactions for iy6 THE ENGLISH DRAMA. 1874 [these papers are mine, although in the later lists of their publications my name as author has been, without my consent, omitted], I shall not give the particulars here. It will suffice to say that every play that I have read by any author has been metrically analysed by me, and the results used where needful. Some persons have used these tests to determine authorship, which procedure I regard as a species of monomania. The use of such tests is ouly effective in primarily determining the fact that there is a twofold authorship, and, secondarily, determining (when the authors have, on other evidence, been ascertained) what shares in the work are to be assigned to each author. The immense mass of detail accumulated by me on this matter is certainly not desirable for publication here, nor will it probably ever be published ; but it will possibly be useful ibr reference, and I may say that in the margin of every play in my own library it is tlius marked : all lines with female or Fletcher ending are indicated by a ijoint (.) ; all rhymes by a trace ( ; all weak endings by a tick ^ ; all alexandrines by a 12; all short lines by 2, 4, 6, 8, &c., indicating the number of syllables ; and all extra mid-line syllables by a plus + ; Rowley or French lines (neglecting accent) I have also marked with a tick ^ . I trust that after my death these books may be kept together for referential use by specialists in this matter. This digression is beyond my proper subject, and I apologise for it ; bat it is not a long one. Metrical tests other than these I have not found useful. I. Tkc Woman Hater, C, S. R. 1607, May 20 (or The Hungry Courtier, 1 649), was " lately acted by the children of Pauls," probably their last play. The date of production was probably Easter 1607 (Easter Sunday fell on April 5), for " a favorite on the sudden " seems to be a palpable FLETCHER. 177 allusion to the favour shown to Eobert Carr, afterwards Earl of Somerset ; and this began at a tilt in which Sir T. Ding- wall and James Lord Hay took part. This was the tilt of 1607, Mar. 24 {Nicliols, iii. 1076); it is wrongly dated in all the histories I have by me. " Another inundation," iii. I, alludes, I think, to the " second deluge " of 1607, Jan. 20. The source of the plot is Jovius, De Bomanis Fiscibus, cap. V. No author's name was given in 1607; but the Prologue gives it a single author, " he that made it." This author was Beaumont, as the metrical evidence proves ; Fletcher would have put his name on the title. In 1648 Ills name was wrongly put forth as the author ; but in 1649 Beaumont also appears in conjunction with it still more absurdly, for in a Prologue by Davenant " at a revival of the play " of unknown date but by the King's men, a single author, who had chief share in the three Blackfriars trage- dies, Philaster, The Maid's Tragedy, and A King and no King, is expressly mentioned. This, of course, was Beaumont, though what Davenant means by " full twenty years he wore the bays " I cannot tell. Fletcher wrote for the stage eighteen years at most, and Beaumont seven. Should M-e read vii. for xx. ? or did he mistake Beaumont's work for Fletcher's? The Epilogue in the 1649 edition was written for an altered play ; therefore not for this one, which was not refashioned. It appears again with The Nolle Gentle- man (q.v.). This shows that no dependence can be placed on statements in these late Quartos after Massiuger's death, 1639, c. Mar. 18. Compare Wit without Money, The Bloody Brother, The Wildgoose Chase, The Faithful Friends, &c. 2. The Faithftd Shepherdess, P. T. C, was published by Bonian and Wiialley, undated, but with a dedication to Sir W. Skipwith, who died 16 10, May 3. I find these pub- lishers' names conjoined in S. K. from 1608, Dec. 22, to VOL. I. M 178 THE E2s^GLISH DRAMA. 1609, Sept. I, and have therefore no doubt that The F. S. was published in 1 609. Moreover, Field in his com- mendatory verses speaks of his muse as in swathing-clouts, and his first play, as we shall see, was acted in 1 609 ; and in Fletcher's dedication to Sir W. Aston (there is yet another dedication to Sir E. Townsend) he mentions " the infection," which of late has silenced plays. The plague closed the theatres from 1608, July 28, to 1609, Nov. 30, except for a few days in 1608, Dec. This play was therefore acted before 1608, July, and so Jonson in his Conversations, xii., 1 6 1 8 c. Dec, " Fletcher and Beaumont ten years since hath written The Faithful Shepcrdess, a tragi-comedy. Well done." And yet it was published as " by John Fletcher," and with verses to him by Field, Beaumont, Chap- man, and Jonson. There is not a trace of external evidence that Beaumont had a hand in the writing beyond Jonson's statement, and yet, again, the internal evidence of metre so strongly confirms it that I have no doubt on the matter. Beaumont's dislike to have his name published as a play- wright is quite enough to explain its absence in the title and presence in these verses. That he had such a dislike is clear from the fact that up to his death his name never appeared in print as a play-author, but immediately after his burial it occurs abundantly. The Woman Hater was evidently published by the company, not by himself. Let us listen to his own words in his lines to Fletcher : — "The?e puLlic things ami I a;^'ree So ill that, but to do a right to thee, I had not been persuaded to have hurled These few ill-spoken lines into the world. " Note that all these writers of commendatory verses were connected with and writing for the Queen's Eevels children in 1608-9, and there will be small doubt that this play FLETCHER. 179 also was written for them and tliat Field acted in it. It passed, like The Woman Hater, or rather like The Scornful Lady, into the hands of the King's men, who acted it 1634, Jan. 6, before the King and Queen at Denmark House, with scenes by Inigo Jones, in the clothes the Queen had given Taylor the year before of her own Pastoral. Davenant wrote the Dialogue between a Priest and a ISTymph used for a Prologue, and Lady Mary Mordaunt spoke the Epilogue. It was afterwards acted [Query with the scenes ?] at Black- friars. The Scourge of Folly, Epigram 206, by J. Davies of Hereford, S. E. 16 10, Oct. 8, mentions this play, which is a rival rather than an imitation of Tasso's Aminta and Guarini's Pastor Fido. The 1634 edition has verses by S. Marmion. The charge of 6J, at private theatres is alluded to in Jonson's verses 1609. It was badly received then, but not so in 1634. 3. Four 'plays (or moral representations) in one was, in my opinion, also acted in 1608, and by the same company. The Yorkshire Tragedy, acted 1605, was published S. E. 1 608, May 2, as " one of Tlte Four ;plays in one," as if to delude the unwary purchaser into the belief that he was buying one of the plays then being performed. The Induc- tion, with its satire on Citizens, is very like other plays acted by these boys. Compare, for instance, The Knight of the Burning Pestle. The shares of Beaumont and Fletcher herein are singularly independent, and the marked differ- ence of their metrical forms afforded me the starting-point for the separation of their work in all these plays in 1874, which was till then regarded universally as an insoluble problem. Tlie Induction, The Triumph of Honor, or Diana (founded on Boccaccio's Decameron, x. 5), and Tlie Ti'iumph of Love, or Cupid (founded also on the Decameron, v. 7), are by Beaumont. The Triumph of Death (founded on Ban- i8o THE ENGLISH DKAMA. dello's first novel (cf. Palace of Pleasure, Nov. 40, and The Fortunate Deceived and Unhapj^y Lovers, iii. 3), The Triumph of Time (founded on Lucian's Timon, or Misan- throijos, in ray judgment, although Dyce follows Langbaine in ascribing it to the author's own invention), and The Eiyilogue are by Fletcher. The Triumph of Time, acted by the Admiral's men at the Eose 1597, April 13, may have been the immediate origin of Fletcher's sub-play, for Heywood translated this dialogue of Lucian's in a pre- sentable shape. 4. Love's Cure, or The Martial Maid, C. The Prologue at a revival after 1625 expressly assigns the original author- ship to Beaumont and Fletcher ; the Epilogue mentions " our author," i.e., the reformer of the play for the revival. The original date of production can be determined by in- ternal evidence. In i. 3, Alvarez has had twenty years of sorrow; in i. 2, Lucio, born just after Alvarez' departure, is 20; in i. I, Alvarez is 16 years before he takes Clara to the siege of Ostend, 1601 June— 1604 Aug. This makes the date of action, which is, no doubt, as usual in plays where such chronological calculations are introduced, the date of writing the play, 1606-8. The Fletcher part is so worked over by Massinger, who was certainly the maker of the reformation, as to be inseparable, unless in detailed notes; but Beaumont's hand is manifest in i. 3, iii. 5, v. 3 ; and iii. 2a is clearly by Fletcher. It was, in my opinion, acted originally by the Eevels boys in 1607-8, and passed in natural course to Queen Henrietta's men, for whom Massinger must have revised it after 1625, Nov. 17, when the plague fell below 40, and before 1626, Jan 22, when he had rejoined the King's men. The allusion, ii. 2, to "the cold Muscovite who lay here lieger in the last great frost," of course, is Massinger's ; but the allusions to FLETCHER. i8i Osteud in i. i ; the miraculous maiden of Confolens, 1604, in ii. I ; the use of the name Lazarillo, as in The Woman Hater, 1607 ; Don Blirt the constal)le, "the politic Diego," 1602, in iii. i ; and The Honest WJiore, 1604, in v. 3, all belong to the early form of the play, and were not dis- turbed by Massinger. I believe that this and Tlie four 2)lays ill one were the plays that kept Beaumont and Fletcher in the country, as already noted in Beaumont's letter to Jonson. Had this play been written for the King's men it would have had an actor-iist. The scenes are marked ; probably by Massinger when he reformed the play, 5. The Scornful Lady, C, was published 16 16, Mar. 19, as by Beaumont and Fletcher, and acted by the Queen's Revels children at Blackfriars, therefore not later than 1609. This title-page, immediately after Beaumont's death, and the earliest on which his name appears, is authorita- tive. Kor was the date earlier than 1609, for the Cleve wars are mentioned v. 3. This play passed to the King's men before 1625, and was acted by them 1633, Oct. 18, Shank taking the part of the Curate : Historia Histrionica. In i. 2, "this Apocrypha: bind it by itself" may allude to the Douay or the Authorised Versions, both of which were in progress and under discussion iu 1609, and completed in 16 10. I take the greater part of the play to be Fletcher's, but i. i, v. 2, to be certainly Beaumont's. It is printed iu a most corrupt form as regards metre, much verse being reduced to prose, and the rest incorrectly divided into lines in many places. There is a droll from it. The False Heir and Forrtial Curate, in The Wits, or Sport upon Sport, 1672. 6. Monsieur Thomas was acted at Blackfriars, but not by the King's men. It was published 1639, with dedica- 1 82 THE ENGLISH DRAMA. tion to Charles Cotton, by E. Brome, then writing for the Queen's men (Henrietta's) at Salisbury Court; it is also contained in their 1639 list as The Father s oivn Son, and a droll from it, under that later title, is printed in The Wits, 1672. Halliwell had the impudence or ignorance to re- print this in i860 as a portion of "a lost play," and this trash must have been eagerly sought for by Shakespearian students, for I find a copy priced by Jarvis & Son at 15 s. The play must have come down to the Queen's men from the Eevels children, and the date of production been c. 1609. The title-page evidently is authoritative, and sup- plied by E. Brome, It names " the author. John Fletcher." The plot founded on Boccaccio's Decameron (last day), Tito and Gisippo. The Paul's boys acted a play (Anon. 4) of the same plot 1577, Feb. 17. When the play was first acted, " when Ignorance was judge," it was badly received. For the second title cf. iii. 2, " Who is he like ? Yourself ; " iv. 2, " Dat's mine own boy;" v. 10, " nown son again;" and for the ballads and songs, iii. 2, 3, iv. 2, 5, compare The Knight of the Burning Pestle. 7. The Knight of the Burning Pestle, C, was published 161 3, with no author's name, but with a Dedication by Burre, the publisher, to E. Keysar, stating that he had had it these two years, and Keysar had it before him " while it was yet an infant ; " also that it was above a year the elder of Don Quixote, i.e., of Shelton's translation, entered S. E. 1 6 1 1 , Jan. 19, but dated on the printed copies 161 2. In iv. i, " Read the play of The Four Prentiees of London " (q.v. under Heywood) shows that that play had been published ; but that was in 161 o, when the practice of arms in the Artillery Garden was revived. All this fixes the date of the play in 16 10. It was, therefore, acted at White- friars. In The Induction, " this seven years there hath FLETCHER. 183 been plays at tbis house ; I have observed it ; you have still girds at citizens," points to the previous occupants of that theatre, namely, the King's lievels boys, 1607-9, ^s Mr. Greenstreet's discovery, made since my History of the Stage was published, proves ; and to their predecessors, who must have been the Paul's boys, who must, therefore, have acted there 1604-7, and not in their own singing-room, as usually supposed. The Queen's players had acted the play by 1635, and they had derived it in due course from the Queen's Eevels boys (Rossiter's). It is one of the 1639 Cockpit list. In i. 2 the Wife asks Humfrey, " Were you never none of M. Moncaster's scholars ? " Le., a Paul's boy before 1602. Dyce strangely refers this to Moncaster's earlier Merchant Taylors mastership, i 569-1 586, which is out of all possible date. In iv. i, the christening of the Sophy's child refers to The travels of the three English Brothers : so Dyce ; but he did not see that the reference to this play produced at the Curtain, but here said to be acted at the Eed Bull, implies a date not earlier than 1609. The "statute" in i. r dates 1609, Jan. 7. The child "so fair grown, &c." iii. 2, is also referred to in Jonson's Alchemist^ " six years old," v. i, 1610. The hermaphrodite, iii. 2, was no doubt "the monstrous child" born 1609, July 31, at Sandwich (see S. R. 1609, Aug. 26, 31), which was pro- bably shown in London 1609—10. In the 1635 edition the play is rightly assigned to Beaumont and Pletcher. It occurs in the 1639 list, and a droll from it called The Encounter (wrongly referred to The Humorous Lieutenant) is in The Wits, 1672. It was performed at Court (St. James') by Queen Henrietta's men 1636, Feb. 22, but was on the Cockpit stage in 1635, being mentioned as publicly acted in Brome's Sparagus Garden, ii. 2. The latest definite mark of original performance that I can find is in the songs 1 84 THE ENGLISH DRAMA. taken from Eavenscroft's Deuteromelia, S. E. 1 609, Oct. 1 2, " Nose, nose" i. 4 ; Johi Dory, ii. 4. There are many other songs from Dowland, Eavenscroft's Pammelia, 1609, &c., just as in Monsieur Thomas. These parts I would assign to Fletcher, as well as i, i, 2 ; ii. i, 2 (part), 4, 5 (part), 7 ; iii. I ; iv. 3, 4 ; v. i ; that is, all the scenes with Humphrey and Merrythought's songs, while Beaumont wrote the parts with Ealph and Mrs. ]\Ierry-thought ; but in many scenes both hands are discernible, and an exact analysis could only be made in an annotated edition. Among the indications of close approximation to 31. Thomas is the reference to the Spaniards at Bow, ii. 2 (cf. M. Thomas, iii. 3), and this is surely by Fletcher. The second title, The London Merchant, in the Induction makes it likely that the play entered as Ford's S. E. 1660, June 29 {q.v.), was only a revisal of the present one. The received opinion that this play was directed merely against the chivalry romances is far too narrow ; it is satirical throughout, especially of Monday's translation of Palmerin d'Oliva, i. 3, and The Mirror of Knighthood, i. 3, iii. 2, but also of contemporary plays ; e.g., of Prince Henry's men at the Fortune {Whittington, S. E. 1604, Feb. 8, and Peele's Edivard i ; in the Induction), of Derby's men (Heywood's If you knoiv not me, and his Jane Shore, or Edward 4 ; also of The Bold Eeauchamps ; in the Induction), and of the King's men (Shakespeare's i Henry 4, [Lodge's] Mucedorus, and Kyd's Jeronymo ; in the Induction) ; in fact, of all the companies acting at the public theatres, for Hey wood had probably revived his Derby's plays at the Bull for Queen Anne's men, and one of these. The Four Prentices, is not only satirised in the Induction, but mentioned by name in iv. I. The Prince of Moldavia of Jonson's Epicene, v. i (cf. " King of Moldavia," iv. 2), on whom Weber wrote such nonsense, and of whom Dyce says " nothing is known," was FLETCHER. 185 with the Turkish Ambassador at the English Court 1607, Nov. (see Nichols, ii. 157). The Prologue, published in 1635, belongs to Lyly's Sapplio. 8. A Woman is a Weathercock, C, by IST. Field, was acted before the King at Whitehall before 161 1, Kov. 23, when it was entered S. E., therefore almost certainly during Christ- mastide 1610-1 1, and publicly (of course before this) by the Queen's Eevels children (Rossiter's) at Whitefriars. It dates, therefore, 1610. There are allusions to Kyd's Eicronimo in i. I and i. 2. There are three allusions to the Cleve wars in i. 2 — they began in 1 609 ; to lusty " Lawrence of Lancashire " in v. 2 (compare The late Lancashire Witches) ; to the 1609 plngue in ii. i. The commendatory verses by Jonson have been already mentioned. Jonson was, of course, pleased at Field's following his example in keeping the unity of time ; see the final lines of the play. In his " address to any woman that hath been no weathercock " Field pro- mises his Amends f 07' Ladies as his next play. 9. The Coxcomb was acted before Prince Henry, Lady EHzabeth, and the Palatine 16 12, Oct. [16-24] (see my History of the Stage, p. 175), and in 161 3 [Jan.] before the King (according to Oldys) by the Queen's Ptcvels children under Eossiter. But the actors-list prefixed to the play must date before 161 i, Aug. 29, for Gary and Parkstead, who appear in it, and who had always till then been Eevels boys, at that date joined the L. Elizabeth's men under Foster. In 1 6 1 i we shall find Beaumont and Fletcher fully occupied for the King's men ; the play must therefore be assigned to 16 10, after Mar. 30, at which date Taylor belonged to the Duke of York's. Field and he were the chief actors in this play. The copy we have is that of a revival in 1636, when it was acted at Hampton Court Nov. 17. It had been "condemned for its length," i86 THE EXGLISII DEAMA. but " that fault's reformed," says the Prologue, evidently by Massinger, and written for a Court performance (" your noble censures " and " before such judges " indicate this), but that it was on the public stage in 162 i I have no doubt (see The Spanish Gipsy, ii. i, iv. 2, and specially ii. 2, " Wilt thou ever play the coxcomb ? "). Massinger was then writing for the Lady Elizabeth's men, and then, I think, the altera- tion was made. Had it been in 1636 the play would have been mentioned in Herbert's register. Mr. Oliphant has suggested to me that this was the Taste and Welcome of S. E. 1660, June 17, and destroyed by Warburton's servant (cf. the " dish cooked with care " in the Prologue). There is no Taste and Welcome in Herbert, but see The Emperor of the East further on. A relic of the original play exists in " The Scene England, France" of the 1679 Folio. As the play now stands, the scene is, if in any definite country, in Spain. Two original authors are implied in the Prologue — of course Beaumont and Fletcher. Beaumont's part is i. 3, ii. 4. Massinger's alterations are most extensive in i. i, 2a; iii. Id, 2 ; iv. 4 ; V. I, 3, which are nearly rewritten. The lower strata of Fletcher's work crop out all through, but the main part now extant is Massinger's. 10. Cupid's Revenge, published 161 5, April 24 (before Beaumont's death), as by J. Fletcher, but in 1630 as by Beaumont and Fletcher (rightly), was acted by the children of the Queen's Pevels (Rossiter's) 161 2, Jan. 5, before Prince Henry and the Princess Elizabeth; on 16 13, Jan. i, before the King; and 1624, Dec. 28, by the Queen of Bohemia's men at Whitehall, before Prince Charles and the Duke of Brunswick. It occurs in the 1639 Cockpit list, and was, for reasons similar to those for the immediately preceding plays, originally produced at Whitefriars in 16 10. It is founded on Sidney's Arcadia. There is a droll founded FLETCHER. 1S7 on it, The Loyal Citizens, in Tlie Wits, 1672 (wrongly said to be from Philaster). This play has palpably been altered ; of course for the Court performances 161 2-1 3, while Beaumont and Fletcher were with the King's men. Mr. Oliphant thinks by Massinger, I suppose by Field, possibly by Daborne. I cannot trace Massinger quite so early, nor is the alteration made in his careful way ; the metre is broken and irregular. However this may be, the play is so instructive as to the manner in which those recastings were performed that I shall give an analysis of one important evidence in detail. The original plot had a king, queen, and prince, who were imperfectly altered into a duke, duchess, and marquis. This king and queen were pro- bably too wicked to be presented at Court under those names. I write B. for Beaumont, F. for Fletcher. The broken careless lines throughout (frequently divided wrongly by Dyce) are characteristic of Field ; but where the metre distinctly shows that an alteration has been made from a monosyllable to a dissyllable, I will write altered (alt.) after the altered word. B. i. irt, princess, duke, marquis, duke, duchess (alt.), king, royal. F\ i. \h, duke, duke. F. i. 2, duke, kingdom. B. i. 3, princess, king. B. i. 4, marquis, princess, prince, kingdom, royal, king, prince, duke. B. ii. I, kingdom, prince. B. ii. 2, prince, prince, duke, prince, duke, sovereign, king, prince, kingdom, prince, prince, prince. B. ii. 3, dukedom. B. ii. 4, duke, princess, duke. B. ii. 5, duke. i88 THE ENGLISH DEAMA. F. ii. 6, duke, highness, king, queen, kingdom. B. iii. I, king, prince, queen. B. iii. 2, king, queen, duke, prince, king, duchess, king, duke, king. r. iii. 3, duke, prince, duchess. F. iii. 4, duchess, kingly, kingdom, prince, prince, duke, kingdom, prince, duke, king. F. iv. I, duke, king, marquis (alt.), dukedom, prince, king, dukedom, duke. F. iv. 2, duchess, duke, duke, king, duke, highness. "Fortune, Fate" in Bache's first speech are alternative readinrrs, another sign of alteration. F. iv. 3, duke, king, prince. B. iv. 4, prince, his grace, kingdom, prince, prince, royal. B. V. I, grace, prince, grace, marquis (alt.); last speech by Fletcher. B. V. 2, king, prince, prince, prince, king, duke, prince, prince ; bits by Fletcher. B. V. 3. B. and F. v. 4, prince, duke, highness, prince, queen, duke, prince. This list may not be exhaustive, but it makes it clear that wherever prince or queen are required by the metre the original has been left unaltered ; and also the use of marquis and duchess is limited to the third hand, since the other words are necessarily true readings in many passages that are unmistakably some Beaumont's, some Fletcher's. But the corrector, or rather the condenser, has been at work in almost every scene. Beaumont and Fletcher now left the Bevels boys for the King's men, c. Sept. II. Fhilaskr, or Love lies a hlccding, published 1620 FLETCHER. 189 (rightly) as by Eeanmont and Fletcher, was acted by the King's men at the Globe before 1610, Oct. 8, when Davies' Scourge of Folly was entered S. R,, for Epigram 206 is made on it, and addressed to Fletcher — an additional proof that Beaumont in his lifetime was not known as a play-author. It was acted twice at Court 16 1 2-1 3, before Prince Charles, the Lady Elizabeth, and the Palatine ; and I suspect the absurd alterations of the beginning and the end of the play in the 1620 edition were made for that occasion. A droll on it, The Cluhmen (wrongly assigned to Cupid's Ecvenge) occurs in The Wits, 1672. Fletcher wrote i. i, v. 3, 4. The rest is by Beaumont. The transposition of the char- acters of Megra and a Lady in i. i shows distinctly that this scene was not written by the author of i. 2-iv. 2. 12. The two Nolle Kinsmen, T. C, entered S. Pi. 1634, April 3, for John Waterson, as "by J. Fletcher and W. Shakespeare," and published as by those " memorable worthies of their time." From 1626 to 1639 Waterson published plays, and whenever he enters the author's name does so correctly. It seems certain that in this instance he honestly repeated the information given him. But who gave it ? Hemings and Condell, the Shakespeare Folio editors, had been dead some years. The only King's actors surviving from Shakespeare's time were Lowin and Robinson, neither of whom appear to have anything to do with p\iblication of old plays. Judging from the other plays published by Waterson 163 1—7, I think it was Massinger who sent it to press, and hnd it been partly written by him he would have claimed his share in it. But it was published without dedication and without Massinger's name in any way. Mr. Boyle, in his papers written " to test the correct- ness of Fleay's tables," and to claim " Mr. Bullen's and my own work at Day and Wilkens" [sic, though Day and 190 THE ENGLISH DRAMA. Martin's would have been more apposite], claims much of the play for Massinger on metrical grounds. But the pri- mary tests of historic evidence and poetic power refute this hypothesis, although the N. S. S. paper is so plausibly got up that for a time I was completely taken in by it. See my Life of Shahesyeare, p. 254. That Fletcher wrote ii. 2, 3, 4, 5 [which Dyce wrongly calls ii. i&, 2, 3, 4] ; iii. 2, 3, 4, 5, 6 ; iv. I, 2 ; V. I (1. 1-17), 2, is now universally acknowledged ; but as to the rest, much will depend on the date of production. It is claimed as a " new play " in the Prologue, evidently Fletcher's, and at a time " when, if this play do not keep A little dull time from us, we perceive Our losses fall so thick we needs must leave." What time and what company does this refer to ? The absence of the play in Herbert's licensing list implies a date before 1622, May ; but had it been then known to be Shakespeare's (and if kuown in 1634, surely it would be known in 1622) it would have been published in the Folio 1623 by Hemings and Condell ; there was no copyright to hinder them, as in the cases of Pericles and Edward 3. The copy used was a stage copy; in i. 3 there are stage directions for i. 4, " 2 hearses ready with Palamon and Arcite : the 3 Queens, Theseus, and his Lords ready;" in iii. 5, "Knock for Schoolm [aster]," omitted by Dyce ; this latter occurs in the Fletcher part, the former not so. Hence I think the whole play as it now stands was written for the original performance, and was not completed or revived by Fletcher near the end of his career, as Dyce suggests. One Curtis — i.e., Curtis Greville — acted the messenger iv. 2. Greville does not appear as a King's man till 1626; his name is not in the 1625 patent. The play was not then originally acted in 1625, as I once supposed. In 1622 Greville's name appears in the Lady Elizabeth's and in the Palsgrave's lists FLETCHER. 191 as a sharer ; at an earlier date, when he would be likely to take the unimportant part of messenger, we have no record of him. T. Tucke, of whom I know nothing further, and Curtis appear in v. 3. But, on the other hand, the divided scenes and the line iv. 2, " Thou art a changeling to him, a mere gipsy," which surely was written after The Changeling and The Spanish Gipsy were produced in 1621, poiut to a late revival. Much more important is the fact that the publisher regarded the play as Shakespeare's, and therefore must have dated it as c. 1 6 1 o at the latest. I have vacil- lated so much in my opinion as to this authorship, and the verdicts of Lamb, Coleridge, Hallam, Darley, &c., have so much weight, that it is with great ditfidence that I give the following hypothesis, the chief merit of which is that it arrrees with all the known facts. Fletcher and Beaumont wrote the play for the King's men c. 161 i; in 1623 Hemings and Condell knew that it was not Shakespeare's ; after this, but before Fletcher's death, it was revised slightly and acted by the King's men; but in 1634 they knew not whose the second hand was, and guessed Shakespeare merely from the date of original license. Beaumont, as I have repeatedly pointed out, did not want to be known as a play- wright, and in the Prologue Fletcher accordingly speaks only of " a writer." The inaccurate text certainly points to an old date, as if it had been copied and recopied. This hypothesis satisfies the external evidence ; as to the internal, the weak endings are as much like Beaumont as Massinger, and Dyce has pointed out one similarity with Beaumont's work which to me is very strong evidence : — " Drink to him, carve him, give him compliment" {Remedy of Love). '• Carve her, drink to lier, ami still among intermingle your petition of grace and acceptance into her favor " (iv. 5). This use of " carve " is not common. One thing is quite car- 192 THE ENGLISH DRAMA. tain. Chapman, put forward by Knight, and Massiiiger by Boyle, had no share in the authorship ; and if Beaumont did not write it, it is beyond the reach of any one else but Shake- speare. Yet the external evidence is, I think, insuperable against Shakespeare. The Bavian (Batavian) of iii. 5 is surely the same as the "strange Indian" of Henry 8, v. 3, 161 3, and the " Cataian of strange nature" of Bam Alley, c. 1609. 13. yl King and no King was published 1608, Aug. 7, with Blount the publisher's dedication to Sir Henry Neville, who had provided the copy, as by Beaumont and Fletcher (rightly). Herrick attributes the " plot " to Fletcher, Earle, in his verses written 16 16, just after Beaumont's death, assigns Bessus, Bhilaster, and The Maid's Tragedy to Beau- mont, which, if we take him to mean in the main and not in absolute entirety, is certainly true. Fletcher's share in this play is confined to iv. i (part), 2, 3 ; v. i (part), 2, 3. It was " allowed " by Buck in 1 6 1 1 . " Mandane " in stage direction ii. i, not occurring elsewhere, looks as if this were ]irinted from an author's copy. It was acted before the King 161 1, Dec. 26, and before Prince Charles, the Lady Elizabeth, and the Palatine 16 12-13. 14. The Maid's Tragedy was published without authors' names 1619; again, slightly "enlarged," i.e., with fuller restoration of omitted passages, in 1622 ; and as by Beau- mont and Fletcher (rightly) in 1630. That it was licensed in 161 1 c. Oct. is evident from Buck's superscription to The Usurping Tyrant (q.v.), as " this second Maiden's Tragedy," 161 1, Oct. 31. There is a droll on it, The Testy Lord, in The Wits, 1672. It was acted before Prince Charles, the Lady Elizabeth, and the Palatine 161 2— 13. I think the Mask was then inserted (compare Shakespeare's Tempest) : for the " floods fuller and higher than you have FLETCHER. 193 wished for" can hardly be referred to those of 1607, and as they, with tlieir accompanying storms and "wrecks, appear to allude to actual facts, I feel obliged to connect them with the storms of 161 3, Oct.— Dec, and the floods that followed thereafter. I even venture to conjecture that this mask was originally written for the marriage of Lord Walden and Earl Dunbar's daughter, which was interrupted 16 12, Jan. 29, and that it was subsequently altered and inserted in this play. In this mask the copies have so singular a mis- take that, although it be beyond my present scope, I must note it. " Another measure," which should follow the second song, has been printed "if not her measure," and in- serted in the text, where Dyce finds a clear meaning in it. This, the insertion of " the third song " after instead of before " a measure, Neptune leading it," and the addition (restoration) of ten lines in a speech of Cynthia's in an earlier passage, prove that the mask had been subject to revision. Fletcher's part is only i. 2, iv. i, v. i, 2«, 3 ; the rest is Eeaumont's. In i. i, near the end a stage direc- tion, " Cleon, Strato, Diphilus," marking the Lords who are to attend Lysippus, has got into the text. The copy was, then, probably one prepared for stage use — by the author (see sujjra). 15. Zoves Flip-image, C, was "renewed" for the King's men 1635, Sept. 16, and acted at Hampton Court before the King and Queen 1636, Dec. 16. As a fee was exacted by Herbert, there must have been alteration in the play. This alteration was no doubt the transference of a consider- able part of i. I from The New Inn, which had been hissed off the stage in 1629, and published in 163 i. The altera- tion was, of course, made by Jonson. Malone says that this play and The Kighticalker are stated in Herbert's MS. to have been left imperfect by Fletcher and finished by Shirley. VOL. I. N 194 THE ENGLISH DRAMA. This cannot be correct. Shirley " correctet]," i.e., altered, The Nightwalkcr for the Queen's men in 1633, but was not connected with the King's men till 1640. Weber gives the Herbert entry in full, and Shirley is not mentioned. We must either attribute the alteration to Jonson or suppose that these passages were part of the original play, and stolen by him for The Ncio Inn, an hypothesis which I now abandon as untenable. Actsi., ii., iii. are certainly by Fletcher (with this exception) ; Acts iv., v. by another hand, perhaps Webster. But that the date of the original play was 161 2 I have no doubt. There is no actor-list, as for all King's men's plays from 1 61 3 to 1624 (except those published in Quarto); and on 16 I 3, June 8, a play called Cardenna was acted before the Duke of Savoy's ambassador, and one called Cardenno before the King 161 2— 13. The History of Cardciiio was entered S. E. 1653, Sept. 9, as by Fletcher and Shake- speare ; therefore an early play of c. 1 6 1 o— 1 6 1 3. All these were acted by the King's men, and are manifestly one and the same play. Now, in Love's Pilgrimage, ii. 3, we find that Leocadia was one of the Cardinas, and in the novel (Cer- vantes' Las das Doncillas) on which the play is founded this name is spelled Cardenas and Cardona. Surely this is the Cardenna-Cardenno-Cardenio-Cardina-Cardena-Cardeuas play originally named The History of the Cardinas. Caranzn, an authority repeatedly appealed to in v. 5, was of an earlier time than The Neio Inn: "So had Caranza his," ii. 2. liowl, Ashton, ii. i, and Job Bacon, iv. i, appear in the stage directions as actors. The scenes are marked ; pro- bably this was done at the revival. 16. TlLe Captain was acted at Court 161 2-1 3 before King James by ihe King's men, but not on May 20, as Oldys says. Here, as elsewhere, he mistakes the date of payment for that of presentation. But the version we have, FLETCHER. 195 with its "scene Venice, Spain," is an altered version. Acts i. to iv. 3 are plainly enough by Fletcher, but the rest is not his as it stands, though probably altered from his work, as the Prologue (for Blackfriars, admission 1 2d.) mentions " the author." In iv. 3 Lusty Lawrence is mentioned, and rightly explained by Dyce ; but see The Woman's Prize. A list of actors is given in 1679 F., the first for the King's men's plays. The scenes are marked also for the first time. In ii, I is a song enlarged from The Knight of the Burning JPestle. I suppose the alterations were made for the Court performance, but by whom I know not. Was it Barnes ? Fletcher, still following Jonson, now left the King's men. Beaumont left play-writing altogether in 1 6 1 1 , but in 1 6 1 3 produced his Masl'S, viz., those inserted in The Tempest (q.v-) and The Maid's Tragedy, and 1 7. The Mash of the Inner Temple and Grays Inn, " pre- sented to the King, Queen, Prince Charles, the Palatine, and Lady Elizabeth, 161 3, Feb. 20, at the Lady Elizabeth's marriage," published S. E. 161 3, Jan. [Feb.] 27, along with Chapman's, with dedication to Sir Francis Bacon. It was with special reference to these masks that Jonson said to Drummoud " that, next himself, only Fletcher [Drummond's palpable mistake for Beaumont] could make a mask." 18. The Honest Man's Fortune, T. C, was "played in the year 1 6 1 3 " (MS. copy apud Byce), and reallowed for the King's men, " the original being lost," 1625, Feb. 8. It was originally acted, as the actor-list proves, by the Lady Eliza- beth's men after Possiter's boys had joined them, 161 3, Mar., for Taylor and Field were both performers in it. Malone and Dyce are mistaken in thinking it was acted at the Globe. In fact, the Globe had been burued on June 29, when this play was written (see Daborne) in July, and that lire was probably the occasion of Fletcher's leaving the 196 THE ENGLISH BEAM A. King's men and writing for another company. A comparison of dates, and the certainty (derived from metrical and other tests) that there were four hands engaged on it, leave no doubt that this was " the play of Mr. Fletcher and ours " which Daborne, Pield, and Massinger were then writing. Massinger's share is i. i, 2, 3 ; ii. i ; Daborne's, ii. 2, 3, 4 ; Field's, iii. i, 2, 3 ; iv. i, 2 ; and Fletcher's, v. i, 2, 3. La Poop is a land-captain in ii. 2, " served once at the siege of Brest;" in iv. i "a sea-captain, you know." The ending in the 1625 MS. [by Field] is an alternative for that in the Folios [by Fletcher], and in many other places the versions differ. Future editions should (as in most other cases) take the earlier text as their basis. " The like story is related by Hey wood in his History of Women, ix. 641," Langlaine. The publishing of Heywood's book probably caused the revival of the play. For its passing into the hands of the King's men compare The Scornful Lady, &c. 1 9. The Nice Valor, or The Passionate Madman, was re- vived soon after Fletcher's death, c. 1625, Christmas (see the Prologue) ; but greatly altered, perhaps by Middleton. The scene (like the preceding play) was originally in France, for all the proper names, except Galoshio, are French, and the Duke (cf. " Duchess of Valois, ii. i) has been transferred from Yalois to Genoa, iv. i. Base, the jester, was, I think, T. Basse, who acted with Lady Elizabeth's men 161 3. The " reformer " is careful to tell us that Fletcher wrote only a few scenes in the original play, and that these were the Chamont scenes : " his scenes," Prol. ; " what is writ of nicer valor," Epil. ; but that he had rewritten " the love scenes ; Cupid in's petticoat," for which " he'll stand no shock of censure," Epil. Hence the 161 3 title was The Nice Valor, the 1626 title The Passionate Madman. None of the Cupid scene characters have proper names. The Fletcher FLETCHER. 197 part is i. i«; ii. lac ; iii. 2; iv. i ; v. 2, ^hd. The re- formed part, i. ih ; ii. ih ; iii. i, 3 ; v. i, 3ac (very little altered). The scenes are marked, probably by the reformer, who did not preserve an actor-list. Fisher's Folly, 1624, is mentioned v. 3^. "The private house," iv. i, must refer to a time when there was only one private theatre (Black- friars), and must date after the closing of Whitefriars in 161 3. Poltrot has no name in the Fletcher part; he is only " a gallant " in iv. i ; but the name was no doubt adopted by the reformer from the 1 6 1 3 play. 20. The Nightwalker, or The little Thief, C, was licensed by Herbert, as "corrected by Shirley," 1633, May 1 1, for Queen Henrietta's players, and performed before the King and Queen 1634, Jan. 30, as "made by Fletcher, and liked." Published as Fletcher's 1640. Tiie unaltered Fletcher part is i. 2, 4, 5, 6, y, '& ; ii. i, 2. In i. 2 "Wild- goose occurs, and in ii. i, iii. i, v. 2 Nicholas. These are Fletcher's names, Toby occurs for Nicholas i. 3, iii. i, 3, iv. 1 , 4, V. 2 ; and Wildbrain for Wildgoose i. 3, iii. i, iv. 1,3, v. I. These are Shirley's names. It is clear that iii. i, V. 2 were ouly altered, not rewritten ; and so, doubtless, other scenes. Histriomastix, 1633, is mentioned iii. 4. "The witches hanged at Ludlow," iii. 3 ; " A new book of Fools," iii. 3, await identification. The play is not the same as The Devil of Dowyate, 1623, Oct. 17, for that belonged to the King's men ; this one, like other Fletcher plays that came down to Queen Henrietta's men, was originally acted by the L, Elizabeth's players c. 16 14. Had it been left unfinished at Fletcher's death the King's men would have had it. It cannot date later than 161 5. 2 1 . Wit wiilwut money, C, certainly by Fletcher only, though the 1639 Quarto says by Beaumont and Fletcher, was produced soon after 16 14, Aug. 24, when the Sussex 198 THE ENGLISH DRAMA. serpent appears in S. E., " Dragons in Sussex, sir, or fiery battles seen in the air at Aspurg," ii. 4. The Beeston boys acted it at Court 1637, Feb. 14. It had been acted before this by Queen Henrietta's men. It is in Beeston's 1639 list. It was entered S. R. with Tlic NigMiualher and three of Shirley's plays. The "half-crown boxes," i. i, are also mentioned in Bartliolomcio Fair (Induction), 16 14, Nov., at the Hope, and this unusually high price points to the same theatre. The New River, finished 161 3, Sept. 29, is alluded to in iv. 5. The date of the play is certainly 161 4, after August. 2 2. The Woman's Prize, or The Tamer Tamed, or The Taming of the Tamer (Herbert), C, was revived in Oct. 1633; "an old play, by Fletcher" (only), suppressed by Herbert on Friday the i8th [not 19th], and The Scornful Lady acted instead of it. The book was sent him on Oct. 19, returned "purged" Oct. 21, Lowin and Swanston apologised for their ill manners in discourse about this Oct. 24. It was acted before the King and Queen at St. James', and was liked, Nov. 28, two days after The Taming of the Shrcic, which was not liked. Of course Henrietta would not like the taming. There is no actor-list in the 1679 Folio. It must therefore date, if a King's men's play, after Shakespeare's retirement, 1610, and before 161 3. The Prologue and Epilogue (by Massinger, I think) show that The Tamer Tamed was the 1633 title, and so Herbert has it. " The wind and the rahi," ballad i. 3, is quoted also in The Knight of the Burning Pestle, 16 10, and M. Thomas, 1609. The siege of Ostend, i. 3, is referred to in Loves Cure, 1608, and The Coxcomh, 16 10. Lusty Lawrence is alluded to i. 3, and mistaken by Weber and Dyce for a singlestick player. The " armies in the air " at Asperg are also mentioned in Wit unthout Money, 16 14. On the FLETCHER. 199 whole, I date this play, if a King's men's play originallv, 1 6 1 2 ; but it may have been a Lady Elizabeth's men's, c. 161 5, and most likely was so, like The Scornful Lachj, acted instead of it in 1633. The scenes are marked, but this may have been done at the revival. Would a play bur- lesquing one of Shakespeare's have been produced by the King's men in 1 6 1 2 ? I think not ; nor does the play occur in the 1612-13 list as acted at Court. 23. The Beggars Bush, C, was certainly by Fletcher and Massiuger. Fletcher's share is ii, i ; iii. i, 2, 3, 4, 5 ; iv. I, 2, 3, 4, 5, 6 ; V. I (part); Massinger's, i. i, 2, 3 ; ii. 2, 3,4; V. I (part), 2. Fletcher spells Jaculin, and Massinger Jaqueline ; in v. i both occur, Dyce, as usual, suppresses this difference ; but his is a modernised edition, not a " literal " reprint, like Grosart's Dido, where the same thing is done without a vestige of excuse. As there is no actor- list, I have no doubt that the original performance was by the L. Elizabeth's men at the Hope c. 161 5. The scenes were probably divided and the text revised for the Court performance 1622, Dec. 27, by the King's men, to whom this play had passed with The Scornful Lady, &c. The attribution of part-authorship to Beaumont in the i66r Quarto indicates, as usual with those mistaking late Quartos, a date prior to Beaumont's deatli, Dyce says, " Fletcher may certainly be regarded as sole author ; " and again, " We may conclude " it was originally acted in 1622; but " this remark only shows how dangerous it is to be confident in matters of such uncertainty," as Dyce remarks on Weber, re Cupid's Revenge. The Epilogue is by Higgin anvl Prig together. Fletcher used, I think, the 1 6 1 2 edition of Dekker's Belman for the canting parts. 24. The Chances, C, has a Prologue and Epilogue for a revival after Fletcher's death ; v. 3 ridicules devil plays. 2 00 THE ENGLISH DKAMA. " Ascend Asteroth," " Belfegor," " St. Duustan," " the Devil's in't," " the Merry Devil," &c., allude plainly to Haughton's Grim, Drayton's Merry Devil of Edmonton, Dekker's If this he not, &c. ; while " Dost thou think the Devil such an ass as people make him ? " v, 3, probably supplied Jouson with a title for his play, 1 6 1 6. Jonson's, of course, is not one of the satirised plays, for Pug does not "run of errands with Asteroth and Behemoth and Belphegor." The play has no r.ctor-list, but " PtOwL," i.e., W. Rowley, acted in it, iii. 2. ])yce has sophisticated this name into Rowland without authority. In the same scene the song of John Dory is sang, which occurs in The Knight of the Burning Pestle, 1 610. Some other songs, found only iu the 1679 Folio, are of doubtful authorship. The play is founded on La Sennora Cornelia, one of Cervantes' Novelas Exemplares. It has been much abridged, probably for Court performance. I have little doubt that it was written for Prince Charles' men 161 5, aud I think it likely that it was the play, A Vow and a good one, acted by them before the Prince 1623, Jan. 6. Compare i. 10, the Duke's vow, with v. 3, the final line. A droll, The Landlady, founded on it, is in The Wits, 1672. 25. The Faithful Friends was entered S. E. 1660, June 29, for IMoseley as by Beaumont and Fletcher (and printed 18 12 by Weber), togetlier with A Flight Woman, of which more hereafter, and Mador Xi^ig of Britain, H., " by Beaumont." Had these plays been by Fletcher and Beau- mont they would certainly have been included in the Folios ; but the attribution to them indicates, as usual, a date before Beaumont's death, 16 16, Mar. 6. The present play was written 16 14, Mar., after the marriage of Carr Earl of Somerset, 161 3, Dec. 26. The reference to him, i. I, as the anah^gue in "courts tliat I have seen" to FLETCIIEK. 201 Alexander's Heplia?stioii and I'hilip's Lernia, and to " the revellings of this great nuptial " some two days since, or rather two months since, cannot he mistaken. I have no doubt that Daborne, then writing for Henslow, was the author. The MS. is one corrected after alterations by the Master of the Eevels. In i. 3, "Dost tell me — image" is replaced by a couple of lines, the original being full of allusions to Docberrv ; in ii. i, "dost not — debtor" is omitted as profane ; iv. 5 has the plot of the scene by one author, and the scene itself by another, written in a different hand. The copy had probably been damaged, and completed irom some other copy, for the beginning (three leaves) and the end (one leaf) have been supplied in a more modern writing. I think the play is Daborne's (except iv. 5), and that it was almost his last for the stage. I conjecture that it gave offence, and caused Daborne's giving up writing for the stage; and, further, that it may be the play indicated as Damon and Pythias in Jonson's Bartliolomeiv Fair six months afterwards. 26. Amends for Ladies, C, was published 161 8 as acted "at the Blackfriars both by the Prince's [Charles'] servants and the Lady Elizabeth's." As these companies never occur in connexion with the Kind's men's Blackfriars Theatre, and did for a very short time act at Eossiter's new theatre in Blackfriars in 161 5, this must be the theatre intended. But it may have been, and I think was, acted earlier. On 161 1, ISTov. 23, Field, in the Dedication of The Wcather- cocJc IVoman, says of if, " till my next play be printed, wherein she shall see what amends I have made to her." Would Field have said " printed " if it had not been acted already ? and in the Xiohe dissolved into a Nilus, by A. Stafford, S. B. 161 i, Oct. 10, he says, "/ will never write an Amends for Womaii till I see Woman Amended." 202 THE ENGLISH DRAMA. I think it must have been acted by the Queen's Eevels boys at Whitefriars before i6ii,0ct. The 1639 edition adds in the title " with the merry pranks of Moll Cut- purse or the humour of roaring." Tliis again implies (for the play was not altered) an almost contemporaneous pro- duction with The Roaring Girl (q.v.), and therefore a date of 1610-11. This is, I think, the Fortune play alluded to in iii. 4 ; but Long 3Icg of Westminster and " The Ship " (whatever that was) were also to be seen there, ii. i. The Honest Whore, iii. 4 ; Ilucedcrus, v. 2 ; and i Henry 4, V. I : — " The play where the fat knight liight Oldcastle Did tell you truly wliat his honor was," iv. 3, all earlier plays, are also alluded to. The two latter had both given offence. An anterior limit of date is given in the S. R entry of Don Quixote, 161 i, Jan. 11, for the plot is from The Curiotcs Impertinent, and there is no reason to suppose that Field read Spanish. Compare The JJsurjnng Tyrant and The Knight of the Burning Pestle. There is no reference (as editors have supposed) to The Fair Quarrel in iii. 4 ; but the parallels of the song in iv. i with the dialogue appended to The Fatal Dowry, and of a passage \\\ iii. 3 with one in the text of that play, are helpful in deter- mining Field's part thereof. I have no doubt that 1 6 1 1 is the original date. In 16 1 6, after Henslow's death on Jan. 9, and before Alleyn's agreement, Mar. 20, Jonson, Fletcher, Massinger, and Field left the L. Elizabeth's and went to the King's men. 27. The Jeweller of Amsterdam, or The Haggle, by Fletcher, Field, and Massinger, founded, no doubt, on the murder of Wely, the jeweller at the Hague (cf. S. E. 161 6, FLETCHER. 203 June 5), and produced, like Barnaveldt, close after the facts occurred, was entered S. R 1654, April 8. 28. Bondiica, T., which has the scenes marked, and an actor-list with Ostler in it, cannot date later than 1 6 1 6 ; ii. I and iv. 4 have rhyming passages unlike Fletcher's work, inserted by some actor, I think ; perhaps Field. Other- wise the play is purely Fletcher's. The reader should con- sider the passage i. 2 repeated almost verbally in Valen- tinian, v. 3, if he cares to form an opinion as to which play was the earlier. 29. Valentinian, T., by Fletcher only, has the scenes marked, and Ostler in the actor-list ; the date, therefore, is again 1616. 30. The Bloody Brother, or Bullo Dulce of Normandy^ T., was entered S. E. 1639, Oct. 4, as "by L. J." (but printed 1640, as "by B, J. F." in London, and as "by John Fletcher " at Oxford), along with A wife for a month. It was written by Fletcher, ii. i, 2, 3 ; iii. 2 ; v. 2 ; Massinger, i. I ; but as we have it iii. i ; iv. i, 2, 3 ; v. i, are by a third hand. Cartwright's Eoycd Slave had been acted at Oxford 1636, Aug. 30, and published at Oxford 1639 by W. Turner for T. Eobinson, and all three plays were acted at Hampton Court in 1637 — The Royal Slave on Jan. 12, Rollo on Jan. 1 7 [so Cunningham, Bevels, p.xxv.; but Jan. 24, Malone, Variorum, iii. 239], A wife for a month, Feb. 9. This, I think, justifies the inference that the Fletcher plays had also been performed at Oxford in 1636, Aug.; for if not, why an Oxford publication of them ? If this be so, the J. B. of the 1639 entry was probably John Birkenhead, and the B. J. F, of the 1639 edition a printer's erroneous correction from J. B., the corrector havimj written in the margin J. F., and the compositor having neglected to delete the B. In any case, we must, I think, look for an Oxford 204 THE EJs^GLISH DRAMA. man as the reformer of the play. I have little doubt that it was Cartwright, not Birkenhead, who really did this; he admired Fletcher greatly, preferring him to Shakespeare and Jonson, although the latter called him " my son Cartwright," and his style was founded on Jonson's. The date of the original play was c. 1616. Fisk and Norbret (in whom, to my surprise, Dyce failed to recognise Bretnor) occur in the Fletcher parts, and are also mentioned in The Devil is an ass, i. 2, played in 1616; but Ptusee and Savory are 1636 additions, and do not speak in the Fletcher parts, only occurring in the stage direction of v. 2 as altered in 1636, and in the text of the Oxford additions. The play as pub- lished in London has no division into scenes, but in the Oxford (which is the more correct, and should be made the basis when re-edited) the scenes are divided in the French way — a new scene at the entrance of each new actor. So are Cartwright's plays. In ii. i , "Oh power of tears dropt by a thorough woman!" was printed in the 1639 edition " prayer dropt through by a woman," and in the Oxford text " paper dropt through by a woman." Mitford saw that " prayer," taken from the preceding line, was a mistake for " tears," but no editor has corrected the rest of tlie line, which I give as a sample of the merits of the modern editions. The scene changes from Caen to Eouen, iv. 2, in the 1636 part only. The song of Three merry hoys is quoted in The Knight of the Burning Pestle, and its parody, iii. 2, must be of early date. As for the so-called imitation of Neptune s Triumph, 1624, in ii. 2, it is of no import; if there be any imitation, which is very doubtful, it is more likely to have been by Jonson, who imported Marlow's translation of an elegy by Ovid into Tlie Poetaster, and inserted a scene from TJie New Inn into Love's Pilgrimage, than by Fletcher, who was not accustomed to translations FLETCHER. 205 of this sort. A droll from this play, The three merry men, occurs in The Wits, 1672. The ballad given by Collier, ia wldch " I'll lead you like brave Eollo " occurs, is a forgery. For the historical origines of the plot see Dyce. 3 I . Thierry King of France and Ms hrother Thcocloref, T., was published 162 i without author's name, but acted by the King's men at Blackfriars. The 1648 edition is worth- less ; it attributes the authorship to Beaumont and Fletcher, gives a Prologue which belongs to The Nohle Gentleman, aud an Epilogue stolen from Shirley's Love in a Maze, written when he removed to Salisbury Court, 1632, Jan. Until I discovered this theft I was greatly puzzled with allusions in it which would not fit into Fletcher's career. Compare the Epilogue wrongly assigned to The Woman Hater. Tlie astrology of Lacure and the name De Vitry distinctly point to the condemnation of Concini in 1617 for treason and sorcery. The whole play is a satire on the French Court under Marie de Medici. Vitii arrested the Marechal d'Ancre, and on his resistance killed him. The placing the scene in the reign of Clotaire 2 is one of Massinger's poli- tical adaptations. A play on Brunhalt (really historical) had been acted by the Admiral's men at the Eose 1597, Nov., " Brunhoiolte, Branhoidte," which has no connexion with Suckling's Brennoralt, or The Discontented Colonel, as Collier supposes. Fletcher wrote i. i ; ii. 2, 3 ; iv. i ; V, 2; Massinger, i. 2 ; ii. i, 4 ; iv. 2 ; and a third hand, whom I believe to be Field, iii. i, 2, 3 ; v. i. The scenes are not divided. 32. Henry 8, by Shakespeare, Fletcher, and Massinger. See my Life of Shakespeare. 33. The Lvnight of Malta, T. C. In this play Field and I'urbadge acted. It dates, therefore, between 1 6 1 6 and 1 6 1 9. Mr. Boyle (the value of whose papers I have repeatedly 2o6 THE ENGLISH DRAMA. recognised) deliberately and falsely asserts that I have dated this play 1 6 1 3 {EnglisclLe Siudien, v. i ), and on this founds an absurd theory that Beaumont wrote a part of it. Mr. Boyle is, as I have frequently pointed out, incapable of distinguishing Field's work from Beaumont's. Had this occurred in a New Shakspere Society paper I should not have noticed it, but the reputation of so distinguished a publication as Englisclie Studien demands a positive contra- diction. The date 1 6 1 7 suits best with the general order of Fletcher's plays. He wrote ii. i, 2, 3, 4, 5 ; iii. i, 4; iv. 2, 3, 4; Massinger iii. 2, 3 ; iv. i ; and a third author i. I, 2, 3 ; V. 1,2. I have little doubt that this third hand was Field. The character called Zanthia by Field is named Abdella by Fletcher. The statement of Mr. Boyle that Gomera has two pronunciations is founded solely on his defective ear for English verse, which, indeed, has viti- ated all his calculations. 34. The Queen of Corinth, T. C., was probably acted 1 61 8, Mar. The allusion to the burning of Dian's temple with the church books, iv, i, I think refers to the burning of the Palace at Paris with the ancient French records, 161 8, Mar. 7. In 16 17 there were so many fires in England that Stow could not set them down particularly (p. 1029). Coryat, " ihe Ulyssean traveller" of iii. i, died Dec. 1 6 1 7 at Surat. I do not think this play would have been produced after his death was known in England ; but news from India came very slowly ; the Amboyna massacre was not known for two years. As to authorship, Massinger wrote i. i, 2, 3^; v. i, 2, 3 ; Fletcher, i. 3^/, 4; ii. i, 2, 3, 4; Field, iii. i, 2; iv. i, 2, 3, 4. Where Massinger writes Onos the others have Lamprias, but Fletcher has Lampree, not fur Onos, but for the uncle. T. Corycit's Greet- ing of 1 6 1 6 (the one with the elephant) is alluded to in iii. i, FLETCHER. 207 and was printed 16 16. The play must have been Liter, yet Mr. Boyle says it is partly by Beaumont. Does he know the date of Beaumont's death ? Xote in iii. i the curious meeting of parallel lines in the centre. The author means meridian lines, which become parallel in Mercator's projection. The supposed similarities (i.e., the fact that a church book is destroyed in both) between this play and The Old Laio are not helpful as to date or authorship. Field abounds in reminiscences of older plays ; witness " admired Miranda" in The Knight of Malta, iii. 2. The scenes are marked. 35. The Mad Lover, T. C, is expressly and rightly ascribed to Fletcher by Cockaine. Field acted in it. Founded on Josephus, xviii. 4 (Mundus and Paulina). Bandello, iii. 19, has the same story. Ed. Hor[ton], ii. i, and Pt. Bax[ter], iv. i, acted in it according to the stage directions 1647 Folio, but this must have been at a revival c. 1630. The original production cannot be more than a year wrong if put in 161 8. One actor "doubled" Cloe and the Courtesan, iv. 5. 36. The Loyal Subject, T. C, was licensed by Buck 161 8, Kov. 16. Field acted in it. Eevived and licensed by Herbert, "with some [slight] reformations," 163 3, Nov. 23, with Prologue and Epilogue [by Massinger], which ascribe it rightly to one author, Fletcher. Acted before the King and Queen at Whitehall 1633, Dec. 10, and liked. It took three hours to act (Epilogue). For the plot compare Heywood's Boyal King and Loyal Subject. The scenes are marked. All the King's men's plays up to this point that have actor-lists have Burbad^e as one of the actors. He died 16 19, Mar. 13. See for the complete list my History of the Stage, p. 269. 2o8 THE EXGLISH DRAMA. ly. The Fatal Dowry, T, by K r[ield] and P. M[assingev], was published 1632. In ii. 2, Florimel, acted by Field (for such a personal allusion, I think, implies identity of author and actor), is "32 years old," ii. 2. Field was baptized 1587, Oct. 17, and therefore 32 in 1619 — rather old for a woman's part; but Field was young-looking, with little beard. He seems to have left acting at Burbadiije's death, as his name never occurs except after Burbadge's in any list. I date the original production of this play, therefore, in 161 9, about Shrovetide, which agrees with the " after Twelfthtide " of ii. 2. Field's part is i. 2h (from "exeunt Officers"), ii. i, 2 ; iii. ih (after "exeunt -all but Charolois and Ptomont), iv. i ; v. 2, 80-120. Massinger's is i. i, 2a; iii. la; iv. 2, 3, 4 ; v. i, 2 (mostly). But this, I think, was written later, for the decree in favour of creditors i. 2« was a statute made 1623. I guess, therefore, that the play as we have it is an alteration made by Massinger ; perhaps The Judge, licensed 1627, June 6. See iv. 4. But see also The JJimatural Comhat. One passage, ii. 2, was transferred by Field from Amends for Ladies. 38. The Humorous Lieutenant, T. C. (or Demetrius and Enanthc, C, by John Fletcher, 1625 MS.), the date of which " cannot be ascertained " (Dyce), is the most definitely dated of all Fletcher's plays, except those in Herbert's en- tries, for Field and Burbadge did not act in it, and Condell, who acted in all the other Burbadge plays, did act. Its original production was in 161 9, just after Burbadge's death, and before Condell's retiring. It was founded on History and Horace' Epistles, ii. 2. The story is also told in Thomas Ford's Theatre of Wits, 1660. The 1625 MS. contains many passages which were omitted, to shorten the play for the stage, in the FoTio version, and ought to be made the basis of future editions. These omissions are very valuable FLETCHER. 209 as showing the kind and extent of such alterations. A droll from it, Forced Valor, is in The Wits, 1672. 39. Sir John van Olden Barnavcldt, T., ^\'as announced by Mr. A. H. Bullen as a play of Chapman's, but printed for him from MS. Addit. 18,653 as by Fletcher and Massinger in 1883. He had obtained his knowledge of the real author- ship from nie, and subsequently quite independently from ]\Ir. Boyle. Massinger wrote i. i, 2 ; ii. i ; iii. 2, 3, 5 ; iv. 4, 5 ; V. I ; Fletcher, i. 3 ; ii. 2, 3, 4, 5, 6, 7 ; iii. I, 4, 6 ; iv. I, 2, 3 ; V. 2, 3. The play was acted 1619, Aug. 14-27. Barnaveldt was executed May i 3, See Mr. Lee in Atlienceum, 1884, Jan. 1 9, and his quotations from Domestic State Papers, ex. 18, 37. For the actors in this play, as given in the MS. stage, copy, see my History of the Stage, p. 268. "VVe now come on a group of plays which, as Burbadge, Ostler, and Condell in their actor-lists had been succeeded by Taylor, Benfield, and Ptobinson, must date after 16 19, Mar. 1 3 ; and as they are not included in Herbert's entries, must dato before 1622, May 14. It is also probable, as we shall see, that during 162 i Massinger and Fletcher wrote separately, not as coadjutors. I cannot be more than a year wrong in dating these plays, but do not pretend to give them in exact order. 40. The Laivs of Candy, T. C, founded on Cinthio, Hecato- mithi, X. 9, dates, I think, 16 19. The comet or "blazing star" (Stow, p. 1030) which passed over London 16 18 Dec. 1 1, and an account of which was published S. E. 161 9, Jan. 22, probably suggested passages in ii. i. The play has been greatly abridged for stage purposes, whence the irregular metre in ii. i, iii. 3, hut is clearly almost entirely Massinger's; nevertheless, in ii. i, iii. 3, v. i, and especially in iv, 1,1 can distinctly trace in places the hand of Fletcher, who, I think, revised it for the stage. That the plot is VOL. I. O 2IO THE ENGLISH DEAMA. l\rassinger's will be clear to readers of Tlte Unnatural Combat. 41. The Custom of the Country, C, both the chief plot and underplot of which I have found in Cervantes' Persilcs and Sigisnumda (translated 16 19, Feb. 22, S. E.), from which were taken the names Hippolito, Zabulon, Clodio, Arnoldo, Rutilio, Manuel, Alonzo, Zenocia, Sulpitia, but not Charino, Duarte, and Guiomar, probably belongs to 1619. It was revived for Herbert's winter benefit, being "an old l^lay," 1628, Nov. 22. A droll, The Stallion, founded on it, is in The Wits, 1672. The first Prologue and Epilogue were for the original performance. The Prologue mentions "the authors," i.e., Fletcher, i. i, 2; iii. i, 2, 3 ; iv. 3, 4; \. 5 (part) ; and Massinger, ii. i, 2, 3, 4 ; iii. 4, 5 ; iv. i, 2 ; V. I, 2, 3, 4, 5 (part). The second Prologue and Epilogue were for a revival after Massinger's death, 1639, Mar. (not the 1628 revival). The Prologue was spoken by " my son" [Hugh] Clark, but by whom written I know not, nor have I found any other mention of Clark till 1647. The Guiomar story is also found in Cinthio, but there is no reason for suppos- ing the authors went to a second source for it. The scenes are marked, but whether originally or at a revival I know not. 42. The Double Marriage, T., was written by Fletcher, ii. I, 2, 3, 4 ; iii. 2, 3 ; iv. 3, 4; V. 3 ; and Massinger, i. 1,2; iii. I ; iv. 1,2; v. 1,2 (these two scenes were worked over by him, but at first written by Fletcher), 4, 5. Massinger spells Ferrand, Fletcher Ferrant. The original version was necessarily c. 1620, but whether Massinger's part was then written I doubt. The triple mention of " nightpiece " in V. I, and Juliana's allusions to her "piety," iii. 3, iv. ii., which was quite sufficiently "unfortunate," induce me to identify this play with The Unfortunate Piety, or The Italian Nightpiece of 163 i, June i 3 ; and the innumerable allusions FLETCHER. 211 to Ferrant as the " tyrant " almost justify a further iden- tification with The Tyrant, by Massinger, of S. E. 1660, which is generally, without sufficient reason, considered to be the same as The King and the Siihject. The monopoly in " oil," i. I , which is a necessary ingredient in soap, is, I think, directed against the soap-boiling monopoly of 1630, Nov.; and I have no doubt other definite allusions in i. i, e.g., that to " horses," may be dated by those who are ac- quainted with the minutiee of Charles' reign ; v. i is imi- tated from Don Quixote, Part 2. The scenes are not marked, which is peculiar, if the play as we have it be, as I think, a revival of 163 i. 43. The Little French Laivyer, C. The Prologue and Epilogue mention the " writers " and " poets," viz., Fletcher, ii. I, 2, 3 ; iii. 2, 4, 5 ; iv. 2, 3, 4 ; v. 2, 3 ; and Massinger, i. I, 2, 3 ; iii. i, 3 ; iv. i, 5, 6, 7 ; v. i. The Annabel part is entirely Fletcher's, and her speeches in iv. 5, 6, v. i, were inserted by him in the Massinger scenes. Fletcher accentuates Dinant, ii. i, v. 4; but Massinger Dinant, i. i, 2, 3 ; iii. i, 3 ; iv. 3. The plot is from The Spanish Rogue, ii. 4, wliioU is taken from the Novdlino of Masuccio Salernitano. The date is c. 1 620. The nurse in ii. 3, the only Fletcher scene in which she speaks, is called " Old Lady," not " Nurse," as in the Massinger scenes. A quotation from an unknown play, " Give me the man that will all others kill And last himself," occurs in iv. 4, and allusions to Shakespeare's plays in iv. 6. 44. The False One, T., is by two authors (see Prologue and Epilogue), viz., Fletcher, ii., iii., iv. ; Massinger, i., v. The Prologue apologises for taking up the subject of Antony and Cleopatra after Shakespeare. Date c. 1620. There is a mask in iii. 4, which looks as if it had been written for the opening of the New River 161 3, and adapted here. If so, it had 212 THE EXGLISII DKAMA. perhaps been rejected when Middleton's was preferred. Lucan has been used by the writers, as well as the his- torians, Plutarch, &c. 45. The Duke of Milan, T., published 1623, Jan. 20; by Massinger only ; his earliest unassisted performance ; founded on Josephus' History of the Jews, xv. 4, and, slightly, on Guicciardini's History, xv., xix. Date c. 1620. Acted by the King's men at Blackfriars. With the painting the corpse, v. 2, compare The Usurping Tyrant and The Revenger's Tragedy. The " fellow that could indite," iii. 2, is, I suppose. Wither. 46. Women Pleased, T. C, by Fletcher alone, is founded on Chaucer's Wife of Bath's Talc and Boccaccio's Decameron, vii. 6 (for Act ii. Sc. 4), viii. 8 (for Act iv. Sc. 3). " The Duke of Milan of late days," i. i, I think, refers, though very indirectly, to Massinger 's play. The actor-list is identical with those of The Little French Lawyer and The Custom of the Country. Date c. 1620. I now pass to a group of Massinger's plays not written for the Kin£j's men. About this time Massinger and Fletcher ceased for some eighteen months, c. 1620 Sept.— 1622 Mar., to write to^rether, whether through disagreement I cannot say ; but I think Massinger did not like his name not having appeared as author in any published play. I will take his plays for this interval first. 47. The Virgin Martyr, T., was published 162 i, Dec. 7, S. Ii., as by Dekker and Massinger. This, of course, was the version of the play as reformed and licensed by Buck 1620, Oct. 6. It is evidently a recasting by Massinger of an old Dekker play. The Hirtius and Spongius filth, ii. I, 3, iii. 3, iv. 2, has not been touched by Massinger, and Dekker's hand is still discernible in bits retained in the scenes that have been rewritten. The original play was FLETCHER. 213 doubtless Diodcsian, acted at tlie Iiose 1594, Nov. 16, but even then an old play, dating from i 591 at the latest. One vestige of primitive date may still be seen in iv. 2, " Eounce, robble, hobble, &c.,'' a hexameter in ridicule of Harvey's (cf. The Old Wife's Tale) ; and probably another in ii. i , " Our next neighbour's man " Christopher, i.e., Marlow, who had left the Admiral's men (for whom he had written with Dekker) in 1589. There was a new scene added 1624, July 7, but this was never published. Herbert does not name the company acting at the Bull 1620 ; in fact, they had no name. They had been Queen Anne's men till her death, but did not get their patent as the Eevel's company till 1622, July 8; till then their only name is the com- pany at the Eed Bull. Dekker spells " Ca^saria." The Dekker play is TJie Martyr Dorothea of the 1626 Dresden company, 48. Pkilenzo and Kipjwlito, " hy Masainger," S. 11. 1653, Sept. 9, the MS. of whicli was destroyed by Warburton's servant, was no doubt an alteration for the same company about the same time of [Dekker's] Fhilijypo and Hippolito, acted at the Eose i 594, July 9, but, like The Virgin Martyr, an old play of c. 1590. 49. Antonio and Vallia, by Massiuger, entered S. E. 1660, June 29, which also was destroyed by Warburton's servant, was doubtless the Rose play of 1595, June 20, altered by Massinger in the same way. This also was an old play of c. i 590 [by Dekker]. 50. Tlie Maid of Honor, T. C, was published 1632, as then acted at the Phoenix by Queen Henrietta's servants ; but it was probably written before 1622, for it does not occur in Herbert's license-list. In 1621 Massinger was writing for the Bull company, and we know that their plays passed to the Phoenix company. This is, therefore, the 2 14 THE ENGLISH DEAMA. likelier list-date. It is not The Honor of Women, for that was a King's men's play. Fulgentio, I have no doubt, means Buckingham. The King can spare him 50,000 crowns for a mask, iii. 2, and he makes more bishops in Sicily than the Pope, i. I {i.e., in England than the King) ; notably M. Fotherby of Salisbury, 161 8, and J. Williams of Lincoln, 162 1. In i. 2 the strange meaning of " parallels," as if meridians, again occurs : " We are not parallels, but, like lines divided, can ne'er meet in one centre." 5 I. u4 nciv ivay to imy old debts, C, was, like the preced- ing, published 1632, Nov. 10, as acted by the Queen's men at the Phoenix, and there are five lines in i. 2 on the taking of Breda 1625, July i, which require a later date for the copy we have; yet I venture to assign 1621 for the original production. It is not mentioned in Herbert's Office-Book, and must therefore date, I suppose, before May 1622, The subsequent insertion of the five lines in 1625 c. Christmas by Massinger, before he rejoined the King's men in 1626, need not give us any trouble; he was con- tinually revising his plays, as- his whole career indisputably proves. It was published by Massinger himself, with a dedication, as his own work. Yet Mr. Boyle, of the New Shakspere Society, has stated that Fletcher was co-author. As his foundation for this inconsiderate statement is simply the use of metrical tests of which he understands neither the bearing nor the limitations, his verdict cannot for a moment be weighed against the positive testimony, " by Philip Massinger," in the S. R. entry. I might as well say that " Fleay, with his usual infallibility," and other similar courteous allusions to my work in Mr. Boyle's paper, prove it to be written by the Director of the N, S. S. 52. Tke Unnatural Comhat, T., does not appear in Her- bert's license-list. It was published 1639, with dedication, FLETCHER. 215 as " an old tragedy without prologue or epilogue, being com- posed in a time when such by-ornauients were not advanced above the fabric of the whole work." Yet prologues to comedies are alluded to iv. 2. I date it 162 i provisionally, not knowing when The Soldiers Delight was "a new song,' iii. 3, wliich would fix the date if I did know. 53. The IVomans Plot, C, was acted at Court i62i[-2] (Biog. Drain.), One MS. of it was destroyed by Warburton's servant, no doubt the one entered S. E. 1653, Sept. 9, as Th^. Very Woman, or The Woman's Plot. But The Very Woman, or The Friiice of Tarcnt, is extant, having been licensed by Herbert 1634, June 6, and pubished with Tlie Bashful Lover and The Guardian as Massinger's in 1655. I believe that the 1653 entry was a mistake, and that The Woman's Plot and the The Very Woman were different plays. See further on under A Very Woman. Neither The Woman's Plot nor The Woman's too hard for him, which also was performed at Court i62i[-2], were pro- bably by Fletcher, nor do I know by wliat company they were acted. I now turn to Fletcher, who still wrote for the King's men. 54. The Island Princess, T. C, by Fletcher only, was acted at Court i62i[— 2] {Variorum, iii. 225). Za Cou- quista de las Moluceas, by Melchior Fernandez de Leon, has, in the historical part only, a similar plot. 55. The Pilgrim, C, by Fletcher only, was acted at Court i62i[-2], and again at Whitehall 1622, Dec. 30; iii. 7 is from Don Quixote, which is, strangely, unnoticed by Dyce. Scenes divided. 56. The Wildgoose Chase, C, was acted at Court 1 62 I [-2], and revived for Herbert's "summer day" 1631. By Fletcher only. When the 1647 Folio was published the stationer, Moseley, said that that volume, " beside those 2i6 THE ENGLISH DEAMA that were formerly printed," contained every piece by Beau- mont and Fletcher, written " either jointly or severally," except this play, for which he " put np this si quis." In 1652 "a person of honor" retrieved it, and it was pub- lished by Moseley, for Lowin and Taylor, as Beaumont and Fletcher's, with a list of actors and their characters, which, as it includes Hamerton, Trigg, Sander Gough, and Honey- man, must belong to the 1 63 i revival. The copy was, there- fore, not the original version, and has evidently been much abridged. The scenes are divided. A mark of alteration re- mains in " Leverdure, alias Lugier," iii. i . In spite of Mose- ley 's direct statement quoted above, this same man entered S. B. 1653, Sept. 9, under the names of Beaumont, Fletcher, and Shakespeare, Cardenio (F., Sh.), Henry i and Henry 2 (Sh., Davenport), and 1660, June 2g, A Eight Woman (B., F.), IjjJiis and lanthe (Sh.), Duke Humphrey (Sh.), Stephen (Sh.), The Faithful Friends (B., F.), and Mador (B.). Great critics have regarded, and still do regard these entries as evidence. I cannot. The three plays last mentioned were no doubt pro- duced in 1 62 1. AVe now get the guidance of Herbert's Office-Book. 57. The Proplitess, T. H. Licensed 1622, May 14; re- vived for Herbert's " summer day " 1629. By Fletcher, i. i, 2, 3 ; iii. I, 2, 3 ; v. 3 ; and Massinger, ii. i, 2, 3 ; iv. i, 2, 3, 4, 5 ; V. I, 2 (the Persian part and Aper). For the his- toric subject compare The Virgin Martyr. For the She devil, iii. 2, cf. TJie Devil is an ass, 1616. There is a Dumb Show and a Chorus and a Dance. The pastoral names, v. 2, may contain personal allusions. The scenes are divided. 58. 77ie Sea Voyage, C, licensed 1622, June 22; by Fletcher, i., iv., and Massinger, ii., iii., v. ; but I think FLETCHER. 217 there are Fletcher bits in the Massinger acts. The metri- cal arrangement is very corrupt, and I think the copy used was a late acting one. I dare not be so positive as the Kew Shakspere Society (I give this name to Mr. Boyle in the same sense as he assigns it to me) in separating the authorship. 59. The Spanish Curate, C. Licensed 1622, Oct. 24; performed at Court 1622, Dec. 26. A droll from it, The Sexton, or The Mock Testators, is in The Wits, 1672. Founded on Don Gonzalo de Cespides' Gerardo the unfortu- nate Spaniard, translated by L. Digges 1622, Mar. 11, S. Pt. By Fletcher, Prol., ii. i, 2, 3, 4, 5 ; iii. i, 2, 4 ; iv. 2, 3, 5, 6, 7; V. 2, Epil. ; and Massinger, i. i, 2, 3 ; iii. 3 ; iv. I, 4; V. I, 3. Fletcher writes Cordova, Angelo Milanes (as a single name), Bartolus, Assistant; Massinger prefers Corduba, Angelo, Milanes (two names), Bartolus, Assistente. The names of the characters which, though taken from the novel, have been transmuted were assigned by Massinger; many of them (Ascanio, Henrique, Octavio, Jacinta, Violante) do not occur in Fletcher's part, except incidentally. Mas- singer now left the King's men again. 60. Tlie Maid in the Mill, C. Licensed 1623, Aug. 29. By Fletcher and W. Eowley. Acted Sept. 29 at Hampton Court, Nov. I at St. James' before the Prince (with refor- mations), and Dec. 26 before the King and Prince at "White- hall. The plot is founded on Gerardo (see The Spanish Curate) and Bandello's Alessandro D. di Firenzc (cf. Belie- foreste. Hist. Trag., i. i 2, and Goulart, Hist. Admir., i. 2 i 2). Fletcher's part is i. 1,2,3; iii. 2, 3 ; v. 2 (part) ; Eowley's (who acted in the play), ii. i, 2 ; iii. i ; iv. i, 2, 3 ; v. i, 2 (part). " Am I your father ? " ii. i, refers to Merlin (q-v.). The " JuHan feast," ii. i, is Aug. 28. In iii. 3 we learn that 1622 was "a healthful year." A droll. The Siaprise, 2i8 THE ENGLISH DRAMA. from this play is in Tlic Wits, 1672. The scenes are divided. 61. The Devil of Doivgate, or Usury put to use, C, was licensed 1623, Oct. 1 7 (in place of an old play by Middleton), for the King's men. As Massinger was away, we must look for a play by Fletcher, Middleton, or Eowley. Such a play is Wit at several WeaiJons, C. Fletcher only writ in an " act or two " (see the Epilogue at a revival, when the name of the play, no doubt, was altered). The old title is alluded to i. 2, " Father, you shall know that I put my portion to use." The scene is in London, and the subject is of such a father aud son as the old ballad title. The Devil of Doicgate and his Son, would lead us to expect. Fletcher's part is i. I ; ii. I ; iii. i ; iv. i, 2, 3 ; but it has been altered at the revival, of course after Fletcher's death. The rest is by Rowley. " Blindman's buff is an unlawful game," v. 1,^.^., under the statute of i. Car. i. I place the revival, there- fore, in 1626. The calling a puppy with hist, hiss, hiss, taken from a play at ihe Bull, ii. 2, I am unable to trace at present. I find no notice of a Court perfor- mance under either of the above names, but as it is not likely that any play of Fletcher's should at this late date have been omitted from the Court list, I would suggest that The Buck is a Thief presented 1623, Dec. 28, was this play. Sir Euiuous Gentry, of course, wuuld be the Buck. Massinger now appears as a writer for the Lady Eliza- beth's men at the Cockpit. 62. The (Nohle) Bondman, licensed 1623, Dec. 3, for the Cockpit company, was published S. R. 1624, Mar. 12. This early publication implies eagerness on the company's part to make known their new playwright, for whom they had exchanged Middleton and Rowley ; and, I think, on Mas- FLETCHER 219 singer's to see his full name in print. Founded on Plutarch's Timoleon, &c. 6^. The Wandering Lovers was licensed for the King's men 1623, Dec. 6. " By Mr. Fletcher." The Lovers' Progress, T., is, as the Prologue and Epilogue tell us, an alteration of a play of Fletcher's " long since writ." It is clearly by Fletcher, i. 2&; ii. i, 3, 4; iii. i, 2, 3, 5, 6a; and Mas- singer (the alterer), i. r, 2a; ii, 2; iii. 4, 6h; iv. i, 2, 3, 4; V. I, 2, 3. This was the play of Cleander, licensed 1634, May 9. There can be no doubt that Lydian, Clarange, and Ly Sander are The AVandering Lovers ; cf. " Let's part upon our pilgrimage," ii. 3, and "I will part too, a third unfortunate and unwilling wanderer." Cleander is a prin- cipal personage in the play. On 1624, Jan. i, the original play. The Wandering Lovers, was acted at Whitehall be- fore Prince Charles; and 1653, Sept. 9, it was entered S. R. as IVie Wandering Lovers, or The Painter, " by P. Massinger." The play must be in the Folios which con- tained all Fletcher's works (except Henry 8, published as Shakespeare's, the two Barnaveldt plays suppressed, and The Verij Woman, q.v.), and I can find no other play with which to identify it. The title The Painter lias no import- ance ; these 1653 entries by Moseley abound in blunders, and are only useful by way of suggestion. This mistake arose, I think, from a confusion with Doctor Doddypol, in which there is a Painter and also Wanderin'T Lovers, and which was, in my opinion, revived in an altered form 1623, June 10, as The Dutch Painter and the French Brank (?) which may have been the play of the 1653 entry. The date of The Lovers' Progress exactly agrees with that of The Wandering Lovers, for Tooley, who died 1623, June, is not in the actor-list, and Underwood, who died 1624, Oct., is in it. Daudiguier's Lysandre et Caliste, on which the play is 2 20 THE ENGLISH DRAMA. founded, was translated by W. B. 1638, Jan. 22, S. E., probably in consequence of the success of the revival. Davenant's lines — " Some tale in Diana de Montenmyor Taught YOU this trick of wandering after lovers," from The Distresses, v. i, 1639, refer to Tlie Two Gentlemen of Verona primarily, but may also allude to this play. 64. The Benegado, or The Gentleman of Venice, T. C, was licensed 1624, April 17, for the Cockpit. "By Mas- singer." It has a list of actors, with characters assigned ; but whether this dates 1624 or 1630, Mar. 22, when the play was published as acted by Queen Henrietta's men, is not certain. The title was changed before Shirley's Gcntle- man of Venice was produced. 65. A iC'ifc for a month, T. C, "by Fletcher," was licensed 1624, May 27. Acted by the King's men at St. James' 1637, Feb. 9. Langbaine refers the Alphonso story to the history of Sancho 8, King of Leon. Weber's parallel with Tlie MaicVs Tragedy is more to the purpose. The occurrence of Tooley, who died 1623, June, in the actor- list throws a light on the nature of these 1679 Folio lists. They begin with Fletcher c. 16 13, and end with him in this play, and were, I think, memoranda made by him of the cast he wrote for : not inserted, like Jonson's, after the play was performed. This will explain the presence of Tooley's name here, if Fletcher began to write the play before 1623, June. Tlie Quarto editions and the 1679 Folio, whenever printed from the Quartos, omit these lists. Fletcher did not mean them for publication. 66. Rule a xcfe and have a wife, C, was licensed 1624, Oct. 19. Presented by the L. Chamberlain to the ladies at Court Kov. 2 ; acted before Prince Charles at White- FLETCHER. 221 hall Dec. 26; published at Oxford 1640, and therefore probably acted there before the King and Queen 1636, Aug. (compare Bollo and Cartwright's Eoyal Slave). In the Prologue, "Our late errors" and "We're Spaniards all again " allude to the trouble about Middleton's Game at Chess in 1624, Aug. The underplot is from Cervantes' M Casamiento Enganoso {Novelas Exemplarcs, xi.). By Fletcher only, for the King's men. 67. The Parliament of Love, C, " by Massinger," was licensed for the Cockpit 1624, Nov. 3 ; entered S. E. 1660, June 29, as "by W. Piowley," and was so endorsed in Warburton's list. It was published from an imperfect MS. by Gifford. Alexander Gough, who seems to have supplied Moseley with the authorship data, was one of the King's men, but evidently little acquainted with the facts, especially in these Cockpit plays. Between 1625, Feb. 10, and 1626, Jan. 22, 1 am unable to trace any license entries. The King's accession, 1625, Mar. 27, and the closing of the theatres for the plague, May 12-ISrov. 17, partly account for this. Yet I find plays which I cannot refer to any other year. 6'^. The Great Diihe of Florence, C. H., was licensed as The Great DuJcc 1627, July 5, for the Queen's servants, and published 1635, Dec. 7, as by Massinger, with dedica- tion and verses by Donne and Ford. It was, however, probably written by 1625, as after Massinger's return to the King's men in 1626, after Fletcher's death, there is no trace of his ever writing for any other company. This date of return confirms me in my conjecture that the cause of his leaving them was some personal disagreement with Fletcher. Mr. Gardiner has shown that this play con- tains contemporary allusions. At the end of the play, Calaudrino (acted, I suppose, by Timothy Eead) speaks of 2 22 THE EXGLISH DRAMA. himself as the only natural stage fool left ; " They that do survive Do only zany us." 69. The Fair Maid of the Inn, T. C, was licensed 1626, Jan. 22. " By Fletcher." Founded on Cervantes' La Illustre Fregona {Nov. Fxemjyl.). The Host Eowlando was pro- bably acted by Eowley. The Prologue speaks of " our invention." The different spellings, Alberto and Albertus, Bianca and Biancha, are helpful in determining the author- ship. Fletcher wrote i. 3, ii. i, iii. 2, iv. i (Alberto, Biancha) ; Massinger i. i , 2 (Albertus, Bianca), and revised V. 3, originally Fletcher's. The rest of the play seems to nie to be Jonson's. Alberto is not mentioned in the text, but Bianca is uniformly so spelled. At any rate the allusion to Nat. Butter, The New World in the Moon, and Amboyna, iv. 2 ; to Dr. Lamb and the prophet Ball, v. 2, mark those scenes as his, and the metrical evidence confirminfr this assignment of ii. 2, 3, 4, iii. i, iv. 2, v. i, 2, is very strong. The Staple of News, 1625, should be carefully compared throughout this part, which is certainly not Rowley's. 70. The Nolle Gentleman, C, was licensed 1626, Feb. 3. " By Fletcher." The Prologue and Epilogue, which belong to it, and not to Thierry and Theodorct and The Woman Hater {q.v.), were written late, "at a revival," and are of no authority. The want of proper names in the old editions, as well as the muddled metre and the license date, show that the play was left unfinished by Fletcher. Tliat he was the author we have the positive statement of Herbert, which the reader will probably prefer to Boyle's equally positive statement to the contrary, N. S. S. Transactions, 1886. The completion of the play 1 do not hesitate, on historical grounds, which the metrical analysis (properly subordinate) duly confirms, to assign to William Piowley, probably aided by Middleton. Compare the peculiar use of " faithfully met " in iii. 3 with FLETCHER. 223 " faithfully welcome," Nice Valo7\ iii. i (Middletou), and note the use of " dirty " as anti-angelical, ii. i. I think the Prologue was used at one of the Salisbury Court perfor- mances 1644. All subsequent plays (except the alterations from Fletcher) are by Massinger only, for the King's men. 71. The Roman Actor, T. Licensed 1626, Oct. 11. Published 1629 ; with dedication, actors' character list, and verses by T. J[eay], dedicatee ; T. Goff, play writer ; T. May, play writer ; J. Ford, play writer ; R. Harvey, and J. laylor, actor, who took the part of Paris. Massinger calls it " the most perfect birth of my Minerva," i.e., up to 1629. '/2. The Judge. Licensed 1627, June 6. The MS. was destroyed by Warburton's servant. But as tlie title does not occur in Moseley's S. R entries of 1653, 1660, I believe this was a play that had been already published under another title, very likely The Fatal Dowry (see iv. 4, Charalois is " the judge "). If so, the original play may have been by Field alone, and the " reformation " by Massinger. We must be prepared for any number of changes of title in Massinger's plays. 73. The Honor of Women. Licensed 1628, May 6. The MS. was destroyed by "Warburton's servant ; but from the S. R. entry, 1653, Sept. 9, it appears that this was a new title for The Spanish Viceroy, which had been acted without license in 1624; on Dec. 20 the King's playt^rs made a humble submission to Herbert admitting this. Who wrote the 1624 play is unknown, probably Fletcher; but the 1628 one was certainly only an alteration by Massinger. Cunninciham in his edition confuses it with Middleton's Game at Chess (see further under A Very Woman, later on). 2 24 THE ENGLISH DRAMA. 74. The Picture, T. C. Licensed 1629, June 8. Piilj- lished 1630, with an actors' character list. Verses by T. Jay, and dedication. Founded on Painter's Palace of Pleasure, Nov. 28, or AVhetstone's Piock of Regard. The same story occurs in Bandello. " Massinger calls it this ' true Hungarian History ' " (Gifford). 75. Minerva's Sacrifice. Licensed 1629, Nov. 23. In both the S. R. entry 1653, Sept. 9, and in Warburton's list there is a second title, The Forced Lady. In all these bi-titled plays "we generally have to do, not with original plays by Massinger alone, but with his alterations of other men's work. In this instance I think this is only anotlier name for Tlie Queen of Corinth {q.v., supra'), as altered by Massinger. yG. The Emperor of the East, T. C. Licensed 163 1, Mar. 4. Published 1 63 i, Nov. 1 9, with verses by A. Cokain, &c. ; dedication ; prologues and epilogues, at Court and at Blackfriars. This was Massinger's first Prologue to any play of his own making, forced from him by " imperious custom." I think the Court name of the play was Feast and Welcome, and that this, rather than Tlie Coxcomb, was the Flelast and Welcome of Warburton's MS., and of the S. P. entry 1660, June 29. Some read Taste and Welcome; but the Court Prologue has " deserve a welcome ... at such a solemn /cas^." This "story of reverend antiquity" had suffered by " the envy of some Catos of the stage," yet Massinger says there was no passage but the Queen might hear without a blush. Perhaps so. Henrietta could do a good deal that way, but the severe satire on the King's way of raising money, &c., in i. 2 must have been most unacceptable at Court. This was the latest written of Mas- singer's plays published in his lifetime. yj. Believe as you list, licensed 163 i, May 7, but un- FLETCHER. 225 questionably au alteration of the play of Massinger's which Herbert had refused to license, Jan. 11, for its dangerous matter — the deposing of Sebastian of Portugal by Philip of Spain. Massinger altered Sebastian into Antiochus, Spain into Pome, Portugal into Lower Asia, England into Sicily, wrote an ironical Prologue apologising for his historical ignorance, admitted that the play was " too near a late and sad example," and told his hearers to interpret as they liked, " Believe as you list." No wonder that he gave serious offence. There are S. Pu entries of it 1653, Sept. 9, and 1660, June 29. Warburton had the MS. It was printed by the Percy Society, with Prologue, Epilogue, and actors' character list. 78. The Unfortunate Piety. Licensed 163 i, June i 3, and entered S. E. 1653, Sept. 9, with the additional title of The Italian Niglttpicce. In Warburton's list this latter is the only title given. This was certainly some reformed play, for it is not reckoned in the two failures mentioned in The Guardian Prologue, and I have no doubt it was The Double Marriage (q-v.), which contains allusions to both the 163 I titles. 79. The City Madam, C. Licensed 1632, May 25. Pub- lished 1658 by A Pennycuicke, the actor, with dedication to Ann Countess of Oxford. This again was an old play altered. It is certainly not one of the two plays that " ship- wreckt his fame " mentioned in Tlie Guardian Prolofrae, and the Dram. Pers. gives Sir John Pich and Sir John Lacey, which (comparing the present version of the play) have been changed to or from Sir John Frugal and Sir Maurice Lacy. But Pennycuicke expressly mentions Mas- singer as the author. Unfortunately, we have no confirma- tion of this statement by Massinger himself. I believe the original play was written c. 16 19. In iii. i Prench and VOL. I. p 2 26 THE EXGLISH DEAMA. Venetian ambassadors are mentioned as just come over " to make a full term with us." This suits 1619, not 1632. Pocahontas was in England 16 16, and all the Virginian matter implies a date when public interest in that country was excited. There is no Prologue or Epilogue ; and surely " your neighbour, Master Frugal," in A neiu loay to 'pay old debts, ii. i, refers to the Frugal in this play. These two plays are the only ones by Massinger alone (as commonly supposed) which have English scenes and names, and the coinage of the names in TJie City Madam, from which, I suppose, The neio way &c. was imitated, is thoroughly Jonsonian. The dear " roses " for shoes, iv. 4 (cf. Stow, 1039), indicates the time of James. The "strange comet, and had now foretold the end of the world," cannot, surely, be lono; after the great comet of the 1618 winter (see S. E. 1619, Jan. I, 22). There was no other strange comet observed till 1647. The allusion to the pageant poet, iv. i, is very like Jonson. The metre throughout is far unlike any play of Massinger's, and abounds in trisyllabic feet, as any one with ear delicate enough to require no counting on the fingers will feel on the most cursory perusal. Had the original play been Fletcher's it would have appeared in the 1647 Folio; but these considerations, and the astrological accuracy of ii. 2, leave no doubt in my mind that it was Jonson's. That the play of 1632 was not an original one we have the express testimony of Massinger himself. In the Prologue to The Guardian, licensed 1633, Oct. 31, and therefore written somewhat earlier, he says — " After twice putting forth to sea, his fame Shipwreckt in either, and his once known name In two years' silence buried." This is positive. No play had been produced in Mas- FLETCHER. 227 singer's name since Oct. 163 i ; therefore TJie City Madam surely was not his. The two shipwrecked vessels were Tlie Emperor of the East, 1 6 3 i , Mar. 1 1 , and Believe as you list, 1 63 1, May 7, which leaves two years and a margin of some five months before The Guardian came out. As to The Unfortunate Fiety, see supra. 80. The Guardian, C. H. Licensed 1633, Oct. 3 i. Pub- lished by Moseley with The Very Woman and Hie Bashful Lover, 1655, with Prologue and Epilogue. Performed at Court 1634, Jan. 12, and well liked. Two days after Jonson's Tale of a Tuh was presented, and not liked ; and this obviates an objection to my hypothesis as to The Oity Madam. Why did not Jonson reform that play himself for the King's men ? Answer : Because he had left them. It was the Queen's men who presented The Tale of a Tuh. 81. Oleander. Licensed 1634, May 9. The Wandering Lovers, or The Fainter, S. E. 1653, Sept. 9 (see The Lovers' Fr ogress, supra). %2. A very Woman, or Tlue Frinee of Tarent, T. C. Licensed 1634, June 6. There is an entry S. R. for Moseley 1653, Sept. 9, of A very Woman, or The Woman's Flot ; and the present play was published by him as A very Woman, 1655, with Prologue and Epilogue. But among the MSS. destroyed by Warburton's servant was one called The Woman's Flot, and " A Fight Woman, by Beaumont and Fletcher," was entered S. 11. by Moseley 1660, June 29. This could not have been A very Woman, which he had published already, but may have been, and I think was, The Woman's Flot (a play acted at Court 162 i), the error in the 1653 entry having arisen from the similarity of the titles, A very Woman and A right Woman. There is no " Woman's I'lot " in the extant play. In the Prologue Massinger says " something like this play " had been " acted long since; " he 2 28 THE ENGLISH DRAMA. had " reviewed it . . . by command . . . of his patron," and "raised new piles upon an old foundation." The patron, I suppose, was the King, the patron of the King's players. That the old play was The Spanish Viceroy I have no doubt. The Viceroy of Sicily was Spanish from 141 6 to 1734. We first hear of this play in 1624, Dec. 20, when it had been acted by the King's men without Herbert's license. On 1628, May 6, it was licensed. In S. R. 1653, Sept. 9, we find it entered as The Sjxmish Viceroy, or The Honor of Women; and in iv. 3 Almira is in the ante-Massinger part called, accordingly, " Honor of Ladies ; " while The Spanish Viceroy, the other and obnoxious title, even in Massinger's part crops up in i. i, where Cardenes tells the Prince of Tarent that he is "still subject to the King of Spain." I have no doubt that the 1628 play had been revised by Massinger, for in the Prologue he speaks of the 1634 copy as "much bettered," a phrase he would not have used of another man's work. The Fletcher part still left is ii. 3& to iv. I and iv. 3 ; the rest is Massinger's. 83. Tlie Orator was licensed 1635, Jan. 10, and entered S. II. 1653, Sept. 9, as The Orator, or The Nolle Choice. As in the case of nearly all these supposed lost plays (for The Nolle Choice was one of the MSS. destroyed by War- burton's servant), I believe that this was only a reformation of a Fletcher play which I would identify with The Elder Brother. That play was acted at Court 1637, Jan. 5, and published S. Pi. 1637, Mar. 29, with a Prologue and Epilogue evidently Massinger's. In the Prologue he says Fletcher is in it, and he hopes it will be received as legiti- mately his ; but this was long after Fletcher's death (for he adjoins, " if he that made it still lives in your memory "), and at a first performance. It was apparently left unfinished at Fletcher's death. Had it been performed in his lifetime it FLETCHER. 229 would have been in Herbert's license list, for it dates after Jonson's Neptune's Triumph, 1625, June : " like a blue Nep- tune courting of an island," iii. 3. One 1635 title is plainly- alluded to in i. I, where Angelina says her " choice" shall be " a noble husband ; " while the other, The Orator, is so appropriate to Charles, whom Love teaches to speak, that I can hardly be mistaken in my identification, which is almost forced on me by the absence of any other play ful- filling the required conditions. Massinger's 1635 part is i. I, 2 ; V. I, 2. Fletcher's (the rest) dates 1625. I especially call attention to the fact that, although this piny was published as Fletcher's 1637, and again in i66r, Moseley, in an intermediate edition, 165 i, has it "written by F. Beaumont and J. Fletcher." This shows not only his inaccuracy, but his motive, and settles the value of his other entries when uncorroborated. 84. The Bashful Lover, T. C. Licensed 1636, May 9. Published 1655 with Prologue and Epilogue. The "late example," iv. 3, is the assassination of Wallenstein 1634, Feb. 2 5 . This is the last extant play by Massinger. 85. The Kinj and Subject. Licensed 1638, June 5, after it had been referred to the King, who marked one passage in a speech by Don Pedro, King of Spain, as " too insolent." It was on the raising of supplies, &c. The title had also to be altered, perhaps to The Tyrant, which was entered S. E. 1660, June 29, and one of the unlucky "Warburton MSS. Massinger died 1639, Mar. 86. Alexius, or The Chaste Lover, was licensed 1639, Sept. 25. In the Warburton list it is called Alexias, or The Chaste Gallant. 87. The Fair Anchoress of Pa^isilippo was licensed 1640, Jan 26. Entered S.E. 1653, Sept. 9, as The Prisoner, or The Fair Anchoress. 230 THE ENGLISH DRAMA. Eletchee, Phineas. (University.) 1. 163 1, April 25, for William Siieeres. Sicelides, 1631. This " piscatory " was intended to be presented to James I. on 13th Mar. 1614, but he left Cambridge without seeing it. It was acted before Charles I. by the gentlemen of King's College, of which Fletcher, leaving Eton, became a member in 1600; was B.A. 1604, M.A. 1608; and died 1649, being then Eector of Hilgay, Norfolk. He was a son of Dr. Giles Fletcher. MS. copy in Brit. Mus., MS. Addit. 4453. This would not be a suitable place to ^iiscuss his poems. Ford, John. (Plays.) 7. 1629, June 2, for Henry Seile. The Lovers Melancholy, T., 1629. 6. 'Tis "pity she's a whore, T., 1633, by Nicholas Okes, for Eichard Collins. 9. 1633, Jan. 2 1, for Hugh Beeston. Loves Sacri- fice, T., 1633. 8. 1633, Mar. 28, for Hugli Beeston. The Broken Heart, T., 1633. 11. 1634, Feb. 24, for Hugh Beeston. Perlcin War- heel^, H, 1634. 10. 1638, Feb. 3, for Heniy Seile. The Fancies chaste and nolle, T. C, 1638. 12. 1638, Nov. 6, for Henry Sheapard. The Lady's Trial, T. C, 1639. 2. The Sun's Darling, Mask, 1656. I. The Witch of Edmonton, T. C, 1658. Ford was baptized at Hsington, Devonshire, 17th April 1586; entered at the Middle Temple i6th Nov. 1602. Tn 1606 he published Honor Triumphant, or The Peer's Challerige, along with The Monarch's Meeting, or The King of FORD. 231 Denmark's Welcome into England, S. Pu, for Francis Burton, 25 th July 1606; and a little earlier in the same year Fame's Memorial, or Tlic Duke of Devonshire Deceased (for Christopher Purset; cf. S. E. Qtli May 1606). On 25th Nov. 161 5 Sir Thomas Overhury's ghost was entered S. li. for Laurence Lisle. On loth Oct. 1620 A line of life was entered S. H for Nathaniel Butters. Honor Triumphant and The Line of Life were reprinted by the Shakspeare Society. I. The Witch of Edmonton was acted by the Princes[s Elizabeth's] servants at the Cockpit and at Court. I con- jecture that the word in brackets had been cut off the MS. before the publication in 1658. The Prince's men did not act at the Cockpit, and Phen (Fenu, not Penn), who spoke the Epilogue, belonged to the regular Cockpit company. Tlieophilus Bird, who spoke the Prologue, was also one of the Lady Elizabeth's men. Phen's being mistakingly read Penn (who was a Prince's man) probably confirmed the mistake. W. Mago and W. Hamluc acted two country- men ; Eowland and Jack, two of Cuddy's companions. The play was certainly produced soon after the trial of Mother Sawyer, Goodcole's account thereof being entered S. R. 27th April 162 1. These topical plays were always hurriedly written, and often several hands were employed against time. In the present play. Ford, I think, contributed the Thorney story, i. i, 2 ; ii. 2 ; iii. 2,3; iv. 2 ; Dekker the Sawyer part, iL i (part), iv. i, and v. i ; Eowley tlie buffoonery of Cuddy Banks, ii. i (part); iiL r, 4; v. r (part). The last scene, as usual, is a joint production (by Ford and Dekker). But the work overlaps a good deal. Dekker was, I think, the chief plotter ; certainly not Ford, who was a young hand. The allusions to Dogdays and Mid- summer, il r, iii. r, fix the date of writing to about July 162 I. 232 THE ENGLISH DEAMA. 2. The Suns Darling was acted at Whitehall {Biog. Dram.), and afterwards at the Cockpit; "a moral mask," by Ford and Dekker. It was licensed for the Cockpit company (the Lady Elizabeth's) 3rd Mar. 1624, was re- tained by tlie King's and Queen's company in 1639 (see Beeston's list), and given to the press as theirs 1657 by Bird and Penny cuicke. The mask is palpably a refashion- ing by Ford of an older production of Dekker's, of whose work hardly any traces are left. One supposed trace is very obscure, " Farewell 1538! I might have said five thou- sand ; but the other's long enough, 0' conscience," i. i. It appears from a passage in Dekker 's prose works, iii. 355 (Grosart's edition), that he adopted as his date for the Crea- tion 3960 B.C. This would give 1577 for the date of the original play, which is too early. Dekker must have changed his mode of reckoning, or (which is more likely) this date is Ford's ; and of the many hypotheses then in vogue we have at present no means of deciding which one was adopted by him for his Creation epoch. The songs also are evidently in substance Dekker's. Now, one of these was printed in Lyly's Campasioe in Blount's 1632 edition, in a form that is evidently the original. This would lead one to suppose that the other songs in that edition which do not appear in the earlier editions are also by Dekker. I for one believe them to be so. There are allusions to Chronomastix in i. i, and Tambeiiane in iii. 2. Nabbes founded his Microcosmos on V. I. The mask was certainly acted before Prince Charles. 3. The Fairy Knight, by Ford and Dekker, was licensed iith June 1624. Query Hiion of Bordeaux (q.v.) re- fashioned. 4. A late murther of the Son iipon the Mother, T., by Ford and Webster, was licensed 3rd Sept. 1624. Query The FORD. 233 Stepmothers Tragedy, by Dekker and Chettle, refashioned. But this would hardly be a late murder. 5. The Bristoio Merchant, by Ford and Dekker, was licensed 22nd Oct. 1624 for the Palsgrave's men [at the Fortune]. These three plays were probably refashionings of old ones ; the last perhaps of Day's Bristol Tragedy (May 1602). 6. 'Tis pity she's a ivhorewa.s acted by Queen Henrietta's men at the Phoenix c. 1626. It was the first-fruits of Ford's leisure, i.e., his first play without a coadjutor, and had been well allowed of, when acted, by the Earl of Peter- borough, to whom he dedicated it. So it is now by some critics and publishers (see Vizetelly's edition by Mr. H. Ellis), but not by any well-regulated mind. The passage in the Dedication on which the above statement is founded has been often misunderstood as if this were Ford's first dramatic writing of any kind and the words " my leisure in the action " were grammatically connected. In i. 2, " I hope thou never heardst of an Elder Brother that was a Coxcomb " contain, I think, a personal allusion to Packard Perkins as having acted those parts for the King's men, and now personating Bergetto for the Queen's. This actor left the King's company for the Queen's at Charles the First's accession. The play is in Beeston's 1639 list. 7. The Lovers 3felancholy was acted at the Globe and the Blackfriars by the King's men; produced 24th Xov. 1628 (Collier). 8. The Broken Heart was acted by the King's servants at the Blackfriars c. 1629. 9. Loves Sacrifice was acted by the Queen's servants at the Phoenix c. 1630. The "women anticks " of iii. 2 has, I think, reference to the French women who first acted in 234 THE ENGLISH DRAMA. London 4th ISTov. 1629. Published with complimentary verses by Shirley. 10. Tlie Fancies CJiastc and NoUc was acted by the Queen's servants at the Phoenix ; therefore before May 1636. The allusions to old Parr as 1 1 2 years old in v. 2, and the entry of Taylor's Old, old, very old Man 7 th Dec. 1635, show that Parr came to London in or before 1635. Taylor fabricated the exaggeration of Parr's age as being 152. There seems to be an allusion to this play in Shirley's Changes, loth Jan. 1632 {([-v.). 1 1 . Tlie Chronicle History of Perkin Warheck, " a' strange truth," was acted by the Queen's men at the Phoenix c. 1633: "Should reverend Morton, our archbishop, move To a translation higher yet, I tell thee My Durham owns a brain deserves that see " (iii. 5). But Morton was not succeeded by Fox, then Bishop of Durham, but by Dene of Salisbury. At the time this play was written another Morton was Bishop of Durham, and Abbott, the Bishop of London, had " both feet in the grave " (Fuller). He died 4th Aug. 1633. On Aug. 16 Laud was appointed his successor. I believe that in this passage there is a covert advocacy of Morton's claim versus Laud's. 12. The Lady's Trial was acted at the Cockpit by their Majesties' servants; therefore after 17th Aug. 1637. Theo- philus Bird spoke the Prologue. 13. Beauty in a Trance was entered S. E. 1653, Sept. 9. 14. The Royal Combat, C, S. E. 1660, June 29. 15. The London Merchant, S. E. 1660, June 29. 16. An ill Beginning has a good End, and a had Beginning may have a good End, S. It. 1660, June 29. The MSS. of these four plays were destroyed by Warbur- ton's servant, but only the first can be regarded as authentic. The last was acted at Court 1 6 1 3 as -<4 had heginning makes FORDE— rULWELL. 235 a good end, and was probably the same as The London Prodigal (cf. v. 2, " Such bad beginnings oft have worser ends "). The third was the original name of The Knight of the Burning Pestle (see the Induction; "And now you cail your play The London Merchant. Down with your title, Boy "), which passage Dyce quite misunderstood. I'ord wrote commendatory verses to Brome's Northern Lass, 1632 (King's play) ; Mshssingev's Poman Actor, 1629 (King's play); and The Great Duke of Florence, 1635, Dec. 7 (a Queen's men's play FoRDE, Thomas. (Play.) I. Loves Labyrintli, or Tlic Royal She2}herdess, T. C, 1660, by E. and "VV. Leybourn, for William Grantham, written "by Tho. Ford, Philothal." This is a dramati- sation of Green's Menaijlion ; but Halliwell and Biog. Dram. say " part of it is borrowed from Gomersal's [Ludowick] Sforza, Duke of Milan." There are commendatory verses. FoRMiDO, Sir Cornelius. (Play.) I. Tlie Governor was entered S. E. 1653, Sept. 9. The MS. was destroyed by Warburton's cook. Freeman, Sir Ealph. (Play.) I. 1639, Mar. I, for T. Harper. Imperialc, T., 1640, 1655. Scene, Genoa; plot from Beard's Theatre, Goulart's Ifist. Admiral., &c. FuLWELL, Ulpian. (Play.) I . I 5 68, for John Allde. Like Will to Like, 1 5 68, i 5 87. Born in Somersetshire 15 — ; commoner of St. Mary's Hall, Oxford. I. Like will to like, quotli the Devil to the Collier was probably acted by the Paul's boys 1661 or 1662-3 (see my History of the Stage, p. 59). Fulwell is, I think, the Carisophus of Edwardes' Damon and Pythias. Tliere was certainly a jealousy between these University writers for 2^6 THE ENGLISH DRAMA. the Paul's and Chapel companies (the only boys' com- panies 1559-63), as well as between the choir actors. Fulwell's other writings date 1575-6. Gager, Dr. William. (Latin.) 1 . Ulysses Redux, T., Oxford, 1592. 2. Meleager, T., Oxford, 1592. Educated at Westminster School ; entered Christ Church, Oxford, 1574; B.A., M.A.,LL.D. 1589. His controversy with Dr. John Eainolds was printed by Eainolds at Oxford in 1599, The overthrow of Stage plays, "by the way of con- troversy betwixt D. Gager and D. Eainoldes, . . . wherein it is manifestly proved that it is not only unlawful to be an actor, but to be a beholder of these Vanities." In 1 609 William Heale published at Oxford an Apology for Women^ or An Opposition to Mr. ^[omimisl^ G\_ager~\ his assertion, "who held in the Act at Oxford, anno 1608, that it was lawful for husbands to beat their wives." 1. c. 1580, Ulysses Redux, T., 1592, was acted at Christ Church. 2. I 58 I, Meleager, T., was acted at Christ Church before Lord Leicester, Sir Philip Sidney, &c. 3. c. 1579, (Edipus, T., by W. Gager, student of Christ Church. Bliss MS. 4. 1583, June, Rivales, C, was presented at Christ Church by the students of Christ Church and St, John's before Albertus de Alasco, Polish Prince Palatine ; and again before the Queen at Christ Church 26th Sept. 1592. " Meanly performed." 5. 1583, June, Dido, T., was acted by the same actors on the same occasion. An extract is given by Dyce in the Appendix to his Mariow. Garter, Thomas. (Play.) I. 1568-9, for Thomas Colwell. Susanna, C, 1578. GASCOIGXE. 237 I. Tlie Comedy of the most virtuous of godly Susanna. " Eight persons may easily play it." No copy now known. Gascoigne, George. (Plays.) 3. The Glass of Government, T. C, 1575, by H. Middle ton for C. Barker. 4. The Prineely Pleasures at the Court at Kcnilworth, ^S7^y by I^- Jones. 5. Hemetes the Hermit, i 576, with the preceding. 1. Supposes, C., I ^ ^g^^ ^y ^ j^^^^_ ^^^ 2. Joeasta, T., J 6. The 3Iontacute Mask (Flowers), 1572-3, 1575. The following notice of Gascoigne is from a paper by me, published by the Eoyal Historical Society, read 1882, Feb. : — This poet has lately been brought into notice by the reprint of three of his works by Mr. Arber, along with Whet- stone's Mememhranee of his Life and Death. Mr. Arber tells us that " a consideration of these four works in con- nexion with his time will doubtless create a favourable opinion both of the genius and character of George Gas- coigne." This was written in 1868. In the followiiK'- year Mr. W. C. Hazlitt published an edition of his works : expensive, but inaccurate and incomplete. I have had to use the original editions. George Gascoigne was son and heir of Sir John Gascoi«T^ne, of Cardington, Bedford. Born about i 5 2 5 ; matriculated at Trinity College, Cambridge ; entered at the Middle Temple, whence he migrated to Gray's Inn, where he was admitted an ancient in 1555. He had seven years before this been imprisoned for dicing and other disreputable practices. Yet from 1557 to 1559 he was M.P. for Bedford. He was disinherited ; spent a fortune, however — whence obtained we know not ; and was patronised by Francis, Earl of Bed- ford, and Arthur, Lord Gray of Wilton. Before October 2^8 THE ENGLISH DRA:\rA. 27, 1568, he married Elizabeth Breton, widow of William Breton ; for at that date a jury was inquiring, under a writ of mandamus, how to protect W. Breton's property against him in the interest of his child William. In 1572 he attempted to become M.P. for Midhurst, but failed, objec- tions having been laid against him before the Privy Council to the effect he had been long lurking about to avoid arrest for debt ; that he was defamed for manslaughter and other great crimes ; that he was " a deviser of slanderous pasquils against divers persons of great calling ; " that he was a spy, notorious ruffian, and atheist. He then went to the wars in Holland, where he was imprisoned, and returned in 1573. He had arranged that the pasquils above alluded to should be published during his absence with other poems. Mr. Hazlitt, who suppresses the most salient differences between the first and second editions, says that these poems were indiscreetly published by two brother authors ; but a refer- ence to the first edition has convinced me that the prefaces signed H. W. and G. T. are merely a blind, and that the whole matter was arranged by Gascoigne only. In 1575 he wrote entertainments for the Queen at Woodstock and Kenilworth, and acted therein himself. He also visited Sir Humphry Gilbert at Limehouse, borrowed his account of his voyage to Cathay, printed it without the author's knowledge, and, of course, pocketed the proceeds. The rest of his life — two years — he occupied in writing the moral poems on which Mr. Arber founds his estimate of his character. Let us now turn to the poems on which I found my opinion. The narrative of the adventures of Fcrdinando Jeronymi, which is the pasquil which was brought before the notice of the Privy Council, is concerned with his amour with Leonora Bellavista, or Elinor Bel voir : this lady is married to the sou of Valasco. Gascoigne accuses her not only of adultery GASCOIG^'E. 239 witli himself, but also with her secretary, and with Hercole Donato and Annibal de Cosmis, ISTow, seeing that Elinor Belvoir points pretty plainly to Elinor Manners, daughter of George Manners, Lord Eoss, heir to the barony of Belvoir, and wife to John Bourchier, Earl of Bath, it is not surprising that Gascoigne was accused of defaming a lady of great calling from " the northern parts of this realm." Of course, the words here quoted are omitted in the second edition of his poems and in Mr. Hazlitt's reprint. Valasco I take to be a sort of anagram for Val. Aq. So., the vale of Aqua Solis, the Latinised name of Bath. The poems scattered through the narrative, especially those on David and Bcthsdbe and on Mars and Venus, connect this story with the poems signed with the motto Meritum petere grave. The tale itself is signed Ever or never, but in the group of poems with that signature, as in those signed Spreta tamen vivunt, there is little of a distinctly personal or interpretable character ; except that in them he speaks of his " grey hair " and his " green youth past," which, seeing that one poem of the group is dated 1562, is hardly consistent with Mr. Arber's notion that he was born in 1537. Nearly every poem in the Meritum petere grave group agrees with the tale of Ferdi- nando in detail, and one is even entitled Praise of a Countess, as if to give an additional indication of the lady pointed at. The Earl of Bath died in 1 5 6 1 , so that the events alluded to in these two groups must date before that year. If we now turn to the story of Bartholomew of Bath, which is acknowledged to be autobiographical even by the editors, who consider the Ferdinand story to be fictitious, ■ we shall not find matters improved. I may remark in pass- ing that Gascoigne himself identifies Bartello, the fictitious author of both poems, with the Green Knight, who is assuredly Gascoigne himself: — 240 THE E:N'GLISH DKAMA. " Tliat same kniglit which there his griefs begun Is Bat's own father's sister's brother's son ;" and as he also identifies Bartello and Bartholomew, I am at a loss to understand how the authenticity of both sets of adven- tures can be evaded. In the poems of the Bartholomew group, Gascoigne complains that his second love, whom he calls Fcrenda, which is merely a synonym of the next name, Natura, " to be borne," Hollow tree, Li via, had forsaken him after granting him favour for a time ; that she intrigued with Admirals and Noble Face ; that she banqueted with Ippo- crace, but charmed him with bracelets, preferred printed poems to his written triumphs, and much more to the same purpose. From a jDassage in Ferdinando it appears that the real name of this second love was Helen, and that Gascoigne used poems written for Elinor or Hellen indifferently by the device of using ISTell as a pet name applicable to either. I take Hellen to be Helen Suavemberg, who married William Parr, Baron of Kendal, and afterwards Marquis of North- ampton. The hollow tree, his special name for her, is a common metrical synonym for a boat, and Hellen Suavem- berg's arms were " a lighter boat in fesse." The Admiral, I suppose, must have been Edward, Lord Clinton and Say ; the Noble Face is probably another translation of Belvoir : but the whole of these allusions are too obscure for cer- tainty. What is certain is that Gascoigne had to retire from Court and went to Bath ; within a year or so he married — -not happily, if we may judge from his poems. The few poems signed Ferenda Natura should be read with the Bartliolomew story ; whether those signed Si fortunatus infelix should is doubtful. In one of them there is a lady who rejects Gascoigne and marries a baser man, being induced thereto by sweet gloves and broken rings. Gas- coigne says their names are bewrayed in the poem, but GASCOIGNE. 241 I cannot find them, unless the " gorged liawk " alludes to Hellen Suavemberg's second marriage with Thomas Gorge. One detail, the statement that he was charmed by brace- lets, singularly illustrates the history of a more important person. In L'innocence de la Ms illustre, iris chaste ct debonnaire, Princesse, MadatiiR Maine, Heine d'Ecosse, &c., we read : " Above all the Countess of Lennox " (one of Fereuda's associates, by the way, whom Gascoigne calls " another ox right lean," just as he indicates F. Pierrepont as the " Bridge with stony arch," and Jane Stanhope, who married Sir lioger Townshend, as " one who dwells at Town's end "), " Darnley's mother and maternal aunt to Her Majesty, besieged her with letters and secret messages, and enchanted her with a pair of bracelets which she sent to her; and the threats of the Bastard, the Queen's half-brother, the practices of this lady, the entreaties of several others, and the force of this charm (let no one find this strange, seeing that the island of Albion has in all times been made infamous by sorcerers), were the cause of her condescending to their will and marrying as she did." This was published in Paris in i 57,^, and simultaneously with Gascoigne's first poems. But to return. We have here a poet and soldier, highly honoured at Court, in frequent personal communication with the good Queen ; one who took a prominent part in her reception at Kenilworth ; one whose published poems were commended by Stanyhurst, Chaloner, Whetstone, Ealeigh — in fact, by a score of well-known poets ; one whose works are reprinted ■ for our edification, and recommended to us with confidence that we shall form a favourable opinion of the poet's char- acter, and on examining these works what do we find ? A man wlio openly boasts of his adulteries, and who shrinks VOL, I. Q 242 THE ENGLISH DEAMA. not from exposing himself to any charge if he can only involve in it the unfortunate women who were his associates in wrong-doing ; a man many of whose poems are as lewd as any others of his time, and far more filthy in expression ; a coward who took advantage of his absence from England to print his scurrilous libels with misleading signatures, which he tried to evade and had to disavow on his return ; a man with no redeeming feature but personal courage to counterbalance all these and other defects, such as gaming, prodigality, and the like. Nevertheless he was a favourite of our good Queen, under whom freedom was established, and in his last years he wrote moral rhymes. 1. Supposes, C, Englished from Ariosto. Presented at Gray's Inn 1566. "Doctor Dotipole " occurs in i i., which shows the antiquity of this name. " Saint Nicolas' fast," i. 2, Dec. 26, points to a Christmas performance. The use of " etc.," ii, 4, where it evidently indicates " gag " to be introduced by the actor, removes all doubt as to the meaning of this word in later plays. " Set up his rest " is fully ex- plained in iii. 2. " Sporet " (sport), iii, 4, is important as showing the pronunciation of words with rt, rcl, &c. " Call me cut " occurs iv. 5 . 2. Jocasta, T., translated from Euripides and " digested into act" by G. Gascoigne (ii., iii., v.) and F. Kinwelmarsh (i., iv.), was presented at Gray's Inn 1566, probably at Christmas, with Sup]Joses. There are Dumb Shows and Choruses. 3. The Glass of Government, T. C, was dedicated to Sir Owen Hopton 1575, April 26. In the Prologue Gascoigne mentions " Bell Savage Fair " as fit for merry jests and vain delights, as well as Enterludes and Italian toys. The work was compiled on " sentences set down by C. B[arker]," for whom the book was printed. In i i. " our eldest sons are GASCOIGNE. 243 near the age of xxi. years, aud our younger sons not much more than one year behind them ; . . . they therefore will shortly be ready for the University," shows that the age of matriculation was usually c. 19, as now, and that the early entrances so often met with in dramatic biography were cases of exceptional talent. Gnomaticus of St. Antline's and Lord Barlemonte were no doubt real persons, but I cannot identify them. In i. 4 we find that the education of a boy of 19 consisted in Grammar (Latin, of course), Erasmus' Colloqitics, Cicero's Offices, and Latin verses. By 20, if he had also read some of Terence's Comedies, some of Cicero's Epistles, some Virgil, and entered on Greek Grammar, he " had not lost his time." Shakespeare pro- bably left school at about 14, before even the Latin verse stage. The Choruses are in verse. Dick Drum, as a character-name, should be compared with Marston's Jack Drum and Shakespeare's Tom Drum. 4. The Princely loleasures at the Court at Kenilworth, in which Leicester acted as Deep Desire and Gascoigne as a Wild man, was presented 1575, July 9-14. Hunneys, Badger, Ferrars, Muncaster (or Baton), Goldingham (the original Arion in the Dolphin so often alluded to by later writers), all contributed ; but Gascoigne was the chief author. Bart of his show, however, was not presented. Compare Laneham. 5. The Tale of Ilemctcs the Hermit, in which Gascoigne again appeared as a "Wild man, was presented at Woodstock 1575, Sept. It was published in English, Latin, Italian, and French. 6. A Device of a Mash for Viscount Montacutc (Antony Brown), at the marriages of his son and daughter to the daughter and son of Sir William Dormer. In Venetian cos- tume. The Siege of Famagosta, 1571, Aug., is mentioned 244 THE ENGLISH DEAMA. in it, and it was published early in i 5 7 3 . It must date, then, c. 1572. Geddes, Dr. (Latin.) 1. Julius Ccesar, acted at Christ Church, Oxford, i 5^-- Glapthorne, Henry. (Plays.) 4. 1639, Jan. II, for Daniel Pakeman, Argalus and Parthenia, T., 1639. 8. 1639, Sept. 23, for George Hutton. Alhertus Wal- Icnstein, T., 1640. 3. 1640, April 4, for Francis Constable. The Ladies' Friviledge, C, 1640. 5. 1640, April 27, for Francis Constable. Wit in a ConstaUc, C, 1640. 2. 1640, May 22, for Widow Wilson. Tlie Hollander, C, 1640. I. Eger. MS. 1994, The Lady Mother, C. I. 1635, Oct 15, Tlic Lady Mother was licensed by W. Blagrave, " the reformations observed " [for the Eevels Com- pany at Salisbury Court; cf. ii. i, "This boy does sing as like the bov at Whitefriars as ever I heard "I- Probably the same play as Tlic Nolle Trial, S. E. 1660, June 29, of which one MS. [the stage one] was destroyed by W^ar- burton's cook. The MS. from which Mr. A. H. BuUen prints the play was the copy corrected by Blagrave. For a probable third title see the last line — "There is no Arrai^niuent like to that of Love." From ii. i it appears that one of the musicians was called Jarvis. In the same scene The Fine Companion (Marmion's, acted by the Prince's men at Salisbury Court) and Joa7is as good as my Lady (by Heywood ; altered, I think, into A Maidenhead v:cll Lost, acted by Queen Henrietta's men at GLAPTHORNE. 245 the Cockpit) are alluded to. Both these plays were pro- bably still on the stage. 2. The Hollander was acted at the Cockpit and before their Majesties at Court by their Majesties' servants. Written in 1635 ; but "then acted" in the title must mean there- after acted, for their Majesties' company did not exist till 1637. All local allusions in the play agree with 1635 as the date of writing. 3. The Ladies' Priviledgc was acted at the Cockpit and before their Majesties at Whitehall twice by their ]\Injesties' servants. Glapthorne is called "the new author" in the Prologue. The title is alluded to in Erome's Mad Couple well matched, a play which also belonged to their ]\Iajesties' players, who had retained it from Queen Henrietta's. TJie Ladies' Priviledge was probably acted, but not written, before The Hollander in 1636. 4. Argalits and Parthenia was acted at Court before their Majesties and at the Cockpit by tlieir Majesties' ser- vants probably in 1638. It is founded on The Arcadia of Sidney. 5. Wit in a Constable was written in 1639, and acted at the Cockpit, but not at Court, by their Majesties' ser- vants. In V. 2 the " swine-faced gentlewoman " is said to have been introduced in two plays; but the plays seem not to be extant. This play is clearly an older version refur- bished. Thoroughgood and Tristram in i., ii., iii. become Freewit and Grimes in iv., v. ; and the occasional retention of the earlier names in iv., v. shows that this was the part of the play rewritten. The older part dates probably c. 1636. 6. The Duchess of Femandina, T., entered S. E. 1660, June 29, with The Nolle Trial, is lost, the ]\IS. having been destroyed by Warburton's servant, as well as that of 246 THE ENGLISH DEAMA. 7, Th& Vestal, T,, which, not having been entered S. E,, was probably a second title of some other play ; perhaps of Argalus and Partlienia. 8. Alhcrhis Wallenstcin, T., was acted by the King's men at the Globe, but not at Court. Chronologically, it must come either first or last of Glapthorne's plays. In deference to general opinion, I should have noticed it first ; but my own belief is that it should stand last. I think that it could hardly have been written in 1634, immediately after Wallenstein's death, 2 5tli Feb. 1634, although such plays as represented contemporaneous history sometimes suc- ceeded the facts without delay. Compare, for instance, Fletcher's Barnavcldt. For, on the other hand, a passage in v. I : — " Eetreat into that fortress of vour mind, Your resohition ; call it up to guard Yoi;r soul from timorous thoughts ! Are you the man Have swayed tlie Roman emjiire/o^/r-fnifZ-iwcJif?/ years," &c., requires for fact and metre (which is terribly mangled in the printed copy) that we should read fourteen (xiv, for xxiv.), for Ferdinand had in 1634 been Emperor fourteen years. Of course this error may have been accidental, but as in 1639, the date I would give to the play, Charles I. had been King just fourteen years, I suspect that the alteration was intentional, to avoid suspicion of any covert allusion to him. It is more likely that Glapthorne's career should end with the principal company than that it should begin there ; and all his early plays seem to have been comedies. 9. Eevcnfjc fur Honor. See Anonymous plays. Glapthorne also published Poems in 1639, and White- hall, a poem, in 1643. I have not been able to identify the Lucinda of the poems. Among these is that To GOFFE— GOLDIXGHAM. 247 Bzcchiel Fenn ^ " at his first acting a man's part," viz., after 1635, when he acted Sophonisba in ISTabbes' Hannibal and Scipio. GoFFE, Thomas. (University Plays.) 1. 163 I, Sept. 7, for Eichard Meighen. Tlie Raging Turh (Bajazet 2), T., 163 1, 1656. 2. 1 6 3 I , Sept. 7, for Eichard Meighen. The Courageous Turk {AmuxoWi i), T., 1632, 1656. 3. Orestes, T., 1633, 1656, 4. The Careless Shcjjherdess, P. T. C, 1656. Born in Essex c. 1592; educated at Westminster School ; entered as student of Christ Church, Oxford, 1609; B-A., M.A. ; preferred to the living of East Clan- don, Surrey, 1623. Died July 1627. The "three excel- lent tragedies," i, 2, 3, as they are called in the 1656 edition, were written after he took his M.A. degree [c. 161 5], and before his leaving the University in 1623. They were acted by the Christ Church students ; he spoke the Prologue to Orestes himself. 4. The Cai'eless Shcioherdess was acted before the King and Queen at Salisbury Court ; therefore not earlier than 1629. It has an Induction, the scene of which is in Salisbury Court, and which must, there- fore, be dated after Goffe's death. The scene of the play is in Arcadia. To the printed copy an erroneous list of all plays then in print is appended. Some catalogues mention a Pastoral called TJte Careless Shepherd ; perhaps the same play. GOLDINGHAM, WlLLIAM. (Latin.) I. MS., Univ. Library, Cambridge. Herodcs, T. ; dedicated to Thomas Sackville, Lord Buckhurst. ^ In my History of the Stage, p. 321, the printer has made Fenn act the ])uke of Mantua in 1631 by omitting to bracket this character with the "Merchant" above, acted by Axen. 248 THE ENGLISH DKAMA. GoMEESAL, Egbert. (Pl'^iy-) I. 1 62 8, Feb. 27, for John Marriott. Zudovick Sforza, Duke of Milan, T., 1628, 1633. Eoni in London 1 600 ; student at Christ Church, Oxford, 1614 ; B.A. c. 162 I ; M.A., B.D. ; left Oxford 1627 ; pub- lished his Poems and play 1628 ; afterwards held the living of Flower, K"orthamptonshire. An enlarged edition of his Poems and play appeared in 1633. The play was probably never acted. GossoN, Stephen. (Plays.) Born in Kent 1554; scholar of Christ Church, Oxford, 4th April 1572 ; came to London 1576. Wrote pastorals (plays), one of which was i . Catiline s Conspiracies, which was acted at the Theater ; then wrote his School of Abuse against plays 1579, and dedicated it to Sidney. Then two more of his plays, 2. The comedy of Captain Mario, " a cast of Italian devices," and 3. Praise at Parting, a moral, came to the stage ; and Lodge answered his tractate, which Gossou had amplified, by A Short Apology of the ScJwol of Abuse, appended to his Ephcmcridcs of Phialo, 1579. Then Gosson answered Lodge in his Plays confuted in Five Actions [15 8 1— 2]. He also wrote Quips for Upstart Neiv-fangled Gentlewomen, 1596. He was a private tutor in the country before taking orders; published 1598 The Trumpet of War ; preached at Paul's Cross ; then became parson of Great Wigborow, Essex ; and finally rector of St. Botolph, Bishopsgate, from 1600 to 1623, Feb. 13, when he died. He wrote verses for Florio's First Fruits, 1578 ; Nicholas' West Indies, 1578; and Kerton's Mirror of Mans Life, 1580. See Lodge for further particulars. The chief interest in Gosson now centres in the theatrical allusions in his writings. Thus, in liis School of Abuse, p. 1 1 (reprint by the Shak. Soc), his mention of the lion's skin GOSSOX. 249 upon iEsop's ass and Hercules' shoes on a child's feet goes far to settle the reading in King John, i. 2, 144 (my edi- tion) ; p. 20, he tells us the first comedies smelt of Plautus (this is important), those of our days (i 579) taste of Menan- der; p. 29, the access to the theatres (built 1576) had been restrained many times; p. 30, he mentions two prose books performed at the Bell Savage, The Jew and Ptolemy at the Bull, The Blacksmith's Daughter and Catiline's Conspiracy at the Theater, on all which see my History of the Stage, and under their titles in the present work. In his Tliircl Blast, 1580, p. 123 (Hazlitt's Boxhurgh Library^, he says, '"'My wits were exercised in the inven- tion of those follies;" p. 143, he refers to "The tragical comedy of Calistus, where the bawdress Scelestina inflamed the maiden Meleheia with her sorceries;" p. 147, "Xeed and Flattery are two brothers, and the eldest servitors in the Court ; they were both scholars unto Aristippus." This alludes to the Fulwell and Edwards quarrel of 156 1—4, on which see my History of the Stage, p. 60 ; and finally, p. 145, he refers to the children actors as "pigmies," and to the play of Pompey. In his Plays confuted, 1582, p. 188, he again refers to Pompey and The Fahii as acted at the Theater, and says " Tlie Palace of Pleasure, The Golden Ass, The Bthiojnaii History, Amatis of France, The Bound Table," bawdy come- dies in Latin, French, Italian, and Spanish, have been thoroughly ransacked to furnish the playhouses in London. In pp. 189, 202, The Play of [about] Plays is said to have been acted at the Theater 29th Feb. last; i.e, in 1580, the last Leap-year. This proves that my conjecture was right. Leicester's men acted it at Theater then, and as the play oi Delight at the Court 1580, Dec. 26. The char- acters arc given by Collier : Life, Delight, Zeal, Glut, Be- 25 o THE ENGLISH DKAMA. creation, and Tediousuess. In p. 189 we also find mention of the song of The Maid of Kent and the speech of The Stalled rogue [not "rage," as printed]. GouGH, J, (Play.) I. 1640, Jan. 3 I, for William Leake. Tlie Strange Dis- covery, T. C., by J. G., 1640. Some copies have the name J. Gough in full. This play is founded on Thcagines and Chariclea, by Heliodorus (compare The Queen of Ethiopia, Anon. 66). Greville, Fulke, Lord Brooke. (Plays.) 1. 1608, Nov. 25, for Nathaniel Butter. Mustapha, T., 1609, 1633. 2. 1632, Nov. 10, for Henry Seile. Ala]iam.,T.,\6'^'^. Born at Beauchamp Court, Warwickshire, 1554; Pellow- Commoner of Trinity, Cambridge ; afterwards studied at Oxford ; travelled on the Continent ; was introduced at Court ; held lucrative appointment in the Marches of Wales ; was knighted 1597; Member for Warwickshire and Knight of the Bath 1603; Chancellor of the Exchequer 161 5; Baron Brooke of Beauchamp Court 1620; Lord of the Bedchamber 1621. Was mortally stabbed by a serving- man 30th Sept. 1628. His plays were on the Seneca model, with Choruses and Inductions ; probably not acted. His poems, &c., are be- yond the scope of this work. Greene, IIobert. (Plays.) 2. 1593, L)ec. 7, for John Danter. Orlando Furioso, 11., 1594. Transferred to Cuthbert Burbye 28th May 1594, and printed for him by Danter. 5. 1594, May 14, for E. White. Baeon and Bimguy, H., 1594, 1599, 1630, 1655. 8. 1594, May 14, for T. Creede. James 4., H., 1598. 10. Selimus, 11., 1594, for T. Creede. GREENE. 251 I. Aljihonsus of Arragon, C, H., 1599, for T. Creede. This and the preceding play, not in S. E., were no doubt obtained by Creede in 1594 (compare James 4). 3. 1595, April I, for Cuthbert Burbye. The Pinner of Walceficld, C, 1599. NoiN'- Dramatic Works, 1580, Oct. 3, for Thomas "Woodcock. Mamillia, "a Mirror or Looking-glass for the Ladies of England. By Kobert Greene, Graduate in Cambridge," 1583. I 581. Mar. 20, for Edward White. A ballad on Youtlis rccjpcntancc. ISTot extant. "By Greene." I 581, July 10, for liichard Jones. The Exhortation of London unto her children, &c., is probably the same work (though somewhat differing in title) as The Exhortation, &c., "by E. G.," printed for N. Ling 1584 (see Collier, iii. 149, and compare S. E.). Not extant. The Mirror of Modestij, 1584, for Eoger Ward, "by E. G., Master of Arts," was probably Greene's next work, and written 1583. Flanctomachia, 1585, for Thomas Cadman, "by Eobert Greene, Master of Arts and Student in Physic," was almost certainly produced in 1583, when the conjunction of Saturn and Jupiter on 22nd April excited much attention to popular astronomy. 1583, Sept. 6, for W. Ponsonby. Mamillia, the second part of The Triumph of Pallas, 1593, "by Eobert Greene, ]\Iaster of Arts in Cambridge." Dated 7th July, " from my study in Clare HalL" I 584, April 1 1, for W. Ponsonby. Gividonius, The Card of Fancy (with the debate between Folly and Love trans- 252 THE ENGLISH DEAMA. lated from the French), "by Robert Greene, Master of Art in Cambridge," 1584, 1587, 1593, 1608. 1584, Aug. 13, for Hugh Jackson. Arhasto, The Anatomy of Fortune (The King of Denmark's love to fair Doralicia), 1626, "by Eobert Greene, Master of Art. Omne tulit punctum qui miscuit utile dulci " [but this is a late and probably altered title]. To which is usually added Gale's F //ramus and Thisbe. Morando, The Tritamcron of Love, 1584, for Edward White, " by Eobert Greene, Master of Arts in Cambridge ; " 1587, by John Wolfe. 1586, Aug. 8, for E. White. Morando (including the second part, 1587, by J. Wolfe for E. White, "by Eobert Greene, Master of Arts in Cambridge "). 1587, June II, for Edward Aggas. Greene's Farewell to Folly (but not then published). 1587, June 26, for Thomas Cadman and E. Aggas. Fenelope's Web (with three Comical histories), "by Eobert Greene, Master of Arts in Cambridge. Omne tulit ijunctwm qui miscuit utile didei" [1587], 1601. 1587, Sept. 18, for E. White. Euphues, his censure to Fliilautus (Hector and Achilles). " Eohertus Greene, in artihus Magister, Ea hcdientur optima, &c." Dedicated to the Earl of Essex, 1587, 1634. 1588, Mar, 29, for E. White. Ferimedes the Blacksmith.. "Omne . . . didei!' Dedicated to Gervase Clifton, 1588. 1588, May I, for T. Cadman, "two copies, whereof he is to bring the titles." One of these was probably Fan- dosto, TJie Triumph of Time, Temporis filia Veritas (Dorastus and Eawnia), " by Eobert Greene, Master of Arts in Cam- bridge. Omne . . . f/?«/ci; " i 588, for T. Cadman ; 1607, 1609, 1614, 1619, 1629, 1632, 1636, 1655, &c. 1588, Dec. 9, for John Wolfe (who probably printed it GREENE. 7 r -» for E. White). Alcida, Greenes Metamorphosis, i6iy, "by 11. G. Omne . . . dulci " (late title ; probably altered). Ciceronis Amor, Ttdlys Love, by K. Eobinson for T. Newroan and J. Winningtoii, 15S9, "by Eobert Greene, in artibiis magistcT . Omiu: . . . didcl." Dedicated to L. Strange, 1592, 1597, 1601, 1605, 1609, 1611, 1615, 1616, 1628, 1639. 1589, Feb. I, for Thomas Cadman. The Spanish Mas- querado, "by Eobert Greene, i?i artihus Magister" 1589, his. 1589, Aug. 23, for Sampson Clark. Menaphon, Camillas alarm to sliunliering Eiiphues [Lyly, q.v.'] in his nnelancholy cell at Silexedra. " Jioheriiis G-reene, in artihus Magister. Omne tidit pitnctitm" with address by Xash. 1589, 1599, 1605, 1 6 10 (Greene's Arcadia), 16 16, 1634. I 590, Feb. 9, for E. White. Greene's Orpharion (Orpheus and Arion), 1599. " Oinne . . . dulei. Boherttis G'reene, in a7'tihus Magister " (late title ; probably altered). 1590, April 15, for Thomas Xelson. Cornucopia, or The Boyal Uxchange, 1590, I. Charlewood for W. Wright. "Boh. Greene, in artihus Magister.'" Translated from the Italian. Never too late, or A Powder of Experience. " Boh. Greene, in artihus Magister. Omne tulit punctum." 1590, by T. Or win for N". L[ing] and J. Busbie. Francesco's Fortunes, or 2 Never too late, 1 5 90, for N. L[ing] and J. Busbie. " Sero sed serio. Bohertus Greene, in Artihus Magister." 1600, 1607, 1616, 1621, 1631, n.d. 1590, Nov. 2, for J. Wolfe. Greene's Mourni7ig Garment, 1590. i597j 16 1 6, by G. Purslowe. "By Pi. Greene, utriusque Academicc in artihus Magister. Sero sed serio " (late title ; apparently not altered). Greene's Fareivell to Folly, 1591, by T. Scarlet for T. Gubbin and T. Newman. " Sero sed serio. Piobert Greeue, 2 54 THE ENGLISH DRAMA. utriusgiie Academim in artihus Ilagister" i6iy (cf. 1587, June 11). 1 591, Dec. 6, for T. Nelson. A Maiden's Dream. On the death of Sir Christopher Hatton [Nov. 20], "by Robert Greene, Master of Arts," i 5 9 1 . 1 591, Dec. 13, for E. White and T. Nelson, i Cony- catching. I 591, A Notciblc Discovery of Cozenage, for T. N. " Nascimur ^ro patria, by E. Greene, Master of Arts;" 1592. 1 591, Dec. 13, for E. White and T. Nelson, 2 Cony- catching ; I 5 9 1 , for W. Wright ; 1592, with new additions. " Mallcm non esse quam non ^rodcsse patriae. E. G." 1592, Feb. 7, for T. Scarlet. 3 Conycatching (with Fooltaldng), 1592, by T, Scarlet for C. Burbie, "by E. G." He and She Cony catcher (Thief and Whore), with the Conversion of an English Courtesan, 1592. ^^ Nascimur pro Patria. By E. G." 1592, by A. I[slip] for T. G[ubbins]. Thieves falling out True men come l)y their Goods, or The Bellman wanted a Clapper. A peal of new Villanies rung out. 1 6 1 5, for T. G[ubbins] ; " By Eobert Greene." [Evi- dently near in date to the preceding.] 161 7, 1637. 1592, July I, for E. White. Fhilomelcc, The lady Fitzivaters Nightingale, 1592, 161 5. "By Eobert Greene. fJtriusqiie Academicc in Artihus Magistcr. Scro sed scrio." 163 I, n.d. 1592, July 21, for J. Wolfe. A Quip for an Upstart Courtier (Velvet Breeches and Cloth Breeches), 1592 (three editions, one non -extant containing the attack on the Harveys), 1606, 1615, 1620, 1625, 1635. Chiefly taken from Fride and LotvHness ; usually, but wrongly, ascribed to F. Thynne. 1 592, Aug. 2 1, for T. Nelson. The Black Boole s Messcn- GREENE. 255 ger (Ned Browne the Cutpurse). Nascimur jrro patria. " By Pu G," 1592. Greene's Vision, written at the instant of his Death [3rJ Sept. 1592]. " Scro seel serio," for T. Newman [1592]. 1592, Sept. 30, for W. Wright. Greene's Groatsworth of Wit, bought witli a Million of Eepentance. Published [by Chettle] at his dying request, 1592, 1596, 1600, 1616, 1617. " Fcliccm fuisse infaustwn," 1620, 1621, 1629, 1637, n.d. 1592, Oct. 6, for J. Danter. The Repentance of Robert Girene, Master of Arts, 1592, for Cuthbert Burbie. Itobert Greene, born at Norwich, took his B.A. degree at St. John's, Cambridge, 1578, having previously travelled in Italy and Spain, where he practised " such villany as is abominable to declare," his proneness to mischief being due to his mother's pampering and secretly supjolying him witli money. Immediately after his B.A. he must, if the dates in Franecsco's Fortunes are to be trusted, have married a wife, with whom lie lived for seven years. No doubt exists that Francesco as well as PLoberto in The Fareivell to Folly are impersonations of Greene himself ; still, some allowance must be made for the necessities of romance. According to this Francesco account, Isabel eloped with him from near Caerbranck (Bran caster, in Norfolk), where Francesco lived, and the marriage took place at Dunecastrum (Doucaster), whither her father pursued them, and imprisoned Fran- cesco on a charge of felony. He was freed, and got wealth by teaching of a school. After five years they were recon- ciled to Isabel's father, and visited him at Caerbranck. This would be in 1583, when Greene had taken his M.A. at Clare Hall, from which college he dated 2 Mamillia, 7th July. At this time he was a " student in physic " (see Planetomachia). On 19th June 1584 he, having taken 256 THE ENGLISH DRAMA. orders, was presented to the vicarage of Tollesbury, in Essex (Oct. Gilchrist), no doubt the place where he had been schoolmaster. In 1585 c. Mar. he resigned his posi- tion there, and went to London (Troynovant), leaving his wife, by whom he had one son " six years " (in round numbers), before the Francesco story was published, c. Oct. 1590. In 1586, March (if I am right in identifying him with " Eobert the Parson "), he went to Denmark as actor as Leicester's man, and was in Saxony in October. The only work of his appearing in London at this time was 2 Morando, which had, it seems, been in the publisher's hands from 1584. Ou his return, "three years" (round numbers again) after leaving his wife, who had returned to Lincoln- shire (Repentance), and forming a connexion with Infida (Cutting Ball's sister, by whom he had a son, Fortunatus), Francesco took to writing plays. From the Roberto narra- tive it appears that the actor who introduced him to the company for which he wrote (the Queen's men) had once played " fardle a footback," had now " playing apparel " worth more than £"200, was famous in acting Del PJirygus and TliG King of Fairies, The 12 Labors of Hercules and The Highway to Heaven, had penned Mans Wit, a moral ; Bims, a dialogue, and " for seven years' space was absolute interpreter of the puppets ; " an extempore rhymer, whose '•' almanac " is now out of date. This can be only Robert Wilson. In Perimedes, S. R. 29th Mar. 1588, he resumed his " old posy," omne tulit ^punctum, which he abandoned in PiquhiLCs' censure for Ea halcntur, &c., and had first used in Penelope's Web. " Two gentlemen poets made two madmen of Rome {i.e., London), beat it out of their paper bucklers " (i.e., pamphlets ; the phrase does not necessarily refer to plays, as R. Simpson takes it) ; but Greene expressly adds, " I but answer in print what they have uttered on the stage." GREENE. 257 These mottoes of Greene's are the key to the chronology of his writings ; they are carefully displayed in the list of liis prose works already given, chiefly in view of that ques- tion. These poets had also derided him for the inferiority of his blank verse to that of Tamlcrlane and " The mad priest of the souue " (Dyee, p. 35). This must refer to his Alphonsus, written in direct rivalry to Tamherlane. Their motto allusion I am unable to identify ; but the two poets, whom Greene further describes as novices, pothouse fre- quenters, and bred of Merlin's race, must, I think, have been Marlow (Marlin) and Kyd. In this year, 1588, Greene was incorporated at Oxford, and from the Latin verses pre- fixed to Alcida, 9th Dec, it appears that up to this time he was suffering from a tedious fever in the country. On 23rd Aug. 1589 Menai^hon was entered S. E. The " dark enigmas or strange conceits " in Greene's address are his way of acknowledging that the work is a personal satire (compare " if I speak mystically " in the address to Tullys Love). The clown Doron, p. 74 (Arber's reprint), makes this speech: "We had a ewe among our rams whose fleece was as white as the hairs that grow on father Boreas' chin, or as the dangling dewlap of the Silver Bull ; her front curled like to the Erimanthian Boar, and spangled like to the worsted stockings of Saturn ; her face like Mars tread- ing upon the milk-white clouds ; . . . her eyes like the fiery torches tilting against the moon." In The Taminfj of a Shreia, Sc. 2, Kate is described as " whiter than icy hair that grows on Boreas' chin " (this Mr. Simpson pointed out) ; in Sc. 5 Aurelius' love is " as fair as is the milk- white way of Jove." In Hamlet, iii. 4, 56 (a play founded by Shakespeare on an old play of Kyd's : see Kyd), we still read even in the altered play : — " Hyperiou's curls, the frout of Jove himself, An eye like Mars ; " VOL. I, B 258 THE EXGLISH DEAMA. where Qi has "a face to outface Mars himself;" and that Kvd was the author satirised is clear from the reference in Nash's address (compare Nash) to " the Kid " in -(Esop and the " whole Hamlets of tragical speeches." Had we the old Hamlet as we have The Taming of a Shrew, I have no douht we should be able to track out all Doron's allu- sions. But this Doron shepherd (i.e., verse-writer) must not be confused with "the vainglorious tragedians" of Nash's address. These are clearly actors, among whom there is one Eoscius (E. Wilson) ; he is identified with the actor who introduced Greene to the Queen's men by the mention of The King of Fairies and Delphrigits, and by his name with the Eoscius of Franeescds Fortunes, who is taught by the Cobler (Marlow, the Cobler's son) to say Ave Ccesar (of. Marlow's Fdward 3, i. i, 164), and is as actor " prankt with the glory of others' feathers." This brings us to the determination of the company with which Greene was so incensed. It had been a strolling com- pany, and was now rivalling the Queen's men. It was Pembroke's, of course ; and accordingly we find that The Taming of a Shrew was acted by Pembroke's men, and that Marlow also wrote for them (see Fdward 2). More- over, The Taming of a Shrew, Hamlet, 3 Henry 6, Titus Andronieus, and Fdicard 3 all passed (no doubt together) from Pembroke's to the Chamberlain's men, and all these were in some way connected with Shakespeare, and were originally written, in my opinion, by either Marlow or Ivyd. My hypothesis as to the identification of Melicert with Lyly, Menaphon (whom Doron, " his next neighbour," plainly imitates; compare pp. 31 and 74) with Marlow, and Pleusidippus with Greene is too conjectural to claim further notice here ; but I think that Moron, lately deceased, is surely Tarleton ; and as to Marlow, there cannot be GREENE. 259 much doubt that in p. 54 he is described as "prophetical" (Merlin), " full mouth " (of. " every word filling the mouth like the Fa burden of Bowbell," Perimedes), teller of a " Canterbury tale " (Marlow was born at Canterbury), " as he were a Cobler's eldest son " (he was so). In 1590 Never too late was published, I have already utilised the first part, The Palmer's Tale of Francesco, which is recognised as autobiographical. The continuation of Francesco's Fortunes in Part 2 is, however, not so. It con- tains a reunion with his wife, which, if Greene desired it at this time, as I suppose he did, never came to pass. But there is another story. The Host's tale, which requires notice. Mullidor " was of honest parents, but very poor ; . . . cast in ^sop's mould ; his back like a lute and h's face like Thersites' ; his eyes broad and tawny ; his hair harsh and curled like a horse-mane ; his lips of the largest size in Folio ; . . . his nose . . . beaked like an eagle. Nature into his great head put little wit ; ... he was never no good arithmetician, and yet he was a proper scholar, and well seen in ditties." Subsequent allusions go far to prove that this was Dekker, the Thersites of Troyhts and Cressida, the Deformed of Much Ado ahoict Notliing, the great head and little wit of Wily Beguiled, the exquisite song-writer, the satirist of Greene, in his Old Fortunatus (q.v.), originally produced for the Admiral's men c. i 589. I formerly agreed with Mr. Simpson in identifying Mullidor and Doron, but had not at that time obtained evidence of Dekker's pre- Shakespearian career (see Dekker). But, whichever view be right, in the next work, The Mourning Garment, S. R. 2nd November 1590, the Dedication of which contains a reference to the Jonah story, which forms the foundation of The Loolcing Glass, Philador, like Francesco and Eoberto, is a reflex of Greene's own personality. Then appeared Fair 26o THE ENGLISH DRAMA. Em (q.v.), in which, among other things, Mandeville's {i.e., Greene's) purposed return to his first love is declared to be rejected by her. Greene, in his Farevjell to Folly, accuses the author of " abusing of Scripture," of distilling his writing out of Ballads (see S. E. 1581, Mar. 2), of borrowing of Theological poets, of making himself " the father of inter- ludes," evidently the Eoscius who penned the moral of Man's Wit, &c. ; I.e., E. "Wilson. Greene's Groatsivorth of Wit was published 20th Sept. I 592, edited by Chettle. Greene died Sept. 4. As I have already noticed the autobiographical story of Eoberto, it only remains to explain the often-quoted address to his "quondam acquaintance" who make plays. He first ad- dresses the atheist Machiavellian (of. Jew of Malta) gracer of tragedians (which word here, as always in Greene, means tragic actors, not writers), who is, of course, Marlow. The broacher of this atheism, whose disciple Greene was by him persuaded to be, and who died like Julian, was doubtless Francis Kett, M.A., burnt at Norwich (Greene's native place) Feb. 1589 for his detestable opinions against Christ. Mr. Simpson's suggestion that Machiavelli is meant is very un- lucky. Malone was, as usual, much too thoughtful to be easily misled in such a matter. Note especially the words " the betrayer of him that gave his life for him," and " is dead " surely recently. Next he addresses " Young Juvenal, that biting satirist, that lastly with me together writ a comedy ; " certainly Lodge, who with Greene wrote the satirical play The Looking Glass for London, and some of whose Satires, collected as A Fig for Momus, 2nd April 1595, were probably circulated in 1592. An hypothesis that Nash was meant has been often advocated on singularly weak grounds, viz.: i. Lodge was out of England. But this argument is quite valueless ; he could be as well written grp:ene. 261 to, in print, out of England as in it. 3. Greene calls him " sweet bov." Lodcje beincj older than Greene " by about two years," says Mr. Simpson in his usual haphazard vray. In fact, neither the age of Greene nor that of Lodge are known, and all probabilities point to Greene being a little the elder. 3. Young Juvenal was not a professed play-writer, nor was Lodge. He carefully kept his play-writing, " whence shame (loth grow," as secret as he could, and only two plays (one being that written with Greene) passed the press under his name. But Nash's only play, written before Greene's death, was being acted at Court, not in public, at the very time Greene was writing this tractate ; and there is no trace of any " sharp and bitter lines " by him (for " lines " implies verse), and Xash's bitterness is all prose. The third author, " in some things rarer, in nothing inferior," is admitted by every one to be Peele. Then Greene turns against players, " puppets that speak from our mouths ; antics garnisht in our colors : " one crow especially " beautified with our feathers," with " his Tiger's heart wrapt in a player's hide " (cf. 3 Henry 6, i. 4), is not content with his proper calling, but aspires to play-M'riting, and supposes he " can bombast out a blank verse : " a Johannes Factotum " in his own conceit the only Shake-scene in a country " (i.t\, county). He might " insert against these buckram gentlemen" two more {i.e., Kyd and Wilson) " that both have writ. As for new-comers, he troubles not." Now, a glance at the table p. 95 of my History of the Stage shows that Lord Strange's men, between 19th February and 22nd June, acted plays by Mario w {The Jew of Malta), Lodge {The Loohing Glass), Peele {Mullimorco), Kyd {Jeronymo), Wilson (probably Tlie Knack to Know a Knave), and Greene {Bacon and Orlando). Moreover, the great success of the season had been i Henry 6, written by several of these men, but produced as a new play with the 262 THE ENGLISH DRAMA. addition of Shakespeare's Talbot scenes. Can there be any doubt as to the company he aims at ? Only, I think, in the minds of the followers of Mr. J. 0. H. Phillips, who makes Shakespeare travel at this time with Pembroke's company. For all that is known of the end of Greene at the shoe- maker's near Dowgate ; his hostess, Mrs. Isom ; his keep- ing of Cutting Ball's sister, and of her son, Fortunatus Greene, who died Aug. 1593, see Dyce's Account of B. Green. For his quarrel with Harvey see Nash ; where also his share in the anti-Martinist controversy will find a fitter place. But before noticing his plays I must note that Nash, in his Apology for Piers Penniless, says that " Greene was the chief agent of the company [the Queen's company of course, the only one that could be called " the company "], for he wrote more than four others." I. The comical history of Alphonsus King of Arragon was acted soon after Tamherlane, to which there is an allusion in iv. 3, ])robably by the Queen's men, as it is mentioned as " Mahomet's pow " by Peele in his Farcivcll, April 1589, with other plays. A second part, "when I come to finish up his life," was intended, but not produced, probably in consequence of the first not being successful. That it was one of Greene's earliest plays is evident. In the Presentation Venus says (or rather Greene says) : — "And this my hand, which uski for to pen The praise of love and Cupid's peerless power, Will now begin to treat of bloody i\lars ; '' and with still clearer allusion to his previous prose tales : — " I that was wont to treat of Cupid's games Will put in ure Minerva's sacred art." There is no motto to this play. As A^euus is "let down from the top of the stnge," it may be the play satirised for GREENE. 263 its " descending throne " in the Prologue of Jonson's £vcri/ Man in his Humor (which GifFord could not explain), especi- ally as it was published in i 599. T. Creede, the publisher, seems to have published Queen's plays only. 2. The History of Orlando Furioso, one of the twelve peers of France, was published in a much abridged version as it was played before the Queen. In The Defence of Coney Catching, S. K. 21st April 1592, Greene is accused of selling it to the Queen's players, to whom it no doubt properly appertained, for twenty nobles {£6, 133. 4d), and when they were in the country to the Admiral's for as much more. This must mean, I think, ou the Queen's men's breaking in Dec. 1591. But the MS. at Dulwich, con- taining the full version of Orlando's part (as acted by Alleyn), belongs to the time when he revived the play for L. Strange's men, 21st Feb. 1592, when he was their manaszer; there is no trace of it for the Admiral's men, who were subsequently under him, and L. Strange's men no doubt got it from the Queen's, like so many other plays. There is an allusion to the repulse of the Armada in Sc. i , where Brandimart rebates the Spanish fleets who come to subdue the islands; the date of production is therefore c. 1588-9. The line, sc. i — "I am no king, yet am I princely born," is harped on in The Shoemaker's Holiday. Curiously, the phrase, " Ave to Caesar," which Greene satirises when used by Mario w in Edward 3, occurs in Sc. 3, both plays dating in the same year. Compare Peele, Old Wives Talc, for further allusions to this play, especially the four lines quoted by Eumenides Sc. 11, the " three blue beans in a blue bladder" Sc. 8, and the name Sacripant. Compare Orlando, Sc. I and Sc. 5 (Alleyn MS.). 264 THE ENGLISH DEAMA. 3. George a Greene, the Pinner of Wakefield, has been ascribed to Greene because a copy exists with MS- inscrip- tions : " Ed. Juby saith it was made by Eo. Greene," and, in a different hand, "Written by ... a minister, who acted the pinner's part in it himself. Teste W. Shakespeare." But there are two hands in the play. In Sc. i 3 " all the merry shoemalvers " dwell at " the town of merry Bradford." Sc. I I is a replica of Sc. 13 at " the town of merry Wakefield." Again, just before the Jenkin bit in Sc. i 3 the King will send for George ; at the end of it he will go to him. Sc. 13 (except this inserted bit), 3, 5, 9, I assign to Greene. This part of the play is independent of and has different characters from the rest, except at the clenouement. The other part is, I think, Peele's. The version we have is greatly abridged (for country performance, I suppose), as Sussex' men acted it. They played it at the Eose as an old play at Christmas 1593. But they probably got it from the Queen's ; there is no trace of Greene's writing for Sussex' men. It is, like Peele's Old Wives Tale (a Queen's play), called "a pleasant conceited comedy." Will Perkins, Sc. 13, and I think John Taylor, Sc. i, are names of actors. The date of original production is probably c. 1588—9 (see the reference to Tamberlane, Sc. i ; see also Wily Beguiled). 4. The History of Joh, the MS. of which was destroyed by Warburton's servant, is not otherwise known. It does not appear in S. E. 1594, although Mr. Ilalliwell retains the statement that it does (as usual with him) without verification. 5. Tlie Honorable History of Friar Bacon and Friar Bungay was played by Her Majesty's servants. The motto, Omne . . . didci implies a date before 29th August 1589, when Greene shortened his motto in Menaphon. In Sc. i St. James' Day comes on a Friday. This happened in 1578, GREENE. 265 1589, 1595. I assign this play to 1589, c. March. It is a rival to Faustus of 1588, and was in turn parodied in Fair Em ; compare the title The Fair Maid of Fressing field, implied all through the play, with Fair Em, the Millers daughter of Manchester. This latter repeats the plots of Bacon and of Tullys love so far as the wooing for a friend is concerned, and again of Bacon in the three suitors for the Fair Maid ; but offended Greene by the rejection of Manvile {i.e., Greene himself) after his inconstancy, which contrasts with the acceptance of Lacy. I have already pointed out that this was personal to Greene. Bacon was revived with other Queen's plays by L. Strange's men 1 9th Feb. 1592; was retained by Henslow, and acted at the Eose ist April 1594 by the Queen's and Sussex' men, and by the Admiral's men at Court, with Prologue and Epilogue by Middleton, Christmas 1602. But from the ending in the 1594 edition, I judge that it had been acted at Court at an earlier date. 6. The reign of King John (see under Lodge). 7. 1,2 Henry 6 (see my Life of Shakespeare). 8. The Scottish History of James 4, slain at Flodden, intermixt with a pleasant comedy presented by Oboram (Oberon) King of Fairies, has the motto Omne tulit punctum, which Greene used from Aug. 1589 to c. Oct. 1590. The character Ateukin is called Gnatho in ii. 2a; iii. i , 2 (part) ; iv. I. This shows a second hand, which is confirmed by the satirical character of v. 4, a scene entirely independent of the rest of the play, and evidently by the principal author of The Looking Glass. In i. ih Gnatho has been altered into Ateukin, but a dissyllable is required by the metre throughout the scene. In v. 2 we find " to them Ateukin and Gnatho," which is quite incompatible with unity of authorship. I assign the scenes named to Lodge. The 266 THE EI^GLISH DRAMA. date is, I think, 1590; the company probably the Queen's. The parasites and lust of the King are said to be " much like our Court of Scotland this day ; " but the Doll Queen and the King's love for Ida remind us of the ever-recurring story of Greene's wife Doll and the Infida connexion, of which he, like James, repented. Greene's plays, as well as his prose, reiterate this repentance (see Bacon). JSTote that all the plays for wliich Greene took sole responsibility, whether written entirely by him or not, are called " histories." The Induction of this play, some of the characters in which slip into the story presented by Bohan, is parodied in Peele's Old Wives' Tale. 9. A Looking-glass for London (see Lodge). 10. Sclhmis (see Anon. 240). Grevile, Fulke. See p. 250. Gunnel, . (Plays.) In Herbert's Office-Book two plays by this author were licensed for the Palsc'rave's men at the Fortune : — O 1. 1623, Dec. 4. The Himgarian Lion. 2. 1624, April 17. The Way to co7itent all Women, or Hoiv a 3Ian 7nay jplease his Wife. GwiNNE, Matthew. (Latin.) 1. Nero,'Y., 1603, 1639. 2. Vertumnus, C, 1607. Scholar of St. John's, Oxford, 1574; B.A. 14th May 1578; Fellow; as master-regent, July 1582, he read the music lecture; physician; junior proctor 1588; Doctor of Physic 17th July 1593; went with Sir Henry Unton ambassador to the French Court 1595; Professor of Physic, Gresham College, March i 596 ; admitted candidate of the College of I'hysicians 25th June 1604; physician of the Tower 1605; Fellow of the College at Physicians 2 2ud Dec. 1605; relinquished his professorship Sept. 1607; IIALIXGTOX. married. Died in Old Fish Street 1627 ("Wood); was alij ill 1639 (Dr. Ward). 1. Nero, ti^agccdia nova, Mattluco Gv:inne, Med. Dad., Cul- legii Divi Joannis 'prcccursoris apud Oxonienses socio ; collecfa a Tacito, Sudonio, Dione, Seneca. Londini ; impensis Ed. Bloiinte, 1603, 1639. 2. Vcrtumnus, sive Annus recurrens Oxonii xxix Augusti anno 1605. Coram Jacoho rege, Henrico principe,p)Tocerihus. A Joan7iensihus in seen a rccitatus, cth uno scriptus, Phrasi Comica prope Tragicis scnariis. Londini 1607; acted in Christ Cliurch Hall before the sleepy King, who was over- wearied at St. Mary's (Xichols, James, i. 552). 3. A dialogue of three Sibyls or Nymphs (personated by youths of St. John's), one for Scotland, one for England, and one for Ireland, was presented to the King, 1605 Aug., on his entering Oxford, in Latin, and then to the rest of the Eoyal lainily in English. The verses allude to the identification of James and Banquo by the weird sisters as a recognised thing, and must, in my judgment, have been later than the earliest version of 3Iacldh, i.e., tlian 1601 (see my Life of Shakespeare under Macldh, and for Gwinne's verses Nicliols, i. 545). Habington, William. (Play.) I. 1640, April 2. The Queen of Arragon, T. C, 1640. Son of Thomas Habington of Hendlip, Worcestershire ; born there 4th or 51I1 Nov. 1605 ; educated at St. Omers and Paris ; married Lucia, daughter of William Lord Powis. Died 30th Nov. 1654. I. Clcodura, tlie Queen of Arragon, was acted at Court 9th April 1640, through the influence and at the expense of Philip Earl of Pembroke, then Chamberlain of the House- hold ; also at Blackfriars by the King's men. It was 2 68 THE ENGLISH DRAMA. published without the author's consent. In the Court per- formance the clothes and scenes were very rich and curious. Pembroke's own servants acted it at Whitehall before the King and Queen. Pembroke must have entered this play for publication while it was being prepared for Court pre- sentation, and the public staging at Blackfriars was pro- bably later still. Habington's 2^ocms to Castara (his wife) were published 1634, and his Observations on History 1641. Hacket, John. (Latin.) I. Loyola, C, 1648. Born in London ist Sept. 1592 ; educated at Westmin- ster School; entered at Trinity, Cambridge, 1608 ; Fellow, tutor; ordained 161 8 ; chaplain to Williams, Bishop of Lin- coln, and Lord Keeper of the Great Seal, 1621 ; chaplain to James I. and prebend of Lincoln 1623 ; rector of St. Andrew's, Holborn, and Cheam, Surrey, 1624. In 1625 was named by theKing to attend the Ambassador to Germany, but did not go, his life being thought in danger on account of his treatment of the Jesuits in his play. His subsequent career does not concern us. He died i ith Oct. 1670. I. Loiola was acted before the King 19th Mar. 1622 (the Prologue date, the 12th, is wrong; the play was put off), and previously before the University, 28th Feb. It was to have been acted on Ash- Wednesday, 26th Feb., but the King having sent word that the Ambassadors from Spain and Brussels meant to attend, it was put off' on account of the subject, which would have been offensive to them. The scene is Amsterdam ; the time of action one day, " a ves- per a ad vesper am." Halliwell, Edward. (Latin.) I. Dido, by a Fellow of King's, Cambridge, was acted before Queen Elizabeth in 1564. Hatcher, MSS. collections HARDING— HATinVAY. 269 in the Bodleian, says that the author was this Hallivvell, admitted Fellow 1532. John Eightwise (admitted Fellow 1507) is too early in date, but doubtless he also wrote a play on this subject. Harding, Samuel, (riay.) I. Sicily and Naples, or The Fatal Union, T., 1640. Son of Eobert Harding of Ipswich ; born 1 6 i 8 ; sojourner of Exeter College, Oxford, 1634; B.A. 1638; chaplain to a nobleman. Died in the Civil "War. I. This play was published by Philip Papillon, the author's fellow-collegian, with commendatory verses. Hard- ing also wrote an unpublished poem in praise of Browne's Britannia s Pastorals. Hathway, Eichard. (Plays). Only known from Henslow's Diary. Wrote for the Admiral's men at the Eose. 1. 1598, April 11-12. The life and death of Artliur, Kinif of England. 2. 1598, July 19. Valentine and Orson (v^'iih. Monday). 3,4. 1599, Oct. 16. I. 2. Sir John Oldcastle (with Drayton, Monday, Wilson ; see Drayton). 5. 1600, Jan. 10. Oi^e/i Twc?or (with Drayton, Monday, Wilson). 6. 1600, June 3, 14. i- i'(<<'' Constance of Rome {wiili Drayton, Monday, Wilson). 7. 1600, June 20. 2. Fair Constance of Rome (with Chettle, Day). 8. 1 60 1, Jan. 3, II, 12. Hannibal and Scipio (with liankens). 9. 1601, Jan. 23, 26; Feb. 5, 8, 25; Mar. 6. Play wherein is Scogan and Shelton (^^■iLh Eankens). 10. 1 60 1, Mar. 24; xVpril 4, 11, 16 [20]. The Con- quest of Spain hy John a Gaunt (with Eankens). 2 70 THE ENGLISH DRAMA. 11. 1 60 1, Oct. 12, 22. I Six clothiers (with Haugliton, Smith). 12. 1 60 1, Nov. 3. 2 Sijc clothiers (with Haughton, Smith). 13. 1601, Nov. 14; 1602, Jan. 17. Too good to he true, or The Northern man (with Chettle, Smith). 14. 1602, Nov. 8, 17. -^s merry as may &e (with Day, Smith). 15. 1603, Mar. I J 7, 12. The Bosse of Billingsgate (with Day). He also wrote for Worcester's men at the Eose. 16. 1602, Nov. 24, 26; Dec. 20. I Blach Dog of Newgate (with Day, Smith, &c). 17. 1603, Jan. 7, 10, 16, 19. The Unfortunate General^ a French History (with Day, Smith, &c.), called wrongly The Fortunate General by Halliwell and Biog. Dram. 18. 1603, Jan. 29; Feb. 3. 2 Black Dog of Newgate (with Day, Smith, &c.). 1603, Feb. 21, 24, 26. Additions to the same were paid for to " the four poets," so that " &c." stands for one poet only ; perhaps Webster, but still more probably Chettle. Haughton, Harton, Haulton, or Hawton, William. (Plays.) 3. 1600, Mar. 28, for Cuthbert Burby. Patient Grissell. I. 1 60 1, Aug. 3, for William White. A Woman will have her Will, 161 6, 1626, 1631. 6. Lusfs Dominion, i6$y. 9. Grim the Collier of Croydon, 1662. I. 1597, Nov. 5; 1598, Feb. 18, May. A Woman will have her Will. Published 1601 ; but the earliest extant edition had been revised, for in i. 2 " the King's IIAUGHTOK 271 English " is mentioned ; it then, in 1 6 1 6, bore as its lirst title Englishmen for my money ^ which was dropped again in the 163 I edition. 2. 1599, Aug. 20, 25. Tlic Poor Mans Paradise. 3. 1599, Oct. [16]; Dec. 19, 26, 28, 29. Patient GrisseU (with Ciiettle, Dekker). The entry of Dec. 26 is a receipt from Shaw for the total £6 to pay for this play in full, and probably includes the other payments. Ilenslow certainly did not pay ten guineas for any play at the Eose. On 1 8th March 1600 Henslow paid £2 to stay the print- ing of the play, which had been performed at the end of January, and entered S. li. on 8th March. It was published in 1603, not by Cuthbert Burby, but by Henry Kocket. Dekker, I think, mainly wrote the scenes in which Laureo and Babulo (the characters not found in the old story) enter, and Chettle the AYelsh scenes ; llaughton tlie re- mainder, besides helping Dekker in his part. It is curious that V. I was evidently written in 1599, while in i. i the year is called "leap year," i.e., 1600. The duel in iii. 2 between Emulo and Sir Owen is certainly the same as that between Brisk and Luculento in Jonson's Every Man out of his Humor, iv. 4. See more on this point under Daniel. In i. I is an allusion to Loves Metamorphosis, which was revived at Blackfriars by the Chapel boys in 1599. In ii. I we find David and Bethsdbe glanced at. In v. i the allusions to " pigmies " seem to me to refer indirectly to the Chapel children, whose patent was granted July i 597. The play is one of the numerous shrew-plays of the time. The " terrible words " of Emulo, " complement, projects, fastidious, capricious, misprision, sinthesis of the soul," ii. i, are im- portant in the same way as the Marston words ridiculed by Jonson in The Poetaster. Jonson puts these same Emulo words into the mouth of Fastidious Brisk, i.e., Daniel. Sir 2 72 THE ENGLISH DRAMA. Owen, the Welsh Knight, seems to be Lord Berkley, and Gwenthyan Lady Elizabeth Carey (Delia). See further under Jonson and Daniel. 4. 1599, Nov. I, 14. John Cox of Collinster (Col- lumpton) was written (with Day). 5. 1599, Nov. 21, 27; Dec. 5, 6. Tluc tragedy of Merry, or Bceclis Tragedy (with Day). Compare Yar- rington. 6. 1600, Feb. 13. The SjMnish Moors Tragedy (with Day, Dekker). No doubt the same play as Lust's Dominion, or The Lascivious Queen, published 1657 as Marlow's. In this play I think Haughton wrote the scenes in which Crab and Cole enter, Day that with Oberou and those with Emanuel, and Dekker the rest. The scenes are absurdly arranged in the editions. I give here, however, my division according to them: Dekker, i. i— ii. i; v; Haughton, ii. 2-5; iii. 5, 6; Day, iii. 1-4; iv. But although the play as it stands dates in 1600, it was certainly founded on an older one. Tliere is throughout an undercurrent of pre-Shakespearian work, and in ii. 6 an alternative reading (a sure mark of alteration) left by accident : — "He gone, tliou'rt next ; Be sound in resolution, and farewell ! By one and one I'll slip a'ou all to hell," was meant to be erased in favour of : — " Spain, I will drown thee with thine own proud blood ; Then make an ark of carcases : farewell ! Revenge and I will sail in blood to hell ; " and again in iii. 2 " a bloody horrid tragedy " contains two alternative epithets ; " bloody " was intended to make way for " horrid." There is no reason why the original play should not have been written by Marlow for the Admiral's HAUGHTOX. 273 men c. 1588, or rather perhaps by Marlow and Dekker. There are continual echoes of Doctor Faustus and Taiiibcr- laine throughout. The " Old Cole, now look about " in ZooJc about you, Sc. -28, 1600, alludes to this play, Tau- conbridge having apparently been played by the same actor as Cole in the present play. This shows that it was written before the ^;;fi^icai(iO)i of Looh about you. 7. 1600, Mar. 1,2, 8. The Seven Wise Masters (with Chettle, Day, Dekker). 8. 1600, Mar. 18. Ferrcx and Porrex. 9. 1600, Mar. [May] 6. The Devil and his Dame [sic; not Dam]. Published in 1662 as Grim, the Collier of Croy- don. See the last lines, v. i, before the final Induction: — ^' If we deserve to name This play of ours The Devil and Uis Dame." In V. I Drayton's Merry Devil is alluded to. I think Dray- ton is caricatured as Eobin Goodfellow. He wears a " suit of leather," no doubt " to go invisible." Belphegor as the doctor, I think, is Lodge. 9*. 1600, April 16, 24. The English Fugitives. 10. 1600, May 17, Strange Nexus out of Poland (with Pett. But Pett is not heard of elsewhere. Should it not be Chett., i.e., Chettle ? The only Pett I know of as a writer is Peter Pett, who published Time's journey to seek his daughter Truth, in verse, 1599). A "shrew" play. 11. 1600, May 27. Indies. See below. All these were written fur the Admiral's men at the Eose. When they acted at the Fortune, Haughton wrote : — 12. 1600, Dec. 20, 27; 1601, Jan. 4, 13. Pobin Hood's Pen'orths. 13. 1 60 1, Jan. 29, Feb. 10, Mar. 10. 2 Blind Beggar of Bethnal Green (with the end of Thomas Stroud), or 2 Thomas Stroud (with Day). VOL. I. S 2 74 THE EXGLISII DRAMA. 14. 1601, April 4, 11; May 2, 21; Aug. 5, 11, 26; Sept. I. The Conquest of the West Indies (with Day, Smith). See 1600, May 27. 15. 1 60 1, May 20; June 4, 6, 8. ^^c /S'ta? Yeomen of the West (with Day), founded on Deloney's Thomas of Beading. 16. 1601, May 21; July 18, 25, 30. 3 TJwmas Stroud (with Day). 17. 1601, July 4, 14; Sept. 31 [Oct. i]; Nov. g, 29. The Proud Woman of Antwerp. The Friar Rush, by Day, in the July entries was probably a separate play. Compare " his book," i.e., Haughton's, in the later entries. 18. i6or, July 30; Sept. 3, 11. 2 Thomas Bough [Qy. 2 The Six Yeomen of the West\ (with Day). 19. 1 60 1, Oct. 12, 22. I Tlie Six Clothiers (with Hath- way, Smith). 20. 1 60 1, Nov. 8. 2 Six Clothiers (with Hathway, Smith). Evidently not the same story as The Six Yeomen of the West, as usually asserted. The only other note worth mentioning on Haughton is that Henslow, on loth Mar. 1600, lent los. "to release him out of the Clink." But see Day. 21. 1602, Sept. 8. Cartwright. 22. 1602, Nov. 8, 17. As merry as may he (with Day, Hathway, Smith). Hausted, Petek. (University, English and Latin.) 1. 1632, June 13, for Humfrey Eobinson. The Rival Friends, C, 1632. 2. Senile Odium, C, 1633. Born at Oundle, Northamptonshire; M.A. of Queen's, Cambridge ; curate of Uppingham ; rector of Hadlam, Hert- fordshire; vicar of Cretton, Northamptonshire, before 13 th Mar. 1639; D.D. 1641 ; chaplain to the Earl of North- nAWKES WORTH— HEMIXG. 275 ampton ; with liira at Banbury, Oxfordshire, during its de- fence against the Parliament; died there, 1645, 1. 1632, Mar. 19. The Bival Friends was acted heioTQ the King and Queen [by the scholars of Queen's College], Cambridge, It was " cried down by Boys, Faction, Envy, and confident Ignorance ; approved by the judicious, and now exposed to the public censure by the author." It is dedi- cated, in verse, " To the Eight Honourable, Eight Eeverend, Eight Worshipful, or whatsoever he be, or shall be, whom I hereafter may call patron." It has a queer mythological Induction. The " boys crying it down " is alluded to in Eandolph's Jealous Lover's, Act iv., performed at the same royal visit. I think Hausted is one of the poets in Ean- dolph's play. 2. Senile Odium was performed by the Queen's College scholars. Hawkesworth, . (Latin.) I. Labyrinthus, C, 1636. Acted before King James, Shrovetide 1622, at Trinity, Cambridge. Hawkesworth was a Fellow of that college. S. E. 17th July 1635, for Master Eobinson. The author's name is from MS. Cantab. Ee. V. 1 6. Other MSS. are extant. Hawkins, William. (Private play.) I. 1627, April 8, for Eobert Milborne. Apollo Shroving, composed for the scholars of the Free School of Hadleigh, in Suffolk, and acted by them on Shrove Tuesday, being 6th Feb. i626[-7]. Hawkins also published Eglogce Tres Virgiliance, 1633 ; and Corolla Varia, 1634. Heming, William. (Plays.) 2. The Fatal Contract, a French tragedy, 1653. 3. The Jewi Tragedy, or their fatal and final over- throw by Vespasian and Titus, his son, 1662. 276 THE ENGLISH DRAMA. Son of John Heming, the actor ; born in AlJermanbury ; baptized 3d Oct. 1602; student of Christ Church, Oxford, 1 62 1; M.A. 1628; proved his father's will as executor I ith Oct. 1630. 1. 1633, March. The Coursing of the Hare, or TJie Madcap, was (according to Collier, Actors, p, 72) licensed for the Fortune Theatre (cf. Chalmers' Ajwlogy) 2. The Fatal Contract was revived after the Eestoration as Love and Revenge, and attain in 1687 as The Eunuch. The allusions, iv. 3, to the Laureateship indicate a date c. 1637. Xote also "What house do you write for? Poet and actor both." 3. The printing of The Jews' Tragedy was posthumous, 1662. Heylin, I'etee. (Latin.) Born 29th Xov. 1599 at Barford, Oxfordshire; educated at the Eree School ; entered at Hart Hall, cctatis 1 4 ; demy of Magdalen, cdatis 1 6 ; B. A. Oct. 1 6 1 7 ; Fellow 1 6 1 8 ; ordained 1623 ; was rapidly promoted till the Civil War; in poverty under the Commonwealth. Died 8th May 1662. 1. Spurius, T., was written at Hart Hall, and acted in the rooms of Dr. Langton, the jDresident, c, 1615. 2. Theomachia, C, was acted at Magdalen 161 8. Heywood, Thomas. (Actor and writer of Plays and Pageants.) 13, 14. 1599, Aug. 28, for J. Oxonbridge and J. Busby. I, 2 Edtcard 4, loith the Tanner of TanncortJi and the history of Shore and his Wife, H., 1600, 1605, 1613, 1619, 1626. 17. How a 'man may choose a good v:ife from a had, C, 1602, for M. Law; 1605, 1608, 1614, 1621, 1630, 1634. I IKY WOOD. 15, 19. 1604, Dec. 4, for N. Butter. The life a]u death of Cavalicro Dich Boirjjcr \_The Trial of Chivalry], H., 1605. 29. 1605, July 5, for N. Butter, [i] If you Icnow mc not you hnoiv nobody, H., 1 606. 29. 1605, Sept. 14, for N. Butter. 2 If you know mc not, &c., with the Building of the Exchange [which belongs to Part i.], H., 1609, 1633, 1639. 18, 31. 1606, Mar. 12, for J. Trundle. Nobody and Somebody, n.d. 27. A Woman Killed with Kindness, C, 1607, by W. Jaggard ; 1607, sold by J. Hodgetts ; the first publication with Hey wood's name as author; 161 7, third edition. 30. 1608, June 3, for J. Busby and IST. Butter. The Rape of Lucreece, 11., 1608 (for I. B[usby]); 1609; n.d., " with sundry songs before omitted now inserted ; " 1630 (fourth edition); 163 8 (fifth impression; for N. r>utter). 2. 161 r, Oct. 14, for W. Barrenger. The Golden Age, iuith the loves of Jupiter and Saturn, 1 6 1 1 . 3. The Silver Age, Prodesse solent aut delectare, 161 3. Printed by K Okes ; sold by B. Lightfoot. 4. The Brazen Age, 161 3, by N. Okes for S. Piand, I. The Four Prentices of London, 161 5, for J. '\V[right] ; 1632. 25, 26. 1630, Feb. 26, for J. Grove. Hoffmann, the Revengeful Father, T., 1631 (by J. K for Hugh Perry). 33, 34. 163 1, June 16, for E. Ptoyston. i, 2 Fair Maid of the West, 1631. 5. 6. 1,2 The Iron Age, by K 0[kes], 1632. 24, ^6. 1633, July 15, for N. Okes. The English Traveller, C, 1633, by R. Eaworth. II, 38. 1634, June 25, for K Okes. A Maidenhead 278 THE ENGLISH DRAMA. well lost, C, 1634, by N". Okes for J. Jackson and J. Church. 41, 1634, Oct. 28, for B. Fisher. The Witches of Laiicashire, C, 1634. 7, 8, 9. 1635, Aug. 29, for R. Hearne. Dialogues and Dramas (including Prologues), 162,7. 39. 1635, Sept. 30, for J. Crouch. The Queen's Mash, or Love's Mistress, "by Master Haywood," 1636, 1640 (twice, with variations). 44. 1636, ,June 17, for E. Eaworth. A Challenge for Beauty, C, 1636. 20, 40. 1637, Mar. 25, for J. Beckett. The Royal King and the Loyal Subject, C, 1637. 28. 1638, Mar. 12, for H. Shepard. The Wise Woman of Hogsdon, C, 1638. 32. Fortune hy Land and Sea, C, 1655, for J. Smeeting and K. Pollard. 10. The Thracian Wonder, C, 1661, for F. Kirkman. 35. The Captives, C, MS. 45 46 1632 47 48 49 50 51 Pageants. 1 63 I . Lo7idons Jus Honorarium, 1 63 i , by N. Okes. 1632. Ijondini Artium ct Scientiaruni Scaturigo, 1633. Londini DmjJoria, 1633, by N. Okes. 1635. Londoni Simis Salutis, 1 63 5, by B, Ra worth. 1637. Jxmdini Specidum, i6t,7, by J. Okes. 1638. Porta Pictatis, 1638, by J. Okes. 1639. Londini Status Pacatus, 1639, by J. Okes. Non-Dramatic AVoeks. Sallust, translated 1608 for J. Jamjaril. ' CO 1608, Dec. 5, for W. Jaggard. Troia Briiannica, or KEY WOOD. 279 Britain's Troy, in 17 cantos, with a Chronicle from tlie Creation till these present times, 1609. Printed very negligently {A])ology for Actors). An A-pology fur Actors, Et prodcsse solent aut delectare, I 61 2, for N. Okes. This contains Heywood's complaint of the negligent printing of the Troia B., and also of W. Jaggard's having in 161 2 (not in 1599, as W, C. Hazlitt says) incor- porated his Zove Bpistles into The Passionate Pilgrim in that year. Reissued as The Actors Vindication, n.d.. by G. E. for W. C. [c. 1633, Oct. See Tlie English Traveller']; 1658. 1 6 1 2, Dec. 23, for W. Welby. Funeral Elegies on Prince Henry, 1 6 1 3 (with Tourneur and Webster). 161 3, Feb. 15, for J. Trundle. Epithalamion on Z. Elizabeth's marriage, 161 3, for R Marchant. 1614, Jan. 3, for T. Purfoot, junior. The Life and Death of Hector, 16 14, a modernisation of The Destruction of Troy into sextains out of heroics (30,000 lines), is attributed to Heywood, but "cited by Puller, Winstanley, and others as Lydgate's " (Lowndes). Gynaikeion : 9 hooks of the History of Women, 1624, by A. Islip. 239 Leaves. Aut p7'odessc, &c. 1625, April 4, for R. Redmer. Elegy on James i, 1625, for T. Harper. 163 I, April 26, for P. Waterhouso. England's Elizabeth during her minority, 1632. 1635, May 26, for J. Crouch. Philocothonista, or 27ie Drunkard anatomised, 1635, by R. Raworth. The Hierarchy of the Messed Angels, 1635, by A. Islip. ' 1636, Jan. I I, for M. Walbank. Verses (with 30 others) to Dover's Annalia Dnhrcnsia. 1636, April 8, for J. Okes. Tlie 3 icondcrs of this age, J. Hudson, W. Evans, and T. Parr, " by Master Haywood." \^The discourse of E. Farnhu^n and J. Bull, by T. H., 1 636, 2 So THE ENGLISH DKAMA. for T. Lambert, I do not think to be Heywood's. His publications at this time are signed in full and entered S. R. with his name (cf. S. E. entries for J. Okes 1636, June 7, and for F. Smith 1636, June 17). Was this by Sir T. Hawkins, a translator of this period? (see S. R. 1635, Sept. 1 2.] 1636, Nov. I 8, for J. Okes. Mistakes, Clinches, Tales, &c., " by Master Haywood," the same form of entry as for The 3 uvndcrs, &c., supra, and for the unquestioned Queen's Mask. 162,7, Jan. 25, for J. Okes. The Phcenix of this time, Henry Welby, 1637 (two editions). 1637, Sept. I 5, for J. Okes and J. Aston. His Majesty's royal Sliip huilt i6^y at Woolwich, 1637, by J. Okes for J. Aston. Reprinted with additions (not Heywood's) 1653- 1639, Sept. 19, for R. Roiston. Lives and acts of nine the most worthy women, &c., 1640, "by Master Thomas Heywood." Verses prefixed to James Yorke's Union of Honor (with arms of Lincolnshire Gentry), 1641, by E. Griffin. " Header, here you'll plainly see Judgment presented hy these three, A priest, a judge, a patentee!' {i.e.. Archbishop Laud, Lord Finch, Alderman Abel) ; 1 64 1 : (see also W. C. Hazlitt, Diet., under Projectors.) The Life of Merlin (with annals), 1 64 1 , by IST. Okes for J. Emery. [A preparative to Study, or The Virtue of Sack, 1 64 1 , is, I think, not Heywood's.] The General History of Women, "by T. H., gent.," 1657, by W. H. for W. H., a posthumous publication, and there- fore we must not necessarily expect the name in full. The lives of all the Poets, mentioned as intended in Braith- IIEYWOOD. 28 r ■waite's Scholars Medley, 1614, as in progress in Gynakeion, 1624, and again in The Hierarchy, &c., 1635, is not extant. Thomas Heywood, gentleman, was born in Lincolnshire. See his verses to Yorke's Union of Honor, 1 640, and Elegy on Sir George St. Poole, of Lincolnshire, " my countryman," in his Dialogues and Dramas, 1635. He resided at Cam- bridge, and saw " tragedies, comedies, histories, pastorals, and shows publicly acted" by the graduates, of most of which we have no record ; but as he was Fellow of Peterhouse (see the Dedication of Cartwright's edition of his Ajwlogy for Actors), and was in London certainly by 1594, and perhaps earlier, I cannot place his birth-date later than c. i 572. In his Dedication of The English Traveller, 1633, he mentions that Sir H. Appleton used to call Edmund Heywood " mine uncle," by the title of father, and acknowledges his obliga- tions to Sir W. Eluish, also of Lincolnshire. Erom 1594 onwards he was actor and playwright, first for the Admiral's men at the Eose, where, on 25th Mar. 1598, he engaged liimself as " a covenant servant," under a forfeiture of ^40, to play nowhere else for two years ; he is supposed to have left them and joined Derby's men in 1599, but see infra. In 1601-2 he went to Worcester's men (afterwards Queen Anne's, and, when she died, the Eevels company) ; when they broke he became a member of the Lady Eliza- beth's company (afterwards Queen Henrietta's) ; and finally, in 1634, of the King's. He appears as an author of non- dramatic works as early as 1608, and the list of these already given shows that from 1635 onwards he could have had little time, if any, for dramatic work. As an actor I cannot trace him later than 1622. In 1634-5 he ceased to write for the stage. According to his own statement, in 1633 The English Traveller, "(being one reserved amongst two hundred and twentv, in which I have had either an 282 THE E:N'GLISII DEi31A. eutire hand, or at the least a main finger," [_slc, there is no) to match the first one], came to the press. If my former conjecture be wrong, and I find it generally disapproved, I suggest that these 220 included the plays in which Hey- wood had acted during nearly thirty years. He had no doubt inserted "gag" in most of them, and recommended altera- tions in many. This would be enough to justify his " main finger," and would dispose of 180 out of the 220. The remaining 40 are, in my judgment, the utmost we can admit as written by him in our sense, wliich is what he means, I think, by " an entire hand." He did not, except for Wor- cester's men 1602-3, write often in conjunction with others, as far as we know. From the exact similarity in many entries S. R. of " Master Haywood " the autlior and " under tlie hands of Master Haywood," i6^T,-i6;^y, I fancy it would be worth while for some one more conversant with such matters to ascertain whether he was one of the master stationers. He died, probably, c. 1641. I. The Four Frentices of London, with the Conquest of Jerusalem, H. Acted before 1 6 1 5 at the Red Bull by Queen Anne's men. The Address to the Prentices mentions as quite recent the revival of arms practice in the Artillery Gardens. This was in 16 10 (Stow, p. 997). The first edition then, c. 1 6 1 o, is not extant ; and Heywood also says the play was written fifteen or sixteen years ago, in his infancy of judgment and first practice. This takes us back to 1594. From that year, July 19, till 1595, Sept. 16, The second "part of Godfrey of Bidloignc was acted at the Rose by the Admiral's men ; and in 1 594, June 19, [The first part of] Godfrey of Bulloigne, " with the Conquest of Jeru- salem" an enterlude, had been entered S. R. for J. Danter. I have no doubt that the July 19 play is the same as The Four Frentices. It appears from the Prologue, spoken by IIEYWOOD. 28^ o three in black cloaks, that it was also called True and Strange. Jerusalem is also mentioned as the Scene ; and the last line, " Now Sion and Jerusalem are one," justi- fies the second title. In TJie Knight of the Burning Pestle (acted 1 6 10), iii. i, "read the play of The Four Prentices of London, where they toss their pikes so " (cf. Sc. 6), proves, in spite of Dyce's recalcitration, that the publication was in 1 610 at the latest. Tasso's Jerusalem was translated by E. Carew in 1594 (see S. E. 1594, Jan 26). 2. The Golden Age, or The lives of Jupiter and Saturn, " with the deifying of the Heathen gods," was acted [at the Red Bull by Queen Anne's men] before Oct. 161 i, and after Oct 16 10 (cf. Dekker's If it he not good the Devil's int, i. I, "The Golden Age is moulding new again," which shows that it was a revived play). I have no doubt that the original form was Sdco (Coelo) et Olympo, acted at the Piose 1595, Mar. 5. The play is presented by Homer with Dumb Shews ; in the last of these " Jupiter dravv'S Heaven," and directly after " To Jupiter doth high Olympus fall." lo is mentioned iv. 2 as " already deflowred." I" suppose the Jupiter and lo published in the Dramas of 1635 had already been written. The motto, Tain rohur, tarn rohor, in- [sic] colis arhor Jovis, is not Heywood's, but Nicolas {ni-colis) Okes' (arhor Jovis, oak). 3. The Silver Age, "including [i. The fortunes of Per- seus, 2], The love of Jupiter to Alcniena, [3] The birth of Hercules, [4] The Rape of Proserpine, [5] The Arraignment of the Moon." Aut prodessc solent aut deleetare. This is, in fact, Five 2)l«gs in one, of which the first, though not in the title, is enumerated in Homer's last speech in The Golden Age ; but in the Address to the Reader Hercules' birth and life is spoken of as the main subject here, his honour and death as that of The Brazen Age. In the last presentment 284 THE ENGLISH DEAMA. the two plays together are called " The Acts of Hercules." From the Address it appears that The Iron Age also dates earlier than 1613. These two Hercules plays are evidently those acted at the Eose 1595, IMay 7 and May 23. In ii. 4 " errors " is used technically to indicate mistaken identity, as in Shakespeare's 1594 play. In iv. i, v. i, lo is again alluded to ; and in i. 3 the unusual word " harpe " (sword) occurs, which may be the right word in The tioo Harpes. For the forged entry concerning a supposed performance of this play 161 2 Jan., see my History of the Stage, p. 178. 4. The Brazen Age, " containing i. The death of the Cen- taur Nessus ; 2. The tragedy of Meleager ; 3. The tragedy of Jason and Medea ; 4. Vulcan's Net ; 5. The labors and death of Hercules." The second title is The Brazen Age, " con- taining the labors and death of Hercules." Compare " Her- cules' acts " in Homer's first presentation. In Heywood's Address he complains that one Austin, a pedagogue at Ham (which Ham ?), had borrowed of him his translations of Ovid's Art of Love, made in " his juniority," and shown them as his own. All this play is founded on Ovid's Meta- morphoses. I, 2 Hercules were bought of IMartin Slaughter [who represents the company, I think, as Allen does else- where in similar instances] 1598, May 18. 5, 6. 1,2 TJie Iron Age were published in 1632, with dedications to T. Hammon, of Gray's Inn, and T. Manner- ing. The presentation by Homer and the " five plays in one " arrangement are given up ; and in the Address we are told that these plays {i.e., the two parts of The Iron Age, not the preceding plays) were "publicly acted by two companies upon one stage at once, and at several times thronged three several theatres." In iii. i, 2 there are thirty actors on the stage together, which at that date would require two com- panies. The theatres with which Heywood had been con- HE Y WOOD. 2 85 nected were — i. The liose; 2. The Curtain; 3. The lied Bull ; 4. The Cockpit (at which he did not act, but for which he wrote). I think the first three must be the theatres he means. The only time known to me of two companies playing together at these houses is when Pem- broke's and the Admiral's men played at the Eose 1597, Oct. In Henslow's Diary, p. 91, the names of some of the plays then acted have dropped out ; among these may have been i, 2 Iron A(jc, the second part being a new play. The first part was probably the same as Troy, first acted 1596, June 3. At the close of 2 Iron Age we find, " Here ends the whole history of The destruction of Troy" which shows that this was a second title for the i, 2 Iron Age taken together. It was founded partly on Lydgate's Destruction of Troy, the modernisation of which (printed 16 14, but per- haps written much earlier) has been attributed to Heywood (see supra). Thersites usually speaks in verse, but some prose bits, notably the Sneak's noise bit in iii. 4, are insertions made after Shakespeare's Troylus and Cressida in its com- plete form, 1609. Xote also Thersites' " politician " allu- sions in i. 2, iv. 2 ; and again Part 2, i. 3. As to the second part, which in the added title is specially called The Destruction of Troy, the first part being The Siege of Troy, I may here note some dates. Hey wood's last appearance in Henslow's Diary previous to his leaving the Admiral's men (for Derby's ?) is i 599, Feb. r 2. On April 7 Dekker and Chettle get their first payment for Troilus and Cressida (afterwards Agamemnon). Is it not probable that Pleywood took umbrage at their being ap- pointed to write a play founded on a subject so peculiarly his as far as the Admiral's men were concerned ? He left (if he did leave) probably at quarter-day. Mar. 25, when Dekker's play would certainly have been plotted. 2S5 THE ENGLISH DRAMA. In my Hidorij of the Stage, p. i 1 4, will be found a list of properties, 1598, which can he referred to no extant plays but the three first Ages. I have not traced any to The Iron Age, but the absence of such does not disprove their existence at that time ; it is only here and there that Henslow mentions characters by name in this list. 7. Five 2}l(^^js in One, acted at the Eose 1597, April 7, suggests by its title the same authorship as The Silver and Brazen Ages, both built on this plan ; and this is confirmed by the fact that we have five short plays of Heywood's, just enough to make up an afternoon's performance. These are : — 1. Deorum jiulicium. A Dialogue (the judgment of Paris), 14 pp. in reprint. 2. Jupiter and lo. A Drama, 22 pp. 3. Apollo and Daphne. A Drama, 1 5 pp. One character is named Amphrisus. 4. Pelopma and Alope, or Amphrisa the forsaken Shepherdess. A Drama, 1 1 pp. These four were printed in Dialogues and Dramas, S. E. 1635, Aug. 29. 5. Either Time's Triumph [Timon, see No. 8] or Cupid and Psyche, the original form of Love's Mistress (which see below), without the clown, &c., about 40 pp. ; S. R. 1635, Sept. 30. This would make about 100 pp. for the five, but the Cupid play was no doubt much enlarged. Heywood's early plays are about 80 pp. each. In the 1598 inventory is an Argus' head. Such a property is needed in Jupiter and lo, but in no other play I know of. These mythological plays are a specialty of Heywood's. Cupid's bow and quiver is also mentioned, but this may have been for Dido and JEneas. HEY WOOD. 287 8. On 1597, April 13, Time's Triumph was played as nil introduction to Br. Faustus, which is very short. This was not marked as a new play, and may have Leen one of The Five plays in One, perhaps Tlmon or Misanthropos, translated from Lucian (see under Fletcher, Fuur Plays in One). 9. I 596, c. Oct., Henslow lent the men " 30s. for Hey- wood's book." This shows that, as I have said already, the plays at tliis time belonged to the company. The " book " must have been some play acted soon after the re- opening in Dec. {Stage History, p. 100), possibly the Five Inlays in One, acted 1597, April 7. 10. 1598, Dec. 6; 1599, Jan. 26. War ivithout blows and Love ivithout suit {" without strife " in the second entry). This is the same play as The Thraeian Wonder ; cf. in i. 2, "You never shall again renew your suit;" but the love is given at the end without any suit ; and in iii. 2, " Here was a happy war finished without blows." It was probably, like many other of Heywood's plays, revived for the Queen's men c. 1607, when W. Eowley and "Webster were writing for them ; whence the absurd attribution of the anthorship to them by Kirkman. 11. 1599, Feb. 10, 12. Joan as good as my Lady (see 38). Plays for Derby's Men [at the Curtain]. All these are of very doubtful authorship. 12. The Bold Beachams, attributed to Hey wood by the author of the surreptitious 2 Hudihras, 1663, along with The Grecian Wars {i.e., The Iron Age, which Gayton calls The Greeks and Trojans), was probably acted by the same company as Guy Earl of Wariuick {q.v.). It is alluded to as on the stage (Query at the Bull) in 1609-10 in The 2 88 THE EXGLTSH DRAMA. Kniglit of the Biiniinr/ Pestle, along with Jane Shore, which certainly means the Edivanl 4 play. 13. I Edicard 4, "containing i, his pastime with the Tanner of Tamworth (So, 11, 12, 13, 14, 18, 21, 23); 2, his love to Mrs. Shore (So. 8, \6, 17, 19, 20, 22); 3, the Siege of London (So. i, 2, 3, 4, 5, 6, 7, 9, 10, 15)," which make up the whole play. The Siege is men- tioned only in the second title. Assumed to be Heywood's hy Collier, TIalliwell, Blog. Dram., Gildon, &c., I know not why ; unless it be that in Sc. i i Hobs the tanner says, " Dost thou not know me ? Then thou knowest nobody." But this common phrase is as old as Gascoigne, ii. 34, Tliere is no " Clown." Hobs talks in doggrel mixed with prose. This play was published S. K. 1599, Aug. 28. It is founded on the ballads of Jane Shore and The Tanner of Tamworth, and the Admiral's play of TJie Siege of London, which was an old play of c. 1590, revived 1594, Dec. 26. 14. 2 Edward 4, containing i, his journey into France (Sc. 1-7); 2, a chorus (Sc. 8); and 3, the prosecution of the history of the Shores to their deaths (Sc. 9-23), is evi- dently of the same date and by the same author. The plotting reminds me strongly of Rolin Hood. In 1603, May 9, Chettle and Day undertook a play for Worcester's men " wherein Shore's wife is written ; " otherwise described as " The book of Shore, now newly to be written " (Henslow, Diary, pp. 1 14, 25 i). The "rewriting" means, I think, the extracting of the Shore part and making one play of it. If this be so, are these Edward 4 plays Heywood's at all ? They are far better than his other early work. I show in my History of the Stage, p. 103, that Day sold a play to the Admiral's men in i 598, July, which Chettle refashioned ; and he joined them himself i 599, Nov. If Edivard 4 was nEYWOOD. 289 produced at the Curtain (and a play acted iu the provinces would hardly have been published), it must have been after 1599, Jan.— Mar., when the Chamberlain's men vacated the Curtain and Derby's occupied it. But Heywood was at this very time bound, under a heavy penalty (^^40), not to leave the Eose, and there is no other trace of his having broken this bond. No importance can be attached to the absence of his name iu Henslow's lists of Admiral's actors ; for, singularly enough, his name occurs in no one of them. He was not a sharer ; only a hired man. His not writing between 1599, Mar., and 1600, Mar., may have been accidental — through illness, perhaps. It is possible that Chettle and Day began these plays together, with the intention of offer- ing them to Heuslow, c. i 598, Christmas ; but Derby's men opening at the Curtain c. i 599, Mar., Day sold them to that company. At any rate, the question is doubtful, and should be investigated. 15. The Trial of Chivalry, H., with the "life and death of Cavaliero Dick Bowyer," is certainly by two authors, one of whom writes "sentinel," iii. i, 3 ; the other "sentronel," ii. I, 3. These may be the same authors as those of Eclicard 4 (see Anon. 240). For the Admiral's Men at the Fortune, 1602-3. 16. 1602, Dec. 20; 1603, Jan. 7- The London Floren- tine. But 1602, Dec. 17, 22, the same play is entered as Chettle, " his play." Plays for Worcester's Men, 160 1-3; Queen Anne's, 1603-8. 1 7. Hoio a man may choose a good wife from a had, C. Published without author's name 1602. Xot in S. E. VOL. I. T 290 THE ENGLISH DRAMA. Ascribed, without reason assigned, to a Joshua Cooke. Founded on Cynthio's Novels, iii. 5, and a story, which is also related in Love in the Grave, in The Pleasant Com- panion. As this play is not in Henslow's 1602-3 I'st of Worcester's men's plays, it must date earlier — 1601. Certainly it is by the same author as The Wise Woman of Hogsclon (W. W.). Compare : " I by the finger wrung," i. 3 ; " I wrung twice by the finger," W. W., v. 3 ; " Whip me upon the quid est grammatical' ii. i ; " Quid est gram- matica ? grammatica est ars," W. W., iv. i ; " Quce marihus, that loves marrowbones," ii. i ; " Qucc marihus . . . those marrowbones," W. W., iv. i ; " Iste, ista, istud . . . until he fetcht blood," iii. i ; " ///'', ilia, illud, until I fetch blood," W. W., iv. I ; the allusions to Gascoigne's " I wail in woe, I plunge in pain," ii. 3, and W. W., v. 3 ; " Quomodo vales, come out of alehouse" {i.e., quom od ov ales), ii. i ; " Quomodo vales, go with you to th' alehouse," W. W., ii. i, &c., &c. Perhaps a refashioning of A Wonder of a Woman, the Admiral's play of 1595, Oct. 15. The Thomas lately come from beyond sea, ii. 2, is an equivoque on the char- acter in the play and Thomas Blackwood, the actor, who had returned from abroad 1 60 1. The " one Thomas " below is II ey wood himself. Dr. Dee is mentioned ii. i. This play was not published by Heywood. Performed, I think, at the Curtain. 18. 1602, Sept. 4. Allcrt Gcdlcs (with Smith). Query Archigallus. See iiifra, Nohody and Somebody. 19. 1602. Sept. 2. AMiiionB to Cutting Diclc,£i. This play must have been written before Worcester's men joined Heuslow. 20. 1602, Sept. 20, 30. Marshal Osric {viiih. Smith). See The Royal King and Loyal Suhjeet. 21. 22. 1602, Oct. 15, 21. I Lady Jane, Oct. 27; HE Y WOOD. 291 2 Lady Jam (with Chettle, Dekker, Webster). See >S7r Thomas Wyatt. 23. 1602, Nov. 2, 23, 26. Christmas comes hut once a year (with Chettle, Dekker, Webster). 24. 1602, Nov. 24, Dec. 15 ; 1603, Jan. 7. TAc Blind cats many a fly (see The English Traveller). 25. 1603, Jan. 14. A play (with Chettle), Lihe quits like, in the otherwise exactly corresponding entry to the Admiral's men at the same date, was pronounced by Dr. Ingleby to be a forgery. But the play was no doubt Uo/f- mann (see Chettle). 26. Hoffman, or A Revenge for a Father, was published 163 I by Hugh Perry, who had happened on it, or rather purchased it of F. Grove, who had entered it 1630, Feb. 26, as The Bcvengefid Father. Perry dedicated it to R. Kilvert because it had no " parent to own it." In no in- stance did Hey wood sanction the publication of plays not entirely his. It was acted at the Phcenix, but originally by Worcester's men. Hey wood's share is iii. 2, iv. 3, in which Charles and Sarlois occur instead of Otho. 27. 1603, Feb. 12, Mar. 6. A Woman Killed tvith Kind- ness. Published with Heywood's name, but no company or theatre mentioned. Prologue and Epilogue, but no Dedica- tion or Dram. Pers. Henslow's entries end here. Worcester's players become Queen Anne's, and act at the Curtain. 28. The Wise Woman of Hogsdon, C, has no theatre or company mentioned, but was certainly acted c. 1604, Feb. (see iii. 3 for the month). In iii. 3, "We shall have thee claim kindred with The Woman Killed wuth Kindness." ]\Iany plays, of which this is the latest, are alluded to ; e.g., The Devil and his Dame, MotJier Bcdcap, C idling Dick, Jack Drum, Too good to he true, &c. This mny be the same as 292 THE ENGLISH DRAMA. How to learn of a woman to woo, acted bofure tLe King 1 604, Dec. 30, according to the forged, but generally truthful, document of P. Cunningham. A Pill to purge Melancholy is mentioned v. 3, but Lowndes gives this as n.d., and I liave not found it in S. P. Sencer, iv. i, says he was of Peterhouse. Heywood probably acted this character. In ii. I wizard is used as a feminine, which removes a difficulty in Macbeth ; and in iv. 2 the way in which " live and die " is used solves another crux in Measure, for Measure. 29. 1,2 If you Knoiv not me you Knoio Nolody, or Tlte Troubles of Queen Elizabeth — " Part i in her minority ; Part 2 after her accession" — was published 1605 by N. Butter from " a plot " drawn " by stenography ; scarce one word true." So Heywood, in a Prologue to the play of Queen Elizabeth, as it was last revived at the Cockpit, when the play was more than of age in Charles' reign, probably c. 1 63 I, when Heywood published his prose account of Eliza- beth. It was acted in rivalry to Dekker's Whore of Babylon, us revived by Prince Henry's men c. 1604. It has a clown and Dumb Shows. In Sc. 5 " a virgin and a martyr both " indicates, I think, that Dioclesian was still on the stage. In Part 2, Sc. II, &c., Tawnycoat's name is John Powland, but in Sc. 7 it was John Goodfellow. This shows alteration. Englishmen for my money, Sc. i 2, and Joan as good as my Lady, Sc. 14, are alluded to. Heywood's complaint of in- correctness seems groundless as to Part 2. The ending was greatly altered at the last revival, and a Chorus inserted. 30. The Eape of Zvcrece, " a true Poman Tragedy," was tlie first play published by Heywood's consent "in his native habit." He says the preceding publications were " corrupt and mangled, copied only by the ear." I cannot fix the date of performance closer than c. 1605, but it was after James' accession (see the " King's head " in the song Sc. 7). It was IIEYWOOD. 293 revived 1628, Wednesday, Aug. 7 (see the Isbam letter in The Athenccum, i 8th Oct. 1879). 30*. How to learn of a woman to looo was acted at Court 1604, Dec. 30, by the Queen's men before King James. But see under 28. 3 I. Nohody and Somebody, " with the true Chronicle His- tory of Elidure, &c.," was entered S. R. 1606, Mar. 12, for J. Trundle (who had entered The Picture of Nobody 1606, Jan. 8) ; sold " in Barbican at the sign of Nobody." Acted by Queen Anne's servants before and after 1604, Mar. 19, wlien James assumed the title of King of Great Britain. England has been altered into Britain in many places, but left in as many others ; and the occurrence of both names in Sc. 10 shows that this was not due to differ- ence of authorship. That Heywood M-as the author, and that the play was printed from a copy, and not obtained by stenography, as he would have us believe was the case in plays not published by him — of which this was one, for it lias no dedication or author's name — is evident from the spell- ing " ey " (for ay or I), which is, as far as my knowledge extends, peculiar to him. But how long before 1604 this play was acted in some form I cannot at present tell. Tiie 1620 German translation differs essentially in the action, and is, I think, from a play of c. 1590. Simpson's objec- tion as to Elidure's being therein King of England, Scot- land, and Ireland will not hold. According to the English mythical History from Dunwallo onwards the Kings were of Britain, not England only. The determination of this ques- tion depends on the identification of Lord Sycophant, who, as Simpson says, is certainly a noble of the Court of Eliza- beth ; perhaps Henry Lord Cobham, called by Essex " the Sycophant even to the Queen herself" (Wotton) ; but Simp- son is quite wrong in making " the Southern Isle " of i. r 2 94 THE ENGLISH DRAMA. the Cinque ports. It is clearly the Isle of Wight, of which George Carey's government was complained of in 1588. George Carey's mother was a daughter of Sir T. Morgan, and the claims in i. i turn on a title by inheritance on Morgan's part, and one by the jointure of " Lord Morgan's mother" on Malgo's. A more intimate knowledge of the history of this island than I possess would, no doubt, clear up the allusions. " 'Tis a mad world. Master," Sc. 4, must, I think, fix the final alterations to 1606, Mar., just the time of publication ; but the " England " version may have been the 1602 play of Albert Gallcs, by Heywood and Smith, mentioned above. Henslow might easily mistake some such name as Archigallc's three sons for Albert Gallcs. Note that Somebody, represented in the picture as nearly all body would be no bad caricature of Henry Lord Cobham, the Falstaff of Shakespeare (see my Land of Shakespeare on this point). The playhouse-yard, Sc. 14, merely means the pit, which is so called in the indentures for building the Globe, and does not signify an inn-yard. Tlie Clown parts, Sc. i, 1. 98—163 (Simpson's numbering), 2, 4, 9, 11, 14 (part), and the final revision, are by Heywood ; Sc. i (the rest), 3, 5, 6, 10, 12, 13, 14 (part), by another hand. Query Smith's. 32. Fortune by Land and Sea, T. C, was published 1655 as by T. Haywood and W. Eowley. Acted by the Queen's servants. ■ Although I cannot trace liowley's hand in this play, the ascription of authorship must, I think, point to a (late when he and Heywood acted together as Queen's men. llowley never belonged to Queen Henrietta's company; but he and Heywood were of Queen Anne's in 1 607—9, ^11^ iii 1 609 the public were excited about pirates (see The Christian htrned Turk, by Daborne). Tlie plot is partly from the verse account of the pirates, Clinlon and Tom "Watton the Purser, S. li. HEY WOOD. "' 295 1586, Aug. 15, for which see Shak. Soc. Papers, iii. 2. On 1638, Feb. 15, John Okes entered S. R. The Martyred Soldier, " with the life and death of Purser [and] Clinton." As "Wotton and Clinton have nothintr in common with Belisarius, the martyred soldier, this must be an instance of the not unusual bookseller's trick of that time of getting two plays entered for one payment. An expression, " hand to hand in single opposition," ii. 4, occurs also in TJie Thracian Wonder. Heywood constantly repeats himself. I may add that there is no decisive instance of his writing as coadjutor after leaving Henslow in 1603. PLA.YS AT THE COCKPIT, 1 62 2- 1 634. 33, 34. I, 2 Tlic Fair Maid of the West, or A Girl icorth Gold, C, published 1631, June 16, S. 11., as "lately acted before the King and Queen " [probably at Christmas 1630] by Queen Henrietta's men, has a list of the 1630 actors, Dedications to T. Hammon and J. Othow of Gray's Inn ; one Prologue and one Epilogue, both for the Court ; and Addresses, the second of which, I think, alludes to Fortune ly Land and Sea, not then publislied. Tliese plays have Chorus and Dumb Sliow ; v. 2 begins thus — "It is not now as -vvlien Andrea lived ! Or rather Andrew, our elder journeyman." Cane, the Andrew here alluded to, had been an actor at the Cockpit in 1622, and perhaps later, but before 1630. Apparently he left that company ; he was a member of Prince Charles' men in 1632, Jan. The date of the action is i 597 ; tliat of the first production of the play uncertain ; but it is quite certain that the ballad which assigns it to the Lady Elizabeth's men at the Cockpit before 1617 is a forgery of Collier's. The Greenstreet papers show that Heywood was 296 THE ENGLISH DRAMA. then a Queen's man at the Bull. I have thus a full con- firmation of my reiterated denunciation of this most im- pudent of all fabrications ; it is printed in Collier's Annals, i. 403. The only guess I can make at the date is that the end of Part 2, which surely has a by-reference to the Queen of Bohemia — " And j'ou the miiTor of your sex and nation, Fair English Elizabeth, as well for virtue As admired beauty," must have been written about 1622, "ere you depart our Court." This would agree with the reference to Andrew Cane. The text of the latter portion of Part 2 is very corrupt. As to the date of original production, The Proud Maid, acted at Court by the L. Eliz. men 161 2, c. Mar. (and absurdly identified with The Maid's Tragedy by some critics), was probably founded on the ballad of The Proud Maid of Plymouth, S. E. 1595, Oct. i 5 , and this Proud Maid of Plymouth was probably Bess Bridges; but this could not have been Heywood's play, as he was then writing for Queen Anne's men. 35. The Captives, or The Lost recovered, C, was licensed by Herbert 1624, Sept. 3, for the Cockpit Company (L, Elizabeth's), and published from the MS, by Mr. A. H. Bullen. Heywood's name then appears for the first time in Herbert's 1623-4 list, so that he could not have been writ- ing some six plays a year, as commonly supposed ; but that he was acting we know from the Greenstreet MSS. (see my History of the Stage, p. 293 seq). One Gibson, otherwise unknown, appears as an actor v. i ; this MS. was therefore a stage copy. The "French monster," scored out in i. i, shows, I think, that this copy was still used after the mar- riage of Charles I. With the " pen, ink, and paper " so carefully enumerated iii. i, compare The Trial of Chivalry, HEYAVOOD. 297 V. i. In iii. 2 Gib[son] and Stage Taylor are marked in the margin to be ready to enter (Query as " country fellows "). In iii. 3, "Anything for a quiet life " alludes to Middleton's play, and is not merely a " proverbial expression." In v. 3 Mildred says it is " not leap year," but 1624 was Leap-year. This new play may have been an old one refurbished. The main plot is from Plautus' Rudens. For the friars' part compare The Jcio of Malta, and for the spelling Sarleboys Hoffman and The Trial of Chivalry, v. 2. This MS. has many passages scored out, not by the Master of the Eevels, but to shorten it for the stage. 36. The English Traveller, T, C, was published 1633, as acted by Queen Henrietta's servants, with a Dedication to Sir H. Appleton, and Address by Heywood. This play, too, is indebted to Plautus, the Lionel part being taken from the Mostcllaria. Compare also Jonson's Alchemist. But the Geraldine story is said by Heywood, in his posthumous History of Women, to be absolute fact. If so, Geraldine, who had visited Jerusalem and discoursed on the " propor- tioned distances of the towns in Palestine ; " who had been in the [Turkish] Empire, Italy, Greece, and Palestine, must have been a well-known traveller. He was, I think, George Sandys, whose travels in all these parts were published in 1 6 10. I do not know if Sandys, like Geraldine, had visited Spain. In iv. 6 the statue-picture of Fortune before the (rebuilt ?) Fortune playhouse is mentioned. In the Pro- logue the play is described as bare lines, without Drum, Trumpet, Dumb Show, Combat, Marriage, Song, Dance, or Mask, all " still in frequent use," to bombast it out. But, as usual with Heywood, he uses two plots not interwoven, but scarcely touching, to bombast his own play. The date is, I think, soon after Charles' accession, c. 1627. Compare the Anno Tertio in i. 2. 298 THE EXGLTSII DRAMA. n. The Jew of Malta, by Maiiow, was acted by Queen Ileurietta's men before her and King Charles at the White- hall Theatre, and was also revived at the Phoenix, before it was entered for N. Vavasor S. E. 1632, Nov 20. This, the earliest edition we have (although it was entered for T. Millington 1594, May 17), was published by Hey wood, with Dedication to Thomas Hammon of Gray's Inn, Pro- logues, and Epilogues. He says he presented it ; probably about Christmas 1631. In his Dialogues he again printed the Prologues and Epilogues, and says that Perkins acted the Jew. In the Court Epilogue, " what others write," I ,hink, indicates a second author ; and I have no doubt that the Bellamira part was inserted by Heywood to bombast out Marlow's short play. This is iii. i ; iv. 4, 5 ; v. i. The prose shows it not to be Marlow's, and the story is that of the friars in The Captives. 38. J[ Maidenhead well lost, C, was acted by Queen Henrietta's men before June 1634. It has Dumb Shows and a clown. It was published by Heywood, with Address, Prologue, and Epilogue. He seems to have valued it slightly, as there is no Dedication. I should take its date to be earlier than some of the plays already mentioned. Note " snapsack," ii. i. Heywood usually writes " knapsack" in his later plays. Query, an alteration of 11. Joa7i as good as my Lady. 39. Loves Mistress, or Tlie Queens Maslc, was played liefore the King, Queen, and sundry foreign Ambassadors three times within eight days. Publicly acted by Queen Hen- rietta's men. Published by Heywood 1636 (S. H. 1635, Sept. 30), with Dedication to the Earl of Dorset and Address. The second " Royal view " was at the Queen's entertainment to the King on his birthday at Denmark (Somerset) House. Inigo Jones then changed the stage on everv occasion almost TIEYAVOOD. 299 to every scene. It was " fresh and new " when presented publicly. This was in 1633; the birthday was 1634, Kov. 19 ("Wednesday), before the S. E. entry, and after 1633, Xov. 19, when The Younrj Admiral, by Shirley, was acted at Sc. James'. The title of Queen's Mash was given it 1634, Xov. 19. From the 1633 Prologue it ajopears that Cupid " descended in a cloud " on the public stage. Scenery was therefore used. In the Denmark House Prologue and Epi- logue Cupid mentions and points to " the Planets." The Sun, Mercury, and Venus appear in the play; but the Moon and Jupiter are also mentioned, and I suppose Mars and Saturn must have joined in the final dance. A Prologue " at the second time the same week" (tlie first presentation must have been, then, in the preceding week, on Saturday, and this, the third, on Saturday, Nov. 22) strangely gives as second title, not The Queen's Mask, but the original name, Cujnd and Fsyclie (see above, 7. Five plays in One). Tlie original play evidently contained merely their story ; the Clown scenes, ii. 3, iii. 2, iv. 2, v, 2, were, I think, added at the 1633 public representation ; and the Apuleius allegory before, be- tween, and after the acts at the Poval view. The scene is Arcadia. Shirley's Arcadia, which preceded it, 1632, Nov. 1 9, should be read with this mask, and his Triumj)h of Beauty, 1639-40. All the new part is personal. Apuleius, I doubt not, is Heywood ; Midas I guess to be Christopher Beeston, and his son Cory don, the clown, William Beeston. Midas prefers the song to Pan, the Arcadian god (Shirley's Arcadia), to Heywood's song to Apollo (perhaps an intended revival of A2J0II0 and Daphne), (a song in which " semcl in anno redd Apollo " is alluded to in iii. 2). Midas is the white boy of Arcadia, v. 2. All the pastoral names, Coridon, Colin, Dickon, Hobbinol, are Spenserian, and the allusions to Midas, I'haon, c^-c, from Lyly. The transfor- 300 THE ENGLISH DRAMA. mation of Apuleius had been represented in The Golden Ass, Cupid and Psyche, 1600, May, by Chettle, Day, and Dekker, (when Heyvvood had left the Admiral's men for Derby's ?) ; and I have little doubt that in this Apuleius Heywood had been caricatured as the mythological playwright, " with an ass head of his own," i. i. Compare A Midsummer Night's Dream, iii. i, 119, and Twelfth Night, v. 212, where Ague- cheek is perhaps the same as Apuleius here. The " ignorant ass " in i. 7 I take to mean Shirley. I have not space to note all the allusions, but for one that is important see Pallantus and Eudora. 40. The Bogal King and the Loyal Subject was acted by Queen Henrietta's men, after the first production of Cupid and Psyche, probably c. Christmas 1633, the Planets and Furies of that mask beino- referred to in the Prologue to the Stage. The Epilogue to the Eeader was also printed in H. Shirley's Martyred Soldier, and probably belongs to neither, being a stock paragraph belonging to the company, applicable to any old play. Its insertion, liowever, shows that this was old. It was, I feel sure, the Marshcd Osric of 1602, Sept., by Heywood and Went. Smith, rewritten in consequence of the revival of Fletcher's Loyal Subject, 1633, Xov. The marks of alteration are numerous, besides the removal of rhyming words (which can be easily restored) by alteration and transposition, the substitution of the name Katharine for Margaret, the trans- ference of the name Cock from the Corporal to the Clown, and the expunging of Lord Lacy altogether. All this we learn from the Dram. Pers., which have not been rewritten. The parts of the play which have been entirely replaced by new, as shown by the absence of changed rhymes, and which, therefore, I assign to Smith, in the early version, are IIEYWOOD. 301 i. I, 2, 3, 4, 5 ; ii. 2 ; v. i, at the least. lie wrote Lalf, aud was paid half, £t,. The bar and scaffold " for the play of Berowue " are entered in Henslow immediately after this play. In v. 2 " a bar " is set out, and the King calls for " a scaffold," which was no doubt set out also to increase the comedy of the ending, where a tragedy was expected. There is no note of " Berowne " in Malone's trustworthy extracts (Variorum, iii, 327). Is this another forgery of Collier's? Xote the four prisons in iii. i ; the word " condog," iii. 2, for which Lyttleton's Dictionary has been so abused ; the " Key of office " in i. 2, which explains The Tempest, i. 2, 85 ; and the duplicate reading in ii. i : — ( She died some three months since ; ( Good lady, she's now gone ; an infallible sign of alteration. 40*. Love's Masterpiece, C, S. R. 1640, May 22, for J. Okes. Xot published. Plays Eevived by Brome for the King's Mex, 1634-5- 41. The late Lancashire Witches, C, was acted at the Globe in 1634, shortly before publication S. R. Oct. 28, when the witches had not yet been pardoned. Compare [Brome's] Epilogue with Mrs. E. L. Linton's excellent Witch Stories, p. 230. The play was "written by T. Ileywood and It. Brome," but evidently Heywood's part is founded on The Witches of Lancaster, by T. Potts, 161 3 (tried 161 2, Aug. 17). The northern dialect is that of P>rome's Northern Lass ; and the Seely part, i. 2 ; iii. 1,3; iv. 3; V. I, 5 (part), should be compared with TJic Anti- 2'>odes, which repeats the Erewhonian inversions of position. 303 THE EXGLISH DKAMA. Although Heywood's motto (from the okl phiy, I suppose) appears on the title-page, there is no Dedication, and he did not publish it. The story of Xan Generous, i. i ; ii. 2, 5 ; iii. 2 ; iv. 2, 4, 5 ; v. 2, 3, 4, 5 (part), is Heywood's, but considerably accommodated by Bronie; while in the witch scenes, ii. i, 3a, 4; iv. i, we get positive proof of altera- tions made by him. In ii. i the witches are Maud (liar- grave, 1633), Meg (Johnson, 1633), Gil (Goody Dickenson, 1633), and presumably Mall (Spenser, 1633); for only three witches speak, though four are mentioned in the stage directions. But in iv. 5 we find " Call Meg and Doll, Tib, Nab, and Jug ; " and in v. 2 " Moll, Xab, Jug, and Peer." Before alteration v. 2 must have been "Doll, Xab, Jug, and Tib." Meg, however (if five witches, making up the orthodox number of six with Mrs. Generous, be admitted in the older play), may be Margaret Pearson, 161 2. I rather think, as Hey wood does not give the true Christian names, that the iv. 5 line was written " Call Doll and Tib, and Xab and Jug," and that it was imper- fectly altered. The familiars are to be assigned thus : Suckling to Gilian Dickenson, Puggy to Mary Spenser, Mamillion (from the 1634 trial) to Margarget Johnson, and Pudding to Maud Hargrave. The turning Kobin into a horse (and therefore the Mrs. Generous story) dates 1634 (see the trial). In ii. 3 the "invisible spirit" (acted by F. Adson, unknown elsewhere), " with a brace of grey- hounds," is also from the 1633 story, but it is mixed up with the boy and greyhounds, ii. 4, which is taken from the 1 6 12 trial. The boy of the 1634 play is Edmund Ptobinson, the chief witness in the trial, who afterwards confessed his imposture. These witches w-erc pardoned, but twelve of the 16 12 batch were hanged. The pre- judgment implied in this play was a cruel pandering to HEY WOOD. 503 popular projudice. iv. i, the witches in the barn is from the 1634 trial. There are allusions to Macbeth, "The Scottish wayward sisters," ii. 2 ; the late counterfeit coin, ii. 3 ; Prynne, ii. 3 ; and a man " who Hew to Paris and back to London in a day," iii. i . 42. The, A2?])rentice' Prize, and 43. The life and death of Sir Martin Skinlc, " with the wars in the Low Countries," were entered S. P. 1654, April 8, as by P. Prome and T. Heywood. These must also date 1634, the only year in which these authors wrote for the same company. 44. A Challenge for Beauty w\as acted at the Plackfriurs and the Globe before 1636, June 17 (probably in 1635), when it was published with a Prologue (characterising the dramas of various nations) and an Epilogue, but no Dedica- tion, The company issued it just after the plague began. In iii. 4 there is an allusion to Prynne's punishment, 1634, May. It contains a song from The Rape of Lucreece, and was Heywood's last production for the stage that has reached us. Prologues and Epilogues. In his Dialogues and Dramas Heywood published a number of these, of which I here give a list from Pearson's reprint : — 1. [1630], Nov. 19, at Somerset House. The Queen feasting the King on his birthday. " Little Charles " recently born. 2. [1630], at the new Theatre at Whitehall. To the King and (,>ueen at the first play thure by the Queen's men. 3. 163 I, Jan I. To the King and Queen. Two-faced Janus, with a key. Only " an heir," but a second child hoped for. 304 THE E:N'GLISH DRAMA. 4. [163 I.] To the King only, the Queen being great with child, in the seventh year of their marriage. 5. [1634.] At Whitehall, to the King and Queen, after 1633, Nov. 17 (see my History of the Stage ^ p. 315). 6. [1634.] At Hampton Court, to the King and Queen. Prynne alluded to ; also Apollo and Daphne and the Planets [as in The Silver Age, not as in The Queen's MaslS]. 7. [1635.] At Whitehall, to the King and Queen. jSTestor and the Heroes alluded to [as in The Brazen Agc~\. 8. [1635.] On the like occasion, to the King and Queen. The Queen's men presented four plays at Hampton Court and five plays at Whitehall in 1635, for some of which Hey wood may have written Prologues, although he had left that com- pany. But, query, were these all presented in 1635 ? 9. [1636], Jan. I. To the King on a New Year's Day. The Queen, it seems, was not present. P. Elizabeth was born 1635, Dec. 28 (cf. 4). 10. [1636.] To the like purpose, at the Court. Pan and Apollo [Shirley and Heywood] alluded to. 9 and 10 were, I think, for King's men's plays. The Queen's men had been performing Shirley's plays at Court, 1636. The dates of the births of Charles' children, &c., beiu"- incorrectly given in many histories, I here append theui. They are needed in determining these Prologue dates : — 1 600, Nov. 1 9, King Charles' birthday. Queen Henrietta's l)irthday was Nov. 16. 1625, Mar. 27, their marriage. I 628, Mar. I 8, first child, Charles, born. Died the same dav. 1630, May 29, Charles II. born. 1 63 I, Nov. 4, Mary born. 1633, Oct. 13, James born. 1635, Dec. 28, Elizabeth burn. IIEYWOOD. 305 1637, Mar. 17, Auue born. Died 1640, Dec. 8. 1640, July 8, Henry born. 1644, June 16, Henrietta Maria born. I have every reason to suppose that Heywood gives these Prologues in chronological order. He next passes to a group at Henry Carey the Earl of Dover's houses : — 1. [1634— 5], Christmas. At Broadstreet. The Speaker Hospitality " at a play." 2. [1635], Candlemas. At Broadstreet. Carey had " begun to grace the City " with his presence. 3. [1636], last New Year's night. At Hunsdon, before a mask of 9 ladies. The Dialogues were entered S. R. 1635. Aug. 29, but added to up to 1636 (see infra). [1635], a Prologue for a young lad playing itiVA^nZ 3 at the Eed Bull. 1635, ISTov. 19. "On his Majesty's last birth-night, he being then 3 5 years of age, and the Queen great with child." This proves additions after 1635, Aug. 1635, Nov. 22. To the Palsgrave on his first coming over, in the presence of His Majesty. For the Prologues to The Rich Jew of Ilalta, The Fair Maid of the West, and The Queen's Mash see under those plays, supra. All these Prologues date, then, between 1630 and 1636, and Collier is quite wrong in saying they were written " at remote dates." Pageants. 45. I 63 I. London s Jus Honorarium, for G. AVhitniore's Mayoralty. Haberdashers' Society. There are dragons in it spitting fire. Gerald Christmas " exprest the models." 46. 1632. Londini Artium ct Scientiarum Scaturiijo, London's Fountain of Arts and Sciences, for N. Paynton's VOL. I. U 5o6 THE EXGLISH DEAMA. ^Mayoralty. Haberdashers' Company. Note Katlierine the Virgin ]\Iartyr, their patron saint, who has nothing in com- mon with Massinger's play. 47. 1633. Londini Empona, or London's Mercatura, for Pi. Freeman's Mayoralty. Clothworkers' Company, 48. 1635. Londini Sinus Salutis, ox Londo7is Harlour of Health and Happiness, for C. Clethrowe's Mayoralty. Ironmongers' Company. The choice of Paris is alluded to by the three goddesses. J. and M. Christmas fashioned the structures. 49. 1637. Londini Speculum, or London s 3Iirror, for E. Fenn's Mayoralty. Haberdashers' Company. J. and M. Christmas were " the artists and directors." 50. 1638. Porta Pietatis, or The Port or Harhour of Piety, for M. Abbot's Mayoralty. Drapers' Company. " A shep- lierd with his scrip and bottle " in the first show. John and Mathias Christmas " composed the pieces." 51.- 1639. Londioii Status Pacatus, or London's Peaceable Estate, for H. Garway's Mayoralty. Drapers' Company. With birds and beasts in Show 3 ; Jason and the Golden Fleece, drawn by Cammels, " amongst us rarely seen," in Show 4 ; a ship in Show 5. These shows of 1638 and 1639 are ridiculed by Shirley in his Triumph of Beauty. J. and M. Christmas " contrived the Models." Holiday, Dr. Barten. (University.) I. 1 61 8, April 20, for John Parker. Tlie MarHages of the Arts, C, 161 8, 1630. Son of Thomas Holiday, tailor ; born in All Saints parish, Oxford; entered at Christ Church under Dr. Eavis, his patron and relation ; B. A., M.A. ; took holy orders in 1 6 1 5 ; was popular as a preacher and got two good Oxfordshire livings. In 1 6 1 8 went as chaplain to Sir Francis Stewart to Spain with Gondomar ; on his return was made chaplain HOWARD— ING ELAND. 307 to Charles I., and was Archdeacon of Oxford before 1626. The rest of his career does not concern us. He died 1661. I. Technogamia, or The Marriages of the Arts, was acted in Christ Church Hall 13th Feb. 16 18 by the students; and Sunday, 26th Aug. 162 i, before the King at Wood- stock. On the King's impatience with it see Xichols, James, iii. 713. Howard, Sir George. (Mask.) I. The Triumph of Cupid. Hughes, Thomas. (Court Show). I. Certain Devices and Shoios presented to Her Majesty by the Gentlemen of Gray's Inn ... at Green- wich 28th Feb. i587[-8]. Printed by Robert Robinson 1587. I. The Misfortunes of Arthur. " Uther Pendragon's son reduced into tragical notes by Thomas Hughes of Gray's Inn." He was assisted by William Fulbeck (two speeches), Nicholas Trotte (Introduction), Francis Flower (Choruses, i. ii.), Christopher Yelvertou, Francis Bacon, and John Lancaster (Dumb Shows). A play on the Seneca model. Ingeland, Thomas. (Interlude.) I. 1564, Sept.— Oct., for Thomas Colwell. A picture of a el did. Ingeland was student of Christ College, Cambridge. I . The Disobedient Child (a revived interlude of the time of Edward VI.) was probably acted at Court 6th March I 560—1 ; (Ralph Royster, which in my History of the Stage I assigned to that date, being more likely acted 156 1-2.) If so, it was acted by the Paul's boys ; and 2. The Nice Wanton whose author is not known, may also have been written by Ingeland. There is no evidence that interludes of the morality species were ever acted at Court by men players. See my History of the Stage, pp. 57, 58. 3o8 THE EXGLISH DRAMA. Jaques, Fhaxcis. (Play). I. Brit. Mus. 3IS. Lansd. 807. The Queen of Corsica, T., 1642. Probably not acted. Jeffrey, John. (Play). I. The Buglcars, C, tempore Elizabeth, Brit. ]\Ius. J/>S'. Lansd. 807. Translated from the Italian. One character is named Biondello. At the end "Johannes Jcffcre scrihcdat hoc" Jeffrey may be the scribe, may be the author. Johnson, William. (Latin.) 1. Valetudinarium, C, by W. Johnson, student of King's, Cambridge. Acted 1638. Scene, St. Bartholomew's Hos- pital. MSS. common. See Leander. 2. Leander was acted at Cambridge in 1598 and in 1602. MSS. common. On that in the Bodleian, MSS. Baivl. Misc. 341, the name W. Johnson occurs on the fly- leaf, but the date is too early for this W. Johnson's author- ship. Jones, Inigo. (Architect and Mask-plotter.) Inigo, son of Inigo Jones, clothworker, was christened at St. Bartholomew the Less, West Smithfield, 19th July 1573. The father's will, made 14th Feb. 1597, was proved 5 th April. The son had probably served his apprenticeship as a joiner. His skill in landscape had been noticed by a Lord (Arundel or Pembroke ?), who sent him to Italy. He next became architect to Christian IV. of Denmark. On his return to England he took to architecture, c. 1604. On 1 6th June 1609 he was paid for "carrying letters into France." He was Surveyor of the Works to Prince Henry from 16 10, Jan. 13, to 161 2, Nov. 5, when the Prince died. He then went to Italy ; was there 161 3, Sept, 23, to 16 14, Aug. 13. Back in London 161 5, Jan, 26, and succeeded Simon Basil as Surveyor of the Works to the King as from 161 5, Oct. I, The Banquetting House at Whitehall was JONES. 309 burned 12th Jan. 1619; Jones rebuilt it 16 19-1622. His career as an architect is out of my purview, except the laying out of Covent Garden 163 1— 1638, which is alluded to in several plays. He died 21st June 1652. His masks were the following : — 1. 1605, Jan. 6. Blackness, with Jonson. A Queen's mask, 2. 1605. Aug. 28, Alba; 3. Aug. 29, Ajax Flagellifer ; 4. Aug. 30, Vcriumnus (by Gwynne), were acted at Christ Church, Oxford, before the Court, with Jones' devices, where- in " the stage varied three times," by means of turning pillars, which, of course, were triangular, as on the Greek stage. 5. 1606, Jan. 6. ITT/men, with. Jonson. For the Earl of Essex' marriage. 6. 1608, Feb. 9. The Hue and Cry after Cupid, with Jonson. For A'iscount Haddington's marriage. 7. 1609, Feb. 2. Queens, with Jonson. A Queen's mask. 8. 1 6 10, June 5. Tethys Festival, with Daniel. A Queen's mask. 9. 161 3, Feb. 15. [Plutus] The Middle Temple and Lincoln's Inn mash, with Chapman. For the Princess Eliza- beth's marriage. 10. 1623, Jan. 19. Time vindicated, "with Jonson, A Prince's mask. 11. 1624, Jan, 6, prepared, but put off; 1625, Jan. 9, represented. Neptune's Triumph, with .Tonson. 12. 1624, c, June 5. Fan's Anniversary, with Jonson. 13. 1630, Jan. 6. Love's Triump)h through Callipolis, with Jonson. A King's mask. 14. 1630, Shrovetide. Chloridia, -with Jonson. A Queen's mask. For the quarrel ensuing hereon see Jonson ; as also for Jonson's earlier quarrels with and satire of Jones. 3IO THE ENGLISH DRAMA. 15. 1632, Jan. 8. Albion's Triumph, with Townsend. A Killer's mask, 16. 1632, Feb. 13. Tc7npe Eestored, -with Townsend. A Queen's mask. 17. 1634, Feb. 3. The Triumph of Peace, with Shirley. Presented by the Inns of Court. 18. 1634, Feb. 18. Ccelum Britannicum, with Carew. A Kinsf's mask. 19. 1634, Nov. 19. Love's Mistress, with Heywood. A Queen's mask. 20. 1635, Feb. 10. The Temple of Love, with Dave- nant. A Queen's mask. 21. 1635, Dec. 21. i^/on'TTiMe (in French). A Queen's pastoral. 22. 1638, Jan. 7. Britannia Triumphans, with Dave- nant. A King's mask. 23. 1638, Feb. 6. Luminalia. A Queen's mask. 24. 1640. Jan. 21. Salmaeida Spolia, wiih. Davenant. King and Queen's mask. For all these see under their authors' names. In the Shakespeare Society Life of Lnigo Jones a number of his drawings for mask costumes are facsimiled, and much nonsensical rubbish is appended to show that they were meant for actors in Shakespeare's plays. I therefore give here a list of such of these as I have identified. They were all drawn for masks. 20. The Tooth-Drawer; 21. The Corncutter (Plate xi.), are for Pan's Annivcrsa^nj, 1624. 3. The Airy Spirit; 4. Skogan ; 5. Skelton ; 6. A brother of the Eosy Cross (Plate iii.), are for The Fortu- nate Lsles, 1625. 2. Cade (Plate ii.) ; 7. Harlequin ; 8. Mountebank (Plate vi.); 12. Kett (Plate vi.) ; 16, (Damsel); 17. Dwarf (Plate( JOXES— JOXSOX. 311 X.); 19. Giant (Plate xi.) ; 22. Scraper; 23. Gridiron ; 24. Uallad Singer (Plate xii.) ; 25. Knackers; 26. Tongs (Plate xiii.) ; 27. Armed Head (Plate xiii.), are for Britannia Triumiihans, 1638. 9. English; lo. Irish; 11. Scotch (Plate v.), are for Salmacida Spolia, 1640. I. Pilgrim (Plate i.) ; 14. Morisco (Plate viii.) ; 15. Torchbearer (Plate ix.) ; 18. Lanier (Plate x.), are too in- definite to assign to any particular mask. 13. Ivniperdoling (Plate vii.) I have not met with. I should have liked to pursue this investigation farther, and wrote to the Duke of Devonshire, the patron of Collier, for permission to examine the other drawings of Jones in his possession, but did not get even the courtesy of a reply. Jones, John. (Play.) I. Aclrasta, or The Woman's Spleen and Loves Con- quest, T. C, 1635. Founded on Boccaccio's Decameron, viii. 8. Piefused by the actors. Never acted. JONSON, Benjamin. (Actor, playwright, Mask and Enter- tainment writer, poet, &c.) 6. 1600, April 8, for W. Holme. Every Man 02ct of his Humor, "a comical satire," 1600; "as it was first com- posed by the author, containing more than hath been publicly spoken or acted, with the several character of every person." 1600 his, for N". Ling, "by the author, B. J." 5. 1600, Aug. 14, for C. Burby and W. Burre. Urcr)/ man in his humor, C., 1601, "by Ben Johnson," as "acted by the Lord Chamberlain his servants." This had been " stayed " 1 600, Aug. 4, with three of Shakespeare's plays, all entered for different publishers. 9. 1 60 1, Miy 23, for ^y. Burre. Narcissus, or The 312 THE EXGLISH DRAMA. Fountain of SeJf-Lovc ; iGoi, "or Cyntlda's Bevels, written Ly Ben Johnson." lo. 1 60 1, Dec. 21, for M. Lownes. Poetaster, or His [the] Arraignment, 1602, "a comical satire." 29. 1604, Mar. 19, for E. Blunt. Part of King James' Entertainment in jjassing to his Coronation, 1604, Liar, i 5, Arches i, v., "by Benjamin Johnson;" 1604, " B. Jon." [with changed spelling]. With the Panegyric on James and the Entertainment at AltJiorjje. 14. 1604, Nov. 2, for E. Blunt. Scj'anus, T., by B. Johnson; 1605, by G. Elide, for T. Thorpe, " Sejanus his fall, written by Ben Jonson." 34. Hymenmi, 1606, by V. Sims for T. Thorpe, at Essex' marriage, Twelfth Mght, " by Ben Jonson." 16. Ben Jonson, his Volpone, or The Fox, 1607, for T. Thorpe; " i ith Feb. 1607, from my house at Black- friars." 1608, April 2 I, for T. Thorpe, The character of two Poyal Masks, invented by Ben Johnson. 35. Blackness and Beauty, "by Ben Jonson." [1608.] 36. Mask at Haddington s Marriage, 1608, Shrove Tues- day. [1608, for T. Thorpe.] 4. 1609, Jan. 26, for H. Walley and E. Bonion [and B. Sutton, 1609, July 20]. The case is altered, C, 1609, for B. Sutton, " B. Jonson, His case is altered" and a second title-page, " The Case is altered" 37. 1609, Feb. 22, for Pt. Bonyon and H. AValley. The Mask of Queens, celebrated " by Benjamin Johnson ; " 1609, by X. Olces for Pi. Bonyon and H. Walley. 18. 1 6 10, Sept. 20, for J. Browne and J. Busby, junior, Epicoene, or Tlie Silent Woman, C, " by Ben Johnson ; " 1609 [?], 1612, 1620. 19. 1610, Oct. 3, for W. Bnrre. The Alchemist, C, "by JOXSOX. 313 Ben Johnson ; " 16 12, T. Snodham for W. Burre; sold by J. Stepneth. 20. Catiline, his conspiracy, T., by Ben Jonson, 161 1, for W. Burre ; 1635. 16 1 2, May 15, for J. Stepneth. Ben Johnson, his Epi- grams. Not known. 161 5, Jan. 2O5 for W. Stansby. Certain masks at the Court never yet printed, written by Ben Johnson ; i.e., all of the 1 6 16 Folio (by W. Stansby) which had not previously been published. 48. Lovers ma Men [Gifford's Lethe']. A mask at L. Hay's 1 6 1 7. No place, printer, or publisher given. 1 61 8, June 14, for M. Sparkes. A discoiirse of Love, or Songs, Sonnets, and Elegies hettcixi Withers and Johnson. 53. The mask of Aug^irs, presented Twelfth Night, 1 62 I [—2], sine ulla nota. Ben Jonson, his Motives {re Inigo Jones), 1622 (Wood, Ath. Oxon) ; but should not the date be 1633 ? Not now known. 1623, Oct. 2, for Blount. Barclay's Argennis, translated by Benjamin Johnson. Not now known. 56. 1624, Dec. 29. "For the Palsgrave's company [at the Fortune], a new play called The Masque. The Masque book was allowed of for the press, and was brought me by Mr. Jon [son] the 29th Dec.;" so far Herbert. The For- tunate Isles and their iinion was meant to be performed at Court 1624, Jan. 9. It was afterwards altered into Nep- tune's Triu7np)h, which, after the mask had been put off on 1624, Jan, 6, was presented 1625, Jan. 6 (see Nichols, iii. ]ip. 1026, 1027). Gifford is hopelessly wrong. It was l)ublished sine ulla nota [in 1624], and as no other mask was then published, must be the one mentioned by Herbert. A copy in Brit. ]Mus., Geo. III. collection, catalogued under 314 THE ENGLISH DEAMA. " Isles " (Nichols), and so mentioned in the Trustees' Cata- logue of books before 1640. 24. 1626, April 14, for J. Waterson. The Staple of Kevjs, C. [not then published]. 59. Loves Triumph through Callipolis, 1630. 60. Chloriclia [1630], for T. Walkley. 25, 163 1, April 17, for T. Alchorne. The New Inn, C, by Ben Johnson; 1631, by T. Harper for T, Alchorne, with second title, The light Heart. 1639, Dec. 16, for J. Benson. The Execration against Vulcan, with Epigrams, never published before ; 1 640, by J. 0. for J. Benson. This volume contains 52. The mask of the Gypsies, 1640, Feb. 20 ; Horace's Art of Poetry, S. R. 1640, Feb. 8; and The ode, Underivoods, 68 (88). The second Eolio making up "the worhs," 163 i — 1640, for W. Stansby, sold by E. Meighen ; 163 1 -41, by E. Bishop, sold by A. Crooke ; 164.1, 1692. See also The Widoiv, The Spanish Curate, The City Madam, Byron, Julius Ccrsar. Verses Prefixed by Joxson to — 1600, Aug. 22, Pasquirs Swollen [Sullen] Humors; i.e., K Breton's Melancholic Humours (Gifford's Under- ivoods, 23). 1 60 1, (affixed) with verses by Vatum Cliorus,Ignoto, Shake- speare, Marston, Chapman. Forest 10, 11, and perhaps The Phoenix Analysed and The Ode (Hotten's edition, iii. 269). 1 60 1, June 12, T. "Wright's Passions of the Mind (U. G. 25). 1600-9, C. Edmonds' Cccsar (with verses by Camden, Daniel, Sylvester) {Epigrams i i o, i i i ). 1603, Aug. I, To Pancharis, "Ode allegorice" (iii. 529) on Owen Tudor and the Queen. JOXSOX. 315 1605, J- Sylvester's Duhartas (Eioig. 132). 1609, J. Fletcher's Faithful Shepherdess (U. G. 14). 1609, Feb.^i, A. Ferrabosco's Airs {Epig. 130, 131). 161 1, April 15, W. Ealegli's History of the World, (U. G. 42). 1 6 1 1 , Juue 7, Coryat's Crudities (with a character of the author) 161 2, April 29, Farnaby's edition of Juvenal (iii. 466). 161 3, J. Stephens' Cynthia's Revenge (U. G. 19). Printed by Cunningham, iii. 525, as "supplementary." 1 6 14, July I, P. Hannay's Husband (U. G. 24). 1 6 14, July 14, J. Selden's Titles of Honor, (U. G. 31). 161 6, W. Browne's Britannia s Pastorals, Book ii. (U. G. 18). 161 8, Mar. 14, G. Chapman's Hesiod (U. G. 20). 1623, Nov. 8, W. Shakspeare's 2)/ays (U. G. 11, 12). 1626, April 18, T. May's Zucan's Pharsalia. 1627, April 16, M. Drayton's Agincourt, &c. [written, no doubt, considerably earlier]. 1629, June 2, J. Beaumont's poe??is (U. G. 13). 1629, E. Filmer's Court Airs (U. G. 27). 1630, T. Warre's Touehstone of Truth (U. G. 26). 1632, Mar. 24, E. Brome's Northern Lass, (U. G. 28). 1634, Mrs. Sutcliffe's Meditations [with verses by Wither]. 1635, Jan. 19, Putter's Shepherd's Holiday (U. G. 22). 1635, Sept. 12, Stafford's Female Glory (iii. 527, Hotten's edition). 1636, Jan. I r, P. Dover's Annalia Duhrensia (iii. 466). 1637 (Amsterdam), T. Morton's The New English Canaan (iii. 525, with date 1627). These publication dates are necessarily somewhat later 3i6 THE EXGLISH DRAMA. than the dates of writing, which fact must be borne in mind in making inferential use of them, especially for the last noticed. Even the smallest indications of Jonson's career are so important in the general history of the drama, and the neglect of his modern editors is so great in not furnishing the general reader with reprints of the Quarto editions, that I must dwell on miuutiai to an extent that would not be permissible in the case of any other playmaker except Shakespeare. I therefore add here — The Contents of the 1616 Folio. Commendatory Verses. Plays previously published in Quarto (except 4. The Case is altered). Ejjigrams (to which I add, when I can, approximate dates), viz. : — 161 2. I. To the Eeader. 2. To my Book. 3. To my Bookseller. 1604, March. 4. To King James. 5. On the Union; cf. 35, 36, 51. 6. To Alchemists. 7. On the new Hot-house. 8. On a Kobberv. 9. To all to whom I write. 10. To my Lord Ignorant. 11. On something that walks somewhere. 12. On Lieutenant Shift. 13. To Doctor Empiric. 14. To W. Camden. 15. On Court-worm. 16. To Brain-hardy. JONSOX. 317 After 1599. 17. To the Learned Critic. 18. To my mere Enfilish Censure. In 1 8 we find a reference to Satirists. Davies (Sir John, not Davies of Hereford ; i.e., The Epigrams of 1597 ; not The Scourge of Folly) is men- tioned ; also Weever {Tlie Epigrams, i 599 ; not The Funeral Monuments, 163 i). , 19, 20. To Sir Cod the Perfumer; cf. 50. 2 I . On Reformed Gamester. 1593. 22. On my First Daughter, "Mary, the daughter of her parents' youth," who died " at six months' end." 23. To John Donne. 1604, c. ApriL 24. To the Parliament. 25, 26. On Sir Voluptuous Beast. 1603-4. 27, On Sir John Eoe. Died of tlie plague. c. 1603. 28. On Don Surly, who speaks with a rhiiio- cerote's nose. ? 1610, Mar. 24. 29. To Sir Annual Tilter. "Annual," therefore on a King's day. Was the " device " Sir R. Pres- ton's Elephant? See Xichols, ii. 287. 30. To Person Guilty; cf. 38. 31. On Ranck the Usurer ; cf. 44. 1603-4. 32, 33. On Sir John Roe. 34. On Death. 1604, April. 35. To King James. 36. To the Ghost of Martial. (35 alludes to the plague 1603, and treasons (Gowry 1600, Ralegh 1603) and new laws 1604 Mar.) 37. On Chevril the Lawyer; cf. 54. 38. On Person Guilty; cf. 30. 39. On Old Colt. 40. On Margaret Ratcliff. Acrostic. 41. On Gipsy. 42. On Giles and Joan. 1605, May, 4. 43, To Robert [Cecil] Earl of Salisbury. Created 1605, May 4. Ob. 161 2, May 24. 31 8 THE ENGLISH DKAMA. 44. On Chuffe, Banck's the Usurer's Kinsman; cf. 31. 1603, c. July. 45. On my first son, "when the King came in England and the pest was in London " {Dram. Conv.), seven years old. 46, 4y. To Sir Luckless Woo-all. 48. On Mungril, Esquire. 49. To Playwright; cf, 6S, 100. 50. To Sir Cod; cf. 19, 20. 1606, Mar. 22. 51. To King James on the rumour of his death. 52. To Censorious Courtling. 53. To Old-end Gatherer. 54. On Cheveril ; cf, 37. 1608. 55. To F. Beaumont (q.v.). 56. On Poet-ape. 57. On Bawds and Usurers. 58. To Groom Idiot. ? 1598, Oct. 59. On Spies (after imprisonment); but query 1606. 1606, c. Feb. 60. To William Lord Mounteagle (after Gunpowder Plot trial). 61. To Fool or Knave. 62. To Fine Lady Would-be. 1606, 1608. 6^, 64. To Robert Earl of Salisbury. (64. High Treasurer, i.e. 1608, May 6); cf. Unci. 28 (49). 65, To my Muse. 1606, c. June. 66. To Sir Henry Gary (on his capture of 1605 Oct.; unreleased 1606 June). 1 606. 67. To Thomas [Howard] Earl of Suffolk. Created 1603, July 21 (written after Ei/mencei -, at his daughter's marriage, I think). 68. On Playwright ; cf. 49, 100. The " private beatings " indicate Marston. See Dr. Conv. xi., " he beat Marston and took his pistol from him." JONSON. 3x9 69. To Pertinax Cob. 70. To William Roe. 71. Ou Court Parrot, 72. To Courtling. "/I. To Fine Grand. 74. To Thomas, Lord Chancellor Egerton. Appointed 1603, July 24. 75. On Lippe the Teacher (Paul's preacher against plays). ^6. On Lucy Countess of Bedford. yj. To one that desired me not to name him. 78. To Hornet. 79. To Elizabeth Countess of Paitland. 80. On Life and Death. 8 I . To Prowle the Plagiary. 82. On cashiered Captain Surly. %i. To a Friend. 84. To Lucy Countess of Bedford. 85, 86. To Sir Henry Goodyere. 87. On Captain Hazard, the cheater. 88. On English Monsieur. (?) c. 1597. 89. To Edward Allen (while acting). 90. On Mill, my Lady's Woman. 91. To Sir Horace Vere (Qy. at his marriage, 1607 Nov.). 161 1, Mar. 25. 92. The New Cry (long after the Powder Plot, 1605-6; refers, I think, to tlie peerage be- stowed on Carr 161 1, Mar. 25, "ripe statesmen at six-and- twenty." 93. To Sir John Ptadcliffe. 94. To Lucy Countess of Bedford, with Donne's Satires [in MS.]. 161 1, June 29. 95. To Sir Henry Savile. Knighted 1603, July 23 ; Baronet 161 1, June 29. 320 THE ENGLISH DRAMA. 96. To John Donne. 97. On the new motion. After " the Eltham thing," 1 609. 98. 99. To Sir Thomas Eoe. Knighted 1603, July 23 (Query after his voyage to the West Indies). 100. On Playwright; cf. 49, 6S. 1 01. Inviting a friend to Supper. 102. To "William Earl of Pembroke. Succeeded 1601. c. 1 6 10, Oct 3. 103, 105. To Mary Lady Wroth, nee Sidney ; cf. Dedication of The Alchemist. 104. To Susan Countess of Montgomery; m. 1604, Dec. 27. 106. To Sir Edward Herbert. 107. To Captain Hungry. 108. To true Soldiers. 1 6 1 2. 109. To Sir Henry ISTevil (of Billingbear). Was refused Secretaryship in 161 2. 1 600-1 609. I 10, III. To C. Edmonds on his Cccsar. 112. To a weak gamester in Poetry, 1608-1611. I I 3. To Sir Thomas Overburv. Knicrhted 1608, June 19; imprisoned 161 i, April 23. 114. To Mrs. Philip Sidney. 115. On the Town's Honest Man. 1 16. To Sir William Jephson. Knighted 1603, April 22. 1 1 7. On Groyne. 1 1 8. On Gut. 1608— I I. I 19. To Sir Ealph Sheltou. Knighted 1607, Dec. 10; Lady Haddington called him a buffoon (Xichols, iii. 177). c. 1602. 120. Epitaph on Salathiel Pavy, who acted 3 years and died at 13. 121, 122, 123. To Benjamin Eudyard. H 24. Epitaph on Elizabeth L. H. 125. To Sir William Uvedale. Knighted 1605, April 9. 126. To his Lady, then Mrs. Gary. c. 1607. 127. To Esme Lord Aubigny. JONSOX. 321 128. To William Eoe. 129. To Mime. 1609, Feb, I. 130, 131. To A. Ferrabosco, on his Book. 1605. 132. To Mr. Joshua Silvester (on his Duhartas). c, 161 1, June. 133. On the Famous Voyage. (After Coryat's Crudities,) Probably the last poem iu this series. Two things are clear. The arrangement of the Epi- grams is not chronological, although in the earlier part they look as if originally intended to be so ; and there is no date in them that can be definitely assigned later than 161 1. The Forest. c. i6ir. I, Why I write not of Love. "I grow old," JStat. c. 39. 2. To Penshurst. King James and Prince Henry " hunt- ing late this way;" therefore not later than 161 2. 3. To Sir Robert Wroth. Lady Mary Wroth was a Sidney. R. Wroth's seat was at Durance, Middlesex. 4. To the World. A farewell [written] for a Gentle- woman. Before 1605. 5, 6. To Celia from Catullus; cf. 9, Underwoods 25 (46). 7. Women are but Men's Shadows. Written for Lady Pembroke as a penance for maintaining her Lord's opinion against hers. Dr. Conv., xiv. 8, To Sickness; cf. Und. 32 (53), Before 1605, 9. To Celia from Philostratus ; cf 5, 6. Und. 25 (46). 1 60 1. 10, II, Praeludium and Epode for Chester's Love's Martyr. 1604. 12. Epistle to Elizabeth Countess of Rutland, VOL. I. X 322 THE ENGLISH DRAMA. daughter of Sir Philip Sidney. The last notice I have found of her is in 1606, Jan. 6. She died before 161 6 (Gifford). This Epistle notes the " better verser " of Lucy Countess of Bedford, viz., Daniel {q.v.), which fixes the date as shortly after The Vision of the 12 Goddesses, 1604, Jan. 8. 1607-8. 13. Epistle to Katherine Lady Aubigny, wee Clifton. Married 1607. It appears this poem was written when she was pregnant of her first child. Before 1 6 1 2. 14. Ode to Sir William Sidney on his birthday. Died c. 1 6 1 2. 15. To Heaven. Here again no definite date appears later than 161 1. Entertainments. 29. The 'passing to the Coronation (previously published). 28. 1603, June 25. At AUhorpe. L.Spencer's. 30. 1604, May I. At Highgate. Sir W. Cornwallis'. 32. 1606, July 24. At Theobald's. To the Kings of Britain and Denmark. The Earl of Salisbury's. 33. 1607, May 2 3. At Theobald's, when the house was given up to the Queen. Masks. Those previously published. 38. 161 o, June 4. Prinee Henrys harriers. 39. 161 1, Jan. I. Oberon. Prince Henry's mask. 40. 16 1 1, Jan. love freed. Queen's mask. Here ends Jonson's supervision of the Folio. The subse- quent masks have no marginal notes, and are much more incorrectly given. There can be little doubt that the entry JONSOX, 323 S. Pi. 161 2, May I 5, marks the conclusion of Jonson's work, and that it would have been followed by a similar entry for the newly printed masks, and the whole book issued in 161 3 ; but Prince Henry (to whom, I think, it was meant to be dedicated) died 161 2, Nov. 6, and the publication was put off. When issued in 1 6 1 6 the following masks were added : — 43. 16 1 3, Xmas (?). Love Eestorcd ; 41. 161 3, Dec. 27. Challenge, at Tilt ; 42. 1613, Dec. 29. Irish Mash ; 44. 16 1 5, Jan. I, 6. Mercury Vindicated; 45. 1 6 16, Jan. I, 6. The Golden Age Eestorcd; all of which belong to my second period of Jonson's work. The convenience of marking an epoch at the death of Prince Henry and the virtual end of the 1616 Folio will, I think, require no further demonstration. The separate title-pages give indication of change of copyright in 16 16. Every man out of his humour was printed by W. Stansby for J. Smythwick, but The Poetaster for ]\1 Lownes. The "second volume" of the Folio, 1640, for E. Meighen contained three plays, each with a separate title-page " for E. AUott, 163 I." 21. Bartholomew Fair, 1 „ , , . ^ „ , ^ ,^ all belongmg to the second 24. The Staple of News, \ . -, ° ^ _„ -r, ., . period. And after these : — 23. The Devil is an ass,j 25. The Hew Inn (previously published). 26. The Magnetic Lady. II, 27. A Tale of a Tub. " 22. The Sad Shepherd. 2. Tlie Fall of Mortimer. All early work revised. Printed " 1640." All printed " 164 1," and I belonging to the second period. 324 THE ENGLISH DRAMA. Maslcs. (Besides those previously published.) 46. Christmas, his mash. y 47. Vision of Delight. 49. Pleasure Reconciled. 49. For the Honor of Wales 50. World in the Moon. 53. Aiigurs. 54. Time Vindicated. 57. Neptune s Triumph. 55. Pans anniversary. 58. Owls. 56. Fortunate Isles. j Expostulation with Iniqo Jones?\ ^ , ^ ^ rr., • -, ^ . ^^^ „ ^ Printed 1 64 1. Third 61. Entertainment at wetbeck. V . T, 7 period. 62. Entertainment at Belsover. J Underwoods. (Jonson's own title, c. 163 i.) The Sinner's Sacrifice : three poems of Devotion, c. 1 6 1 3 perhaps ; cf . Forest, 15. Charis : ten lyrics. c. 1622-3. I. His excuse for loving. Fifty years old. c. 1608. 2-10. Written in reference to a mask in which Charis represented Venus riding in a chariot drawn by swans and doves (4), at a marriage, and leading the Graces in a dance at Whitehall, worthy to be envied of the Queen (6), in which Cupid had a part (2, 3, 5), at wliich Charis kissed him (6, 7), and afterwards kept up a close intimacy with him (8, 9, 10). Tlie mask of 1608, Feb. 9, exactly fulfils these conditions, and the Venus of that mask was probably L. Elizabeth Hatton, the most beautiful of the then Court ladies. She had appeared in the mask of Beauty 1G08, Jan. 10, but in no other year traceable by JOXSOK 325 rae. From the Elegy, G. U. 36, manifestly written to the same lady (compare it with the lines in 5 as to " the bank of kisses " and " the bath of milk and roses "), we learn that Charis had "a husband that is the just excuse of all tiiat can be done him." This was her second husband, Sir Edward Coke, to whom she was married in 1598. This identifies Charis with Mrs. Fitzdottrel in The Devil is an ass, where, ii. 2, the same words are used ; the " milk and roses " lines, with the " bank of kisses," reappear, and two stanzas of the song in 5 are verbally repeated. In this play, Wittipol, " come home from travel," i. 2, is Jonson ; he " saw her once before he went, but so as she hath stuck still in my view." This return was in 16 14. In i. 2 Fitzdottrel (Cokes) scarce hath soul instead of salt to keep his flesh sweet. In Bartholomew Fair, iv. i, the same words are applied to Cokes ; but Cokes is not Sir E. Coke ; he is a young unmarried man. Cokes is an esquire of Harrow, in Middlesex ; Fitzdottrel of Norfolk. Sir E. Coke was a native of Norfolk, and had held office in Norwich. In 162 1, in The GiiJsies 3fetamorphosed, Jonson trans- ferred the " milk and roses " and " the bank of kisses " to Lady Purbeck, the daughter of Lady E. Hatton, with lines on "yourself the reason why wisest men for love may die;" c. 1622, in Charis i, he says that was spoken of Charis, but this is a blind. Charis could not have been originally Lady Purbeck, who was too young, before Jonson's 16 13 travels, to have appeared as a Venus Gene- trix with her son Cupid in any mask. These lines had probably been so transferred at Lady Hatton's request. Jonson's enigmatic references had been too open. With the "emissary Eye" and "Secretary Sis" of 8 compare " emissary Court " in The Staple of News and " Secretary Sis " in The Neio Inn. 326 THE ENGLISH DEAMA. 3Iisccllancous Underwoods. Before 1619. i. The Musical Strife, alluded to in Dr. Conv., 5. 2. Song. 3,4. Of Womankind. 5. A Nymph's passion. 1 619, Jan. 6. The Hour-glass, written for Drummond, Conv. 5. 1 6 19, Jan. 24. 7. My Picture left in Scotland, "six- and-forty years " old. On L. Hatton. 8. Against Jealousy. 9. The Dream. 1 6 19. 10. Epitaph on Vincent Corbet, died 16 19. A gardener at Twickenham. His son. Bishop Corbet, was at Westminster School with Jonson. [11-29 in Gifford are not in 1641 Folio. From this point I shall add Gifford's numbering in brackets for re- ference.] Before 1624. 11 (30). Epistle to Sir E. Sackville, now Earl of Dorset. Succeeded 1624, Feb. 7. The "now" refers to the date at which these poems were published, 1 64 1. 1 6 14, July 14. 12 (31). Epistle to J. Selden, prefixed to Titles of Honor. c. 1621. 13 (32). Epistle to Master Colby, to persuade him to the wars. 14 (33). Epitaph on Master Pliilip Gray. 15 (34). Epistle to a friend [a creditor]. 16, 17 (35, 36). Elegies [Lady E. Hatton: Charis]. 1623. 18, 19 (37, 38). Shrubs [by Donne, "almost at fifty." On the elopement of Lady Purbeck with Sir Eobert Howard, I think]. 20 (39). An Elegy [on Lady Covell : " Love is gone into your name "]. JOXSOX. 327 c. 1614 2 1 (41). Ode to himself. " Worded balladry " (of Daniel, I think), mentioned. 1 6 14. 22 (42). Frontispiece to a book. Ealegh's His- tory of the World. Before 1600. 23 (44). Ode to James Earl of Desmond. 24 (45). Ode. Eestored 1600. c. 1604. 25 (46). Ode. Eefers to Celia, cf. Forest, 5, 6, 9 ; and to " the swan so relished Pancharis," cf. Ode pre- fixed to Pancharis, 1603. Aug. i, iii, 529. This Pancharis was written by " a black swan," bred (not born) in the vale of Cluid, Flintshire ; treats of the love between Owen Tudor and the Queen ; was meant to be dedicated to Elizabeth, but when published was dedicated to James. I think this swan was Drayton. I know of no one else who wrote poems on Owen Tudor and Queen Katlierine. See his Heroical Epistles. He also was parcel writer in a play on the same subject 1600 Jan., but not having seen Pancharis, I cannot speak positively. a 1604. 26 (47). Sonnet to Lady Mary Wroth; cf. ^^j/y., 103, 105 ; Fo7\, 5, 6. Sir R, Wroth (often spelled Worth) was knighted 1603 June, and died 1614 Mar. Jonson speaks of his wife, ne'e Sidney, daughter of Lord Lisle, as " unworthily thrown away on a jealous husband." He introduced her in The May Lord (q.v.), and dedicated The Alchemist to her 16 10, Oct. 3, alluding to her as " worthy " of her name (Worth). The allusion to Jonson's having been "a lover " in this Sonnet, his exscribing the lady's MS. sonnets, the juxtaposition of the Celia and Wroth poems, with many other little indications too numerous to give here, induce me to think that Lady Mary was Celia, and that Jonson met her at Penshurst in 1604. Her husband may have been jealous of the translations from Catullus, &c., made for her, and interpreted them as expressions of Jonson's own feelings. 328 THE E^^GLISH DRAMA. But certainly Jonson intended no unlawful suit in this in- stance. c. 1604. 27 (48). A fit of Ebyme against Ehyme ; pro- bably suggested by Daniel's Defense of Rhyme, 1602. c. 1608. 28 (49). On William, Lord High Treasurer. Presented to his son Eobert, Earl of Salisbury, when he was Treasurer; i.e., between 1608, May 6, and 161 2, May 24, when he died. Cf. Epig. 62,, 64. N.B. — 23-28 belong to the first period. 1617, Jan. 29 (50), 30 (51), 31 (52). To Thomas Lord Elsmere, the last term he sat Chancellor. " Written for a poor man," i.e., 161 7, Hilary Term, Jan. 1 1-31. 32 (53). To the smallpox. 33 (54)- Epitaph. 34 (55). Song. 35 (56). Epistle to a Friend on receiving a book. 36-39 (57-60) are by Donne. c. 1623. 40 (61). An Elegy. "Fat and old;" has been twenty years at Court; contains sketch of Pinacia Stuffe, elaborated in The New Inn 1629. 1623, c. Oct. 41 {62). An Execration upon Vulcan. This contains allusions to Monday's translations of chival- rous romances. There is given a list of Jonson's works burned in the iire at his house, viz. : — 1. Part of a play [either The May Lord, which is most likely, or The Fall of Mortimer']. 2. B.orQ.Q,& Art of Poetry. Not that we have, but one "in Dialogue ways," between Criticus (Donne) and himself. The extant version was done " 20 years since ; " i.e., \i\ 1598-9. The later lost one had a preface dating 1614, c. Christmas, with an apology for Bartholomew Fair, and was made ten years earlier, "anno 1604," at Lord Aubigny's. JOXSOX. 329 There were an Epigram of Sir E. Herbert's before it {Dr. Conv., 5, 16) and notes from Aristotle's Poetics. 3. All English Grammar, probably bearing a similar rela- tion to that now extant. 4. His journey into Scotland, " sung." He had meant it at first to be in prose. " He is to write bis foot Pilgrimage hither, and call it ^ Discovery',' Dr. Conv., 16; but "in a poem he calleth Edinburgh the heart of Scotland, Britain's other eye." Drummond was to send him " descriptions of Edinburgh, Borrow Lawes, of the Lomond," which he did before 1619, July i, and after May 10. 5. The Bape of Proserpine, in three books. 6. The History of Henry 5, " eight of his nine year," with aid from Carew, Cotton, Selden. 7 • " Twice twelve years stored up liumaiiity With humble gleanings in divinity After the fathers and those wiser guides Whom {"action had not drawn to study sides." I suspect that the MS. translation of Barclay's Argejinis, S. E. 1623, Oct. 2, must also have been burned. Had it been printed, surely a copy would have survived, and other translations would not have appeared in 1625 and 1628. Other allusions are to Squire's Triumphs of Peace, 1620, Oct., " Squire of the squibs against the pageant-day ; " to the fires at the Globe 161 3, the Fortune 1621, Whitehall 1619, Jan. 12; the Six Clerks' Oifice, date unknown; also to iron-mills in Sussex, to Paul's steeple unrepaired, and to the wars in the Low Countries. 1624, Mar. 24. 42 {62)). A Speech according to Horace. AVritten " these ten years day," after the revival of the artil- lery practice in 1614, Mar. The quotation " To bring up the youtli Of London in the military truth," 330 THE ENGLISH DRAMA. occurs also iu Th& Devil is an ass, iii. i (1616). Dekker's Artillery Garden was published 161 5. The allusion to the last King's day tilt is to that of 1624. Those of 1622 and 1623 had been put off and not performed. Hence the phrase, " we have powder still." 43 (64). Epistle to Arthur Squib, a clerk in the Ex- chequer. 161 3, 0. Oct. 44 (65). Epigram on Sir Edward Coke when Lord Chief- Justice. Created 161 3, c. Oct. yEtat 65. 1624, c. Sept. 45 (66). Epistle to one asking to be sealed of the tribe of Ben, written in James' reign (cf. " my Prince's safety"), before "the dispensation" was sent, 1625 Feb., and after " the late mystery of reception " of Mans- feld, 1624, April 16. Some one "that guides the motions and directs the bears " was admitted to make the shows, &c., in Jonson's place. The only mask not by Jonson traceable by me of this date was by " Young Maynard," at Burley on the Hill in August. 1623, c. July. 46 (6y). Dedication of the King's new- Cellar to Bacchus. Prince Charles was yet in Spain. On July 1 5 he wrote in good hope " to bring the Infauta along with us." Before 161 9. 47 (68). On the Court Pucell, " on Mrs. Boulstred, whose Epitaj)li [Elegy] Donne made ; " moreover, " stolen out of his pocket by a gentleman who drank him drowsy and given Mrs. B., which brought him great dis- pleasure," Dr. Conv., 5, 18. ? 1603. 48 (69). Epigram to the Countess of [Paitland] ; cf. Dr. Conv., 9. She died 1 6 1 2 Aug., and her husband 1 61 2, June 26. "Written during the Earl's travels, but not his early ones of 1595-8- 162 1, Jan 22. 49 (70). On Lord Bacon's [sixtieth] birthday. JONSON. S3 1 50 (71). The Poet to the Painter. Jonson to Sir W. Builase. All the rest of the Underivoods belong to the third period, after Jonson's palsy stroke. Those of the first period, before 161 2, are Charis, 2-10; Misc., 23-28; 48. c. 1627, Mar. 7. 51 (72). Epigrams to William Earl of Newcastle. Created Earl 1627, Mar. 7. 52 {72,). Epistle to Arthur Squib. 54 (75). To Lady Lovell, on a wager. 1630 Dec. 53,55(74,76). To John Burgess. Thanks for ink with appeal for pension, a year unpaid. " Christmas is near," and Jonson has to prepare sport for the Court, viz., Callipolis and Chloridia. The pension is the Charles one. i63i,Apr. 17. 56(77). To my Bookseller [T. Alchorne, on The New Inii\. c. 1627, Mar. 7. 57 (89). To William Earl of New- castle, on his Fencing. 1628. 58(78). Epitaph on Henry Lord La Ware. Died 1628. After 1626, Oct. 59 (79). Epigram to the Lord Keeper — i.e., Williams — on his deprivation of the Keepership. 1629, c. Jan. 60 (80). To the King for ;^ioo sent in my sickness, 1629. 1629, Mar. 18. 61 (81). To the King and Queen for the loss of their first-born, 1629; but the historians give 1627-8, Mar. 18. 1629, Nov. 19. 62 (82). To the King on his anniver- sary, 1629. 1630, May 29. 63 i'^l). On the Prince's birth, 1630. 64 (84). To the Queen, then lying-in, 1630. 1630, Nov. 16. 65(85). On the Queen's Birthday, 1630. 1630, Dec. 25. 66 (86). To the Household, 1630. The tierce of sack, due under the pension of 1630, ]\Iar. 332 THE EXGLISn DRAMA. 26; not delivered. But was it due till a full year had expired ? 1 630-1. ^J (87). To a friend and son [Sir Lucius Gary]. 1 63 I, Jan. 68 (88). Pindaric Ode on the Friendship of Sir Lucius Gary and Sir Henry Morison, published 1640. Whether Morison's death dates 1628 or 1629 depends on the date we give to Jonson's letter quoted by Gifford, iii. 339. According to his general custom, " 4th Feb. 163 i " would mean our 163 1, not 163 1-2. But I believe this ode was not written till 163 i, Jan., and that Jonson had not known Gary long, and Morison not at all. The arrange- ment of this part of the JJnderiuoods seems to be chrono- logical. 163 1. 69 (90). To the High Treasurer, an Epistle Mendicant ; i.e., to Kichard Lord Weston. Jonson " bedrid." 1632^ Nov. 19. 70 (91). To the King on his Birthday, 19th Nov. 1632. 1633, Feb. 17. 71 (92). To Lord Weston on the day he was made Earl of Portland, i7tli Feb. 1632. This was in the 8th of Charles L, and therefore in 1633. 1632-3. 72 (93). To Jerome Lord Weston on his return from his embassy, 1632. Probably 1632—3, like 7 I ; but I do not know the exact date. c. 1630. y^ (94)- Epithalamion for " Mr. Jerome Weston, son and heir of the Lord Weston, Lord High Treasurer," and Lady Frances Stewart, daughter of Esme Duke of Lenox, deceased. As E. Weston is not called Earl of Portland, this must come before 71. The King "gave her." The pro- cession extended " from Greenwich to Kowhampton Gate." 1630, c. Feb. 74(95). Petition to King Gharles ; to change the pension of 100 marks granted by James to ;^ioo. Granted. The new pension began 1630, Mar. 26. JOXSOX. r,S 1633. 75 (96). To the Lord Treasurer. From the 1640 edition. Cf. Horace' Odes, iv. 8. "To the Earl of Portland," in Eliot's Poems; therefore in 1633. For the Detractor's lines herein see Gilford's note, and for Jonson's answer (from the 1640 edition), iii. 468. He had £^0 for this Epigram. c. 1633. 76 (97). To my Muse, Lady Digby, on her husband, Sir Kenelm Digby. 1635. 770, (98). A Xew Year's gift to King Charles, 1635. Query 1634-5 or 1635-6. "Were these Jonson's last lines ? c. 1633. 771 (40). An elegy. Query to Lady Digby. 1633, Nov. 19. 78 (99). On the King's Birthday. 1633, Nov. 24. 79 (100). On the Christening of Prince James. 163 I. 80 (loi). On Lady Jane Pawlet, Marchioness of Winton [Winchester]. Died 1 631. 1634. 81 (102). On Lady Venetia Digby. Ten pieces. Imperfect. For one missing bit see iii. 466, from Notes and Queries, ist Ser., iii. 167. She died in 1633. Here end the Undervjoods. Leges Conviviales ; in the Apollo of the Old Devil Tavern, Temple Bar ; and verses over the room-door. Translations : — Horace' Art of Poetry ; the 1604 version, done at Lord Aubigny's. Horace' Odes, v. 2 (c. 1604, for Sir T. Wroth, I think), i. 4 (c. 1623, with Charis), ix. 3. Fragment of Petronius' Martial, viii. 77. Add to these Mar- tial, X. 47 (from Collier's Allcyn, p. 52), iii. 388. Timber, ox Discoveries. Not those burned in the 1623 fire. These date 1623-35. See Swinburne's excellent essay on this work, which, fortunately for me, needs no further comment here. The English Grammar. This also is not the one burned 334 THE ENGLISH BEAM A. in 1623. Whether an earlier draft or a Later recast I know not. The following pieces have been discovered since the 1 64 1 Folio : — 161 3, Mar. 24. At a Tilting in behalf of Sir Robert and Sir Henry Eich, U. (29), Nichols, ii. 610. 1 61 3, Dec. 26. To Eobert Earl of Somerset on his Wedding- day, iii. 465 ; from Notes and Queries, ist Ser,, v. 193- 1 61 8, June 14. The Song in answer to Wither, iii. 465. The date is that of S. E. entry, 162 1. Addition to Cock Lorel Song in The Gipsies Metamorphosed, iii. 528. The foUowinif are from the Cavendish MS. in Brit. Mus, ;— 161 8. Charles Cavendish to his posterity. Died 16 18, iii. 459. 1620, May. Interlude at the Christening of Charles, second son of William Cavendish, Earl of Devonshire, to whom the Prince was godfather, iii. 461 ; Nichols, iii. 607. c. 1621. A Song of the Moon, iii. 465. c. 1625. Song to the King, iii. 465. 1625. On Lady Jane Ogle, died 1625, Countess of Shrewsbury, iii. 460. 1629. On Lady Katherine Ogle, died 1629, wife of Sir Charles Cavendish. Three pieces, iii. 459. 1633. A fragment of Eupheme, iii. 466, is from Notes and Queries, ist. Ser., iii. 567. I now give an index of the poets, &c., who are mentioned in Jonson's works, and another of the " great ones " with whom his poems show that he was in intercourse. Drum- mond's Conversations with him should be carefully compared with these indexes, but need not be indexed here, as F. Cunningham has already performed that labour. E. in JOKSOX. 33 5 these indexes means Epigrams ; F. Forest ; U. Uaderwoods ; C. V. Complimcntari/ Verses ; Ded. Dedication. The numbers in parentheses in the Underwoods refer to Gifford's num- bering. Poets, &c. Alchorne, Thomas, U. 56 {yy). Allen, Edward, E. 89. Beaumont, Francis, E. 5 5, U. i 3, C. V. letter, C. V. {Fax., Epicene, Catiline). \ Bolton, Edmund, C. V., Fox. B., Ev., C. V. (Sejanus). Breton, Nicholas, C. V., U, (23). Brome, Richard, C. V., U. (28). Browne, William, C. Y., U. (18). C. J., C. V. (Fox). Camden, William, E. 14, Ded. (Every man in his Humor). Carew, Thomas, Ode (A^eio Inn). Chapman, George, C. V., U. (20), C. V. (Sejanus, Fox). Chester, Robert, F. 10, 11. Cleveland, John, Ode (New Inn). Corbet, Vincent, U. 1 0. Cory at, Thomas, C. Y. Cygnus, C. V. D. D., C. Y. (Fox). Donne, E. 23, 96, C. V. (Fox). Dover, Robert, C. Y. Drayton, Michael, C. Y., U. (16, 17). Drummond, AVilliam, U. 5, 6; Conv. Edmonds, Clement, E. i 10, 1 1 1. Farnaby, Giles, C. Y. Feltham, Owen, Ode (New Inn). Ferrabosco, Alphonso, E. 130, 131. 336 THE ENGLISH DRAMA. Field, Xalhaniel, C. Y. {Catiline). Filmer, Edward, C. V., U. (27). Fitzgeoffrey, Edward, C. V. {Affanim). Fletcher, John, C. V., U. (14), C. V. {Fox). Hannay, Patrick, C. V., U. (24). Herbert, Sir Edward, C. V. {Horace). Heyward, Edward, 0. Y. {Folio). Hodgson, William, C. Y. {Folio). Holland, Philemon, C. Y. {Sejanus). Holyday, Barton, 0. Y ( 1 640). Jones, Inigo {Expostulation). Lucy, George, C. Y {Alchemist). Marston, John [E. 49, 6^, roo. "Playwright"], C. Y. {Sejanus), Ded. {Malcontent). May, Thomas, C. Y, U. (21). Monday, Antony [E. 29] Pavy, Salathiel, E. 120. Philos, C. Y. {Sejanus). R T., C. Y. {Sejanus, Fox). Kandolph, Thomas, Ode {New Inn). Rutter, Joseph, C. Y, U. (22). S[cory], E[dward], C. Y {Fox). Selden, John, U. 12 (31). Shakespeare, William, C. Y., U. (11, 12). Shirley, James, C. Y, {Alchemist). Stansby, William, E. 3. Stephens, John, 0. Y., U. (19). Strachey, William, C. Y. {Sejanus). Sylvester, Joshua, E. 132. Towneley, Zouch, C. Y. 1640. Warre, Thomas, C. Y., U. (26). AVither, George, Yerses in answer to. Wright, Thomas, C. Y., U. (25). JONSOX. 337 Daniel, Dekker, MonJay, and others certainly satirised iu Jouson's plays do not appear in this index. "Great Ones," &c. Aubigny (Aulbany). See Clifton and Stewart. Bacon, Sir Francis, U. 49 (70). Bedford. See Harrington. Borlase, William, U. 50 (71). Boulstred, Mrs., U. 47 (68). Buckingham. See Villiers. Burgess, John, U. 53 (74). Burleigh. See Cecil. Carey, Henry, Lord Falkland, E. 66. Gary, Sir Lucius, U. 6y (87), 6S (88). Gary, Mrs., Uvedale's lady, E. 126. Carr, Robert, Earl of Somerset, Lines on marriage; Challenge at tilt. Cavendish, Charles, MS. Cav. See Ogle. Cavendish, William, Duke of Newcastle, U. 51 (72), 57 (89), MS. Cav. Cecil, Robert, Earl of Salisbury, E. 49, 6^, 64. Cecil, William, Lord Burleigh, U. 28 (49). Celia, F. 5, 6, 9 ; U. 25 (46). Gharis, Charis i-io; U. 16, 17 (35, 36). Charles, King. See Stewart. Clinton, Ivatherine, Lady Aubigny, F. 13. Coke, Sir Edward, U. 44 (65). Colby, , U. 13 (32). Govell, Lady, U. 20 (39). Delaware. See West. Desmond, James, Earl of, U. 23 (44), 24 (45). Devereux, Robert, Earl of (Ilymcncei). VOL. I. Y 338 THE ENGLISH DRAMA. Digbv, Sir Kenelm, U. 76 (97). Digby, Lady. See Stanley. Dorset. See Sackville. Egerton, Thomas, Lord Ellesmere, E. 74, U. 29 (50), 30 (51), 31 (52). Essex. See Deverenx. Ealkland. See Carey. Goodyere, Sir Henry, E. 85, 86. Gray, Thilip, U. 14 (3 3) Harrington, Lucy, Countess of Bedford, E. ^6, 84, 94. H[atton], Elizabeth, E. 124. Henry, Prince. See Stewart. Henrietta, Queen. See Stewart, under Charles, King. Herbert, Sir Edward, E. 106. Herbert, William, Earl of Pembroke, E. 102 ; DeJ. Ccdilim. Howard, Thomas, Earl of Suffolk, E. 67. James, King. See Stewart, Jephson, William, E. 116. Keeper. See Williams. Lenox. See Stewart. Martin, Sir Eichard, Ded. Poetaster. Monteagle. See Parker. Montgomery. See De Vere. Morison, Sir Henry, U. 68 (88). Xevile, Sir Henry, E. 109. Newcastle. See Cavendish. Ogle, Jane, Countess of Shrewsbury. Cav. MS. Ogle, Katherine, Lady Cavendish. Cav. MS. Overbury, Sir Thomas, E. 113. Paulet, Jane, ;^Larchioness of Winchester, U. 80 (loi). Parker, William, Lord Monteagle, E. 60. Pembroke. See Herbert and Talbot. JOXSON. 339 Portland. See West. Raleigh, Sir Walter, U. 22 (42). Eadcliffe, Sir John, E. 93. Eatcliffe, Mar-aret, E. 40. liich, Sir Eobert and Sir Henry, U. (29). Roe, Sir John, E. 27, 32, 33. Roe, Sir Thomas, E. 98, 99. Roe, William, K 70, 12 8. Rudj-ard, Benjamin, E. 121, 122, 123. Rutland. See Sidney. • Sackville, Sir Edward, Earl of Dorset, U. 11 (30). Salisbury. See Cecil. Savile, Sir Henry, E. 95. Shelton, Sir Ralph, E. 119. Shrewsbury. See Ogle. Sidney, Elizabeth, Countess of Rutland, E. 79, F. i 2, U. 48 (69). Sidney, Mary, Lady Wroth, E. 103, 105 ; U. 26 (47). Sidney, William, F. 14. Sidney, Mrs. R See Walsiugham. Somerset. See Carr. Squib, Arthur, U. 43 (64), 52 (73)- Stanley, Yenetia Auastasia, Lady Digby, U. /6 (97), 81 (102). Stewart, Esme, Lord Aubigny, Duke of Lenox, E. 19, Ded. Sejanus. Stewart, Frances, Mrs. Weston, Lady Portland, U. 73 (94). Stewart, Sir Francis, D^d. Epicene. Stewart, King Charles (including the Queen and Prince), U. 60-65 (80-85), 70 (91)5 77-79 (98-100), 74 (95). Stewart, King James, E. 4, 5, 3 5, 5 i. Suffolk. See Howard. 340 THE EXGLISH DKAMA. Talbot, Mary, Countess of Pembroke, Query U (15). Uvedale, Sir William, E. i 24. See also Gary, Mrs. Vere, Susan dc. Countess of Montgomery, E. 104. Vere, Sir Horace, E. 91. Walsingliam, Frances, wife of Sir Philip Sidney, E. 114. West, Henry, Lord Delaware, U. 58 (/8). Weston, Jerome, U. 71 (94)- Weston, Eichard, Earl of Portland, U. 69 (90), 71 (92), 72 (93)- Williams, John, Bishop, Lord Keeper, U. 59 (79). Winchester. See Paulet. Wroth (Worth), Sir Eobert, E. 3. See also Sidney, Mary. Life. " His grandfather came from Carlisle, and, he thought, from Anuandale to it. He served King Henry VIIL, and was a gentleman " [probably one of the Anuandale Johnstones]. " His father lost all his estate under Queen Mar}^ having been cast in prison and forfeited. At last turned minister ; so he was a minister's son. He himself was posthumous, born a month after his father's decease" (Drum. Conv., 13). As he had "told 46 years" when he left Scotland 161 9, Jan. 25, his birth must have been between 1572 Jan. and 1573 Jan. ; probably in 1572. He was " brought up poorly, put to [Westminster] school by a friend ; (his master Cam- den)." This does not necessarily mean that Camden was tlie " friend," but only that Camden was his master at West- minster. His mother had probably been married again to a master bricklayer, and lived in Hartshorn Lane (Northum- berland Street), Charing Cross (Fuller), when he was a little child. G. Morley, Bishop of Winchester in 1662, "Lord Winton," savs he was in the sixth class when removed JOXSOX. 341 {Letters of Eminent Persons, i 8 i 3, iii. 416); and Fuller says he was statutably admitted into St. John's, Cambridge. This must have been after i 589 June, from which date till June 1602 there is no list of names in the University Register, and Jonson must have been seventeen or thereaboiits. He was probably a sizar, and resided, I think, till the time for taking his B.A. i 589-1 592, but took no degree then. " He was [in 16 19] M.A. of both Universities by their favour, not his study" {Drum. Conv., 13). These degrees were probably conferred c. 1605-6, Fuller, however, limits his University career to " a few weeks," and Jonson does not mention it at all. On the expiration of his sizarship, if ni}' conjecture be right, earlier if Fuller be correct, he was " taken from it and put to another craft, which he could not endure." I think, adds Drummond, it " was to be a wright or bricklayer," which it undoubtedly was ; and forthwith, in 1592, "he married a wife who was a shrew, yet honest." Their first child, i 593, Nov. i 7, " Sepidtafiiit Maria Johnson 2Jcste" at St. Martin's in the Fields. This was " Mary, the daughter of her parents' youth," who died " at six months' end," Epigram 22, when Jonson was twenty-one. This fixes the date of his marriage. He continued, I suppose, to work as a bricklayer till the birth of his eldest son in i 596, when, either from the death of his stepfather or the expiration of a five years' apprenticeship, he, being free, " went to the Low Countries ; but returning soon, he betook himself to his wonted studies " [i.e., to playmaking and poetry, his " wonted studies" at the time of his saying this in 16 19]. "In his service in the Low Countries he had, in the face of both the -camps, killed an enemy and taken opima spolia from him." The common opinion would place this campaign of Jonson's in c. I 591, but it fits in much better in 1596 in many ways. Jonson next appears in Henslow's Dianj, p. 255, as 342 THE ENGLISH DRAMA. borrowing ^4 of Henslow, 1 597, July 28 ; and on the same date, p. 80, Heuslow receives 3s. 9d. " of Benjamin John- son's share," This can hardly have been a share in the Eose ; much more likely in Paris Garden, where Jonson played Zulziman (Satiromastix, Sc, 7), having obtained em- ployment as an actor by his performance of Jeronymo on a play-waggon in the highway (ihicl). Henslow had purchased Paris Garden 1595, Nov, 28. But from 1597, Dec. 3, to 1598, Aug. 18, Jonson was writing plays for the Kose. He was in needy circumstances, for on 5th Jan, 1598 he bor- rowed 5 s. (pictry, p. 2 5 6); but had at once acquired reputation, for in I 598 he is mentioned by Meres as one of " our best in Tragedy," In September he had to leave this company. On the 26th Henslow wrote to Allen, " I have lost one of my company that hurteth me greatly ; that is, Gabriel [Spencer], for he is slain in Hogsden fields by the hands of Benjamin Jonson, bricklayer" (Collier's Alleyn, p. 50). Surely Jon- son could not at this time have ceased bricklaying for seven years or more. His own account is : " Since his comming to England, being appealed to the fields, he had killed his adversary, which had hurt him in the arm, and whose sword was 10 inches longer than his, for the which he was im- prisoned and almost at the gallows. , . . His judges could get nothing of him to all their demands but Ay and No. They placed two damned villains to catch advantage of him with him, but he was advertised by his keeper," Compare Epigram 59, The duel was on Se[)t. 22, Jonson 's arraign- ment at the Old Bailey in Oct. Mr. J. C, Jeaffreson dis- covered the original indictment, which I give here from Tlic Athcnccum, 1886, Mar, 6. In a subsequent number. Mar. 27, it is shown that Spencer had, 1596, Dec. 3, killed one Peeke in a squabble ; but tiie document is not worth repro- ducing, nor should I have noted it here except to vindicate JOXSOX. 343 Porter, who is right iu his brands, T (the Tyburn T) and F (for furtum, not felony), iu his Two Angry Women oj Ahington. CogiC Indictament petit librum legit vt Cricus sign' cum Vr'a T Et delr juxta formam statuf, ^-c. Middss : — Juratores pro D'na Regina p'ntnnt c^ Benjaminus Johnson nup' de London yonian vicesimo secundo die Septembris Anno regni d'n'e n'r'e EHzabethe Dei gra' Anglie Franc' et Hib'nie Kegine fidei defensor', &c., quadragesinio vi & armis, &c. In et sup' quendam Gabrielem Spencer in pace Dei & d'c'e d'n'e Eegine apud Shordicbe in Com' Midd' pred' in Cam pis ib'm existen insultu' fecit Et ennd'm Gabrielem cum quodani gladio de ferro et calibe vocat' a Eapiour precii iii^'. quern in manu sua dextra adtunc & ibi'm h'uit et tenuit extract' felonice ac voluntar' percussit & pupugit Dans eidem Gabrieli Spencer adtunc & ib'm cu' gladio pred' in et sup' dextern' latus ip'ius Gabrielis unam plagam mor- talem p'funditat' sex pollic' & latitud' unius pollicis de qua quideni plaga niortali id'm Gabriel Spencer apud Shordicbe pred' in pred'c'o Com' Midd' in Campis pred'c'is adtunc & ib'm instant' obiit Et sic Jur' pred'c'i dicunt sup' Sacr'm suu' q*^ prefat' Lenjaminus John- son pred'c'm Gabrielem Spencer apud Shorediche pred' in pred'c'o Com' Midd' & in Campis predic'is [die & anno] predic'is felo- nice et voluntar' interfecit & occidit contra pacem D'c'e D'n'e Regine, &c. In English thus : — He confesses ike indicbnent, asks for the hook, reads like a clerk, is marked ivith the letter T, and is delivered according to tlie statute, ^'c. INIiddlesex : — The jurors for the Lady the Queen present, that Benjamin Johnson, late of London, yeoman, on the 22nd day of September, in the fortieth year of the reign of our Lady Elizabeth by God's grace Queen of PJngland, France, and Ireland, Defender of the Faith, &c., with force and arms, &c., made an attack against and upon a certain Gabriel Spencer, being in God's and the said Lady the Queen's peace, at Shordicbe in the aforesaid county of Middlesex, in the Fields there, and ^vith a certain sword of iron 344 THE ENGLISH DRAMA. and steel called a Rapiour, of the price of three shillings, wliich he then and there had and held drawn in his right hand, feloniously and -wilfully beat and struck the same Gabriel, giving then and there to the same Gabriel Spencer -with the aforesaid sword a mortal wound of the depth of six inches and of the breadth of one inch, in and upon the right side of the same Gabriel, of which mortal blow the same Gabriel Spencer at Shordiche aforesaid, in the aforesaid county, in the aforesaid Fields, then and there died instantly. And thus the aforesaid jurors say upon their oath, that tlie aforesaid Benjamin Johnson, at Shorediche aforesaid, in the aforesaid county of Middlesex, and in tlie aforesaid Fields, in the year and day aforesaid, feloniously and wilfully killed and slew the aforesaid Gabriel Spencer, against the peace of the said Lady the Queen, &c. " On beingj tluis convicted of felonv on his own confession, he forfeited his goods and chattels. On leaving prison with the brand on the brawn of h's left thumb, he returned to the world without a sliilling " (Jeaffreson). " Then took lie his religion by trust of a priest who visited Lini in prison. Thereafter he was 12 years a Papist," i.e., I 598-1610 (Brum. Conv., 13). After his release he wrote The Case is altered {([.v., infrei) for the Chapel boys, and before the end of 1598 Every mem in Ms Humour for the Clianiberlain's men, then acting at the Curtain. Aubrey and Wood are, therefore, right in saying that he acted at the Curtain. On their removal to the Globe in 1599 he wrote for them Every man out of his Humour (q.v.), but returned to the Admiral's men immediately after, where we shall find liim Aug.— Sept. In 1600 he first appears as a writer of Complimentary Verses, in 1 600-1 601 he wrote comical Satires for the Chapel boys against Marston, Dekker, &c., for tlie last of which he was accused of satirising the lawyers, &c., before Popham, the Chief-Justice ; but before the end of the year we find him contributing alongside of his friend Chapman, as well as ^larston and Shakespeare, who had JONSON. 345 opposed him, in Chester's Loves Martyr. That Shakespeare had been one of his opponents in the stage war is known from TIlc Eeturii to Parnassus, 1602, where Ivempe men- tions the purge that " our fellow^ Shakespeare " gave him after the pill Horace gave the poets in The Poetaster, and there- fore in 1 60 1. Nevertheless his reconciliation with Shake- speare did not lead him at once to the Chamberlain's men. He again joined the Admiral's, now acting at the Fortune, and wrote for them from 1601, Sept, 25, to 1602, June 24. Early in 1602 he left his wife. "Ben Johnson, the poet, now lives on one Townsend, and scorns the world " (Collier, Annals, i. 334). See infra, under 1607. On the King's accession, however, a great change took place in Jonson's fortunes. He was appointed to write the Pntertainment to the Qtieen and Prince at Lord Spencer's, 1 603, June 25, and was thenceforth chief mask and entertainment ])rovider to the Court. At first Daniel, who " was at jealousies with him," Drum. Conv. 1 1 (for masks), and Dekker, with whom he had to share the King's Entertainment 1 604, Mar. I 5 (for pageants), seemed likely to be rivals ; but this did not last. Campion and Beaumont at Court, Middleton and Marston for the Inns of Court, occasionally appear, but Jonson was the one paramount mask-writer till the end of the reign of James. " "When the King came in England at that time the pest was in London [1603, c. July 25, coronation], he being in the country at Sir Eobert Cotton's house with old Camden, lie saw in a vision his eldest son, then a child and at Lon- don ; . . . and in the morning he came to INIr. Camden's chamber to tell him. ... In the meantime comes there letters from his wife of the death of that boy in the plague " {Drum. Conv., 13). From Epigram 45 it appears that this boy was named Benjamin, " the son of my right hand," and 346 THE EXGLISII DRAMA. that he was seven years old, which fixes the date of his birth. We shall find another Benjamin later on ; but I may note here that the Benjamin Jonson baptized at St. Anne"s, Blackfriars, 1608, Feb. 20, and buried 161 1, ISTov. 18, was certainly not a legitimate sou of the poet. He probably was the son of another Benjamin Johnson (the name was not uncommon). Neither were the Joseph buried at St. Giles', Cripplegate/ 1599, Dec. 9, nor the Benjamin buried at St. Botolph's, Bishopgate, our Jonson's legitimate chil- dren. His church was St. Martin's in the Fields. In 1604 he was living with Lord Aubigny, and writing his transla- tion of Horace' Ars Poeiica, which he intended to publish with notes from Aristotle. See his Address before Scjanus, 1605, which play was dedicated to Aubigny, In 1603 he had left the Admiral's men for the King's, for whom he, aided by a second hand [Chapman], wrote Scjanus. In 1604, just before Christmas, he joined Chap- man and Marston in writing Eastward Ho for the Queen's Bevels boys, formerly the Chapel children. This continual change of company is peculiar to Jonson. I liave not met with its parallel in any life in the present book. " He was delated by Sir James Murray to the King for writing something against the Scots in a play, Uastward Ho, and voluntarily imprisoned himself with Chapman and Marston, who had written it amongst them. The report was, that they should then had their ears cut and noses. After their delivery he banqueted all his friends ; there was Camden, Selden, and others. xVt the midst of the feast his old mother drank to him, and shewed him a paper which she had (if the sentence [they were sentenced, then] had 1 The- Benjamin Johnson niairieil to Hester Hopkins 1623, July 27, at this church wag, I think, illegitimate, and born c. 1602. If legitimate, not born till 1603, at earliest. He was no doubt the part author of A Faxdt in Friend- ship, JONSOX. 347 taken execution) to have inixt in the prison among his drink, which was full of lusty strong poison, and, that she was no churle, she told she minded first to have drunk of it her- self " (Drum. Conv., 13). The reason for the sentence not beincj executed is not far to seek, Jonson was wanted for the Queen's mask (BlacJcness) performed 1605, Jan. 6. But he was not long out of ditFiculty. " Northampton was his mortal enemy for beating on a St. George's Day one of his atteuders. He was called before the Council for his Sej'anus, and accused both of Popery and Treason by him." This St. George's Day was indubitably 1605, April 23. After May 4, the date of the creation of the Earl of Salisbury, Jonson and Chapman were in " a vile prison " on account of " a play." Jonson writes to the " Earl of Salisbury " asking him and the Lord Chamberlain (the Earl of Suffolk) to procure them an immediate trial. He alludes to his " first error," for which he had been in " bondage " (in Eastward Ho). He has in his works "given no cause to any good man of grief;" he desires to be judged by his "works past and this present," appeals to his " books " (note that Eastuxircl Ho was not published till Sept., and that Scjanus, entered for Blount 1604 Nov., had probably been stayed in the press, for it came out in 1 605 " for Thorpe," and Easkvard Ho " for Aspley," both of whom w^ere Chapman's, not Jonson's, then usual publishers) as to his giving no offence to nation, state, or person. This pleading is ingenious ; but, in fact, the only play written by Jonson since his imprisonment for his " first error " was Volponc, for which see below, and none whatever had been published. That Chapman and Jonson were re- leased through the influence of Suffolk is clear from the O verses prefixed by Chapman to Scjanus in the 1605 edition, in which he mentions the wall he importuned about the sacred river of the Muses' waters when the herd came, not 348 THE ENGLISH DRAMA. to drink, but trouble them. This cannot apply to East- ward Ho, which could not be termed a " sacred river." This passage was suppressed in the 1616 Folio and in Gifford's edition, which misled me in 1877 to wrongly interpret the whole matter, I then not having access to Chapman's verses iti their complete form. I have even now some doubt as to whether Jonson's " first error " refers to Eashuard Ho or to The Poetaster. Jonson mentions " my shame," and would he feel shame for Eastward Ho? On 1606, Jan. 6. Jonson's Mask for the Marriage of the Earl of Essex- was performed at Court ; and shortly afterwards, probably Feb. 2, Volpone, which had been acted at the Globe in the previous year. That this play gave offence is clear from the additions to MueedoriLS (q.v.), presented on Mar. 2, and this, doubtless, was the reason of his again leaving the King's company. It is noteworthy that Shakespeare did not act in this play ; his natural tact probably foresaw the trouble to come. Jonson did not, however, lose the Earl of Salisbury's favour. He was employed 1606, July 24, to entertain the Kings of England and Denmark at Theobald's, and again in 1607, May 22, at the delivery of that house to the Queen. Mean- time he had returned to his wife, whom he had left in Feb. 1602. "Five years he had not bedded with her, but had remained with my Lord Aulbany " (Drum. Conv., 13); but 1607, Feb. II, he dates his Dedication to Volpone "from my house in the Blackfriars." Aubigny was married in 1 607, and Jonson's residence with him was no longer desirable. On leaving the King's men in 1606, Jonson, as usual, betook himself to the Queen's Eevels children, to whom he, probably in 1608, introduced Beaumont and Fletcher, whose acquaintance he had made not very long before. These children crot into trouble asfain about Chapman's Bijroii in 1 608 ; for Jonson's share in which JONSON. 349 matter, according to my hypothesis, see under that play. He -wrote Epicene also for them in 1609. Returning to Court matters ; Jonson's offence in Volpone was marked by Campion's employment for the 1607 mask; but in 1608 he was again chosen for the annual presentment, and continued to be so in the following years. Clearly no one could be found to replace him. In 16 10 Jonson recanted his popery, and in the latter end of the same year left the Queen's Eevels boys, and with Beaumont and Fletcher once more joined the King's men, now in possession of Blackfriars as well as the Globe, but weakened by the retirement of Shake- speare. He wrote for them The Alchemist i6io, Catiline 161 I. It would involve too much repetition to enumerate all the masks of Jonson here ; they will be treated in chronolo- gical order further on. But I must note here that Love Freed &c., 161 1 Jan., was Jonson's last mask for Queen Anne, and was also the last mask in which luigo Jones co-operated until 1623, Jan. 19. At this point also ends the portion of the 1 6 1 6 Folio supervised by Jonson, who appears to have been chiefly engaged in preparing that volume for the press all through 161 2 till the death of Prince Henry, Xov. 6, for whom he had produced so many masks. The entry S. Pi. for The Epigrcims, i.e., the part to be newly published, dates May 6. I would therefore mark here a distinct break in Jonson's career, and the commencement of a new period. I should have liked to mark a previous break at the acces- sion of James, but the want of chronological arrangement in the minor poems would make this practically inconvenient. " Sir W. Ealegh sent him governor with his son, anno 161 3, to France. This youth being knavishly inclined . . . caused him to be drunken," &c. This young Walter was born 1595, matriculated at Corpus 1607, and was as " knavish " at Oxford as in France. Jonson had taken no 350 THE ENGLISH BEAM A. part in the festivities at the Lady Elizabeth's marriage, 1 6 1 3 Feb; but did so in that of Carr, Earl of Somerset, 161 3 Dec. ; and in 16 14, Oct. 3 i, we find him, not with the King's men, but with the Lady Elizabeth's, then acting at the Hope (Paris Garden) with Fletcher, Field, and Massinger. The play there produced, Bartholomew Fair, was acted at Court next day. The Overbury trial was in April 161 5, and I think The May Lord must have been written in 16 14. See further on, under The Sad Shepherd. On ist Feb. 16 16 James granted him a pension of 100 marks by letters patent (as poet laureate).^ In 1 6 1 6 Jonson, still accom- panied by Fletcher, Field, and Massinger, had rejoined the King's men (after the death of Henslow, 16 16 Jan.), who acted The Devil's an ass. No further acknowledged play of Jonson's is met with till The Staple of News, but he could liardly have been entirely unconnected with the stage for nine years. For various conjectures of mine regarding this interval I refer the reader to The Widovj, The Spanish Curate, The City Madam, and Julius Caesar. In 161 8, c. June, Jonson travelled on foot to Scotland. Fie there met Taylor, the water poet, whose Penniless Pilgrimage was entered S. R. 16 1 8, Nov. 2, at Master John Stuart's house at Leith ; visited Drummond at Hawthornden before 16 19, Jan. 17 ; and finally left Leith for England Jan. 25. He was in London May 10, when he wrote to Drummond that he was preparing a poem " against the Queen's funeral," which is not extant. From this letter we learn that he had met in Scotland Fentons, Nisbets, Scots, Livingstons, and Mr. James "Weith. Drummond answered him July i. He was 1 Selden, in his Titles of Honor, 1614, July 14, for which Jonson wrote Complimentary Verses in Part ii. chap. 43, treats "on the custom of giving crowns of laurel to poets." He thus " performed a promise " to his "beloved l!en Jonson ;" and adds, "your singular excellency in the art most eminently deserves it." JOXSOX. 351 ■well received by tlic King 011 his return, and the mask of 1 6 19 had been so poor as to make his absence regretted. Drummond's report of his conversations with him, drawn up while the memory of him was quite fresh, and dated Jan. 19, are simply invaluable to the student of Jonson, and should always be at hand. Gifford's dishonest repre- sentations of them are a disgrace to our literature. On 19th July 1 6 19 Jonson was "actually" (in person, I sup- pose) created M.A. at Oxford in full convocation (Antony "Wood), but he was M.A. of both Universities before he met Drummond. I suppose these degrees had been conferred on him, but not with admission, when Volponc was acted at Oxford and Cambridge in 1606. On 162 1, Oct. 15, the reversion of the office of the Master of the Eevels, on the decease of Sir George Buck and Sir John Astley, was granted to Jonson ; but Astley outlived him. In the mask of Time Vindicated^ 1623, Jan. 19, Jonson and Inigo Jones again be JS'ii- I i> which mentions it; "the merry coblers cut in the witty play of The Case is altered." Antonio Balladino is, of course, Antony Monday. In i. i, his Paradoxes (i ^g^), allegories, pageants (he is "pageant poet to the city when a worse cannot be had "), plain writing with old decoruui (compare " old England's mother's words," Histriomastix, ii. i), objection to new tricks and humours (compare "no new luxury or blandishment," Ihid., ii. i), refusal to raise his vein even for ;^20 a play, are all men- tioned. His being " already in print for the best plotter " gives an anterior limit of date, as Meres' Wit!s Treasure/, which so mentions him, was entered S. R. 1598, Sept. 7. The play dates, then, c. Dec. It was never acknowledged by Jonson, but was published in 1 609 without his super- vision. It was entered S. R. Jan. 26 for Bonion and Walley, his then publishers, but issued by Sutton (who had joined them in the copyright, S. R., July 20) as The Case is altered ; but in some copies the title is Ben Jonson, his Case is altered. Jonson's name was, I think, inserted in later copies, not withdrawn from earlier ones, for The Case, &c., agrees with the S. R. entry, and is, therefore, likely to be that of original issue. In i. 3, "had I Fortu- natus' hat here " probably refers to Dekker's Forticnatus, acted at the Rose 1599, Dec. I have no doubt that Juniper, Onion, &c., are, like Antonio, personal caricatures, and will at some time be identified by their language. 358 THE ENGLISH DRAMA. Compare Clove and Onion in Eoery man out of his Humour. Their peculiar words are like those of several characters in Chapman's earlier plays, 5. Every man in his Humour, C, was "first acted [at the Curtain] in 1598 by the Lord Chamberlain's servants," \6i6 Folio. The Globe was not then built. It was published S. R. 1600, Aug. 14, without Jonson's super- vision, no doubt by the company, " as acted by " them, after an ineffectual effort had been made to " stay " it on Aug, 4, by Jonson, I suppose. But it was acted also by another company [the Chapel children] in a greatly altered form (viz., that in which it was published in the 1 6 16 Folio) in the reign of Elizabeth ; for " the queen " and " her majest}''," iv. 9, v. i, iv. 5, would have been altered in so careful a recasting had it been made in the time of James. Yet, on the assumption that Bobadil is a historical autho- rity, and rightly dates the taking of Strigonium in iii. i, an attempt has been made to assign this alteration to 1607 by Dr. B. Nicholson. It is a pity that he did not confirm this learned conjecture by ascertaining also the date of the " taking in of what you call it ; " but I think, notwith- standing this, we may take Bobadil's assertion that to- morrow is St. Mark's Day, April 2 5 , as accurate ; and as it appears from iii. 2 that this was spoken on a Friday, this fixes the date of the revised play to 1 60 1 April. With this the Prologue agrees, for it distinctly alludes in no friendly way to '• the chorus that wafts you o'er the seas" in Shakespeare's Henry 5, produced 1599, and on the stage till 1602, and to the "long jars" in York and Lancaster, i.e., the revised 2, 3 Henry 6. In the revised play, which was, in my opinion, produced as a protest against publication against the author's wish, the names of the characterswere anglicised thus : Lorenzo (Knowell), JOXSOX. 359 Prospero (Wellborn), Tliorello (Kitely), ^fusco (Brainworra), Peto (Formal), Pizo (Cash), Juliano (Downright), Blanclia (Mrs. Kitely), Hesperida (Bi-idget). In iv. i Matthew steals his rhymes from the dead IMarlow's Hero and Lcander, and in v. i , from the living Daniel's Sonnets, " with a miraculous gift to make it absurder than it was." This is the first outbreak against Daniel that I have traced in Jonson. I do not know whence the " verse out of a jealous man's part in a play," v. i, is taken. The 1616 copy was dedicated to Camden. It also gives, as it does for all the plays in it contained, a list of actors ; and in doing this was the model imitated by Fletcher : pity it was not by others. A reprint of the 1 60 1 Quarto is sadly needed. Acted before King James 1605, Feb. 2. 6. Every man out of his Humour, a Comical Satire, was acted 1599 by the Lord Chamberlain's servants at the Globe, and was published 1600 by W. Holme as composed by the author ; it had been abridged when acted. The addi- tion of "the several character of every person" shows that this, the first publication of a play by Jonson, was autho- rised by him 1600, April 8, when it was entered S. R. This issue, however, was without author's name ; but another by N. Ling in the same year, 1600, has "by the author, B. J." I find no entry of transfer of copyright in S. P., but Ling's is {paee W. C. Hazlitt) the later edition. In the actor-list the absence of Shakespeare's name is impor- tant. See also my History of the Stage, p. 135. No one, I suppose, doubts that the '' Comical Satires " of Jonson are personally satirical ; but to give here all my grounds for identifying the persons satirised would require almost a, history of contemporary poetry, non-dramatic as well as dramatic. I must, therefore, limit my observations to a narrow compass. Asper-]\racilente is, of course, Jonson. o 60 THE EXGLISII DRAMA. Puntarvolo witli his dog may be Sir John Harington (for the dog see the engraved title of his Ariosto) ; but see Cynthia s Bevels. Carlo BufFone, "the Grand Scourge or Second Untruss of the Time," is Dekker ; Marston, author of The Scourge of Villany, being the first untruss. Fas- tidious Brisk I take to be Daniel ; Deliro, possibly Monday ; Saviolina, Elizabeth Carey. Sordido is a Burbadge (some country relative of Kichard Burbadge ; see the arms in iii. I, "a boar without a head rampant" for a crest, and "a boar's head between two annulets " (badges) for the coat, niaking up Boar-badge. For Shift cf. Epigram 1 2 and The London Prodigal, ii. 3. Clove and Orange are not Dekker and Marston, as some one has guessed them to be. Cordatus and Mitis may be Donne and Chapman. lu the Induction Jonson claims that his play is, like Vetiis Comedia, divided in the Terentian manner, with Grcx or Chorus, and " within compass of a day's business." The lightly altering the scene by crossing the seas refers to Shakespeare's Henry 5, in action at the Globe. Carlo describes Jonson as a well-timbered, one-headed Cerberus ; and Cordatus describes Carlo. In i. i Macilente (Jonson) is a scholar and a soldier, and the date of the play is fixed by Sordido's almanacs as before July 20. For the use of "humourist," Ind. 2, compare the "irregular humourists," 2 Henry 4, Dram. Fcrs. In ii. i note Brisk's use of " arrides " and of " real " (royal), and compare Carlo's de- scription of Puntarvolo with Amoretto in The Echirn from Parnassus.. In iii. i. Clove's ailursion to Histriomastix (q.v.) fixes the date of that play. In iii. 2, " Shrove tide " (Feb. 20 in 1599), along with Sordido's prognostication (for July), " not having kept touch with him," does not agree with " the compass of a day's business ; " and the placing this season in June, to say nothing of revels not JOXSOX. 361 being " contrary to custom " at Shrovetide, is rather too great a blunder even for Fungoso. Perhaps some learned editor may find here a demonstration that Jonson, like Shakespeare, used a "double-time" system. Note in iii. 3 that " parenthesis " means a — (break) ; ignorance of Elizabethan punctuation has repeatedly misled the com- mentators on such jioints as this. In iv. 4 ]\Iacilente (Jonson) is " a rawboned anatomy ; " his corpulence is of much later date. Captain Pod's motion, Holden's camel, Banks' horse, and the elephant are also mentioned. The duel between Brisk and Luculento is the same as that between Emulo and Owen in Patient Grisell, iii. 2. Emulo in ii. i is called a " brisk spangled baby." That play was written 1599, Oct.— Dec. Yet Jonson had been writing with Dekker in September. See hifra. The cause of this duel was, we are told, a love quarrel ; but I think this Hierely means that Daniel and Drayton (Luculento) were " at jealousies " concerning the patronage of Lucy Countess of Bedford. In iv. 6, " one of Ivempe's shoes to throw after you " simply means that Kempe had left the Chamber- lain's men ; it cannot allude to his dancing to Norwich in 1 600, as Gifford says. Armin probably acted the part of Carlo, though Jonson does not mention him. In v. 3, " Justice Silence," of course, alludes to 2 Henry 4. For Shift compare Eimjram 12. In v. 4, I believe that "hog" and usurous cannibals " refers to the Boar-badges, and that all the allusions to swine in this play do likewise ; but I do not expect the reader to agree with me. The mention of " spring " and the allusion to the company's new " patent " for the Globe in the Epilogue fix the date of the first performance, I think, to I 599, c. April. The prose ending, which mentions lean Macilente (Jonson) and fat Falstaff, and the Epilogue for the Queen must have been for a 362 THE ENGLISH DRAMA. Court presentation at Christmas 1599; but Jonson had before that left writing for the Chamberlain's men. He would, however, be but too willing to add these for per- formance before Her Majesty. In 161 6 this play was dedicated to the Inns of Court. It was revived for King James 1605, Jan. 8. 7. Page of Phfinoidli, T., with Dekker, 1599, Aug. 10, Sept. 2. This was founded on a murder committed 1591. 8. Bohcrt 2, King of Scots, T., with Chettle, Dekker, and " other gentleman " [Query (as I think) Wadeson, whose name Henslow avoids mentioning to p]"event confusion between the two Antonies, or, as others think, Marston, whose name appears Sept. 28], 1599, Sept. 3, 15, 16, 27. This and the preceding tragedy were for the Admiral's men at the Rose. 9. CynthicCs Revels, or The Fountain of Self-Lovc, C. S., was acted by the Chapel children on the stage 1 600, at Court 1600— I, entered S. R. 1601, May 23, and published by Jonson. The 1601 edition is evidently the Court copy; that of 1 6 1 6 is greatly enlarged and insufferably tedious. I judge from the motto, Quod non clant frocercs dahit histrio (which occurs also in other men's plays), that the Queen found the Court play equally so. This motto was altered in 161 6, and a Dedication to the Court added, to which Jonson subscribes as " thy servant, not thy slave." This was written c. 161 2, when he had ceased for a time to supply Court masks. This later copy replaces the parts omitted at Court — iv. i&, sport of a thing done; v. i, 2a, the prize playing — but retains the additions then made in their place. These alterations ought to be, but are not, carefully indicated in modern editions. The structure of the play, as usual in allegorical dramas, is very artificial. The chief characters are — JONSOX. 363 Lovers. Ladies. Pages. Crites. Arete. Amorphus. Phantaste, Cos. Asotus. Argurion. Morus and Prosaites. Hedoii. Philautia. Mercury and Cupid. Anaides. Muiia. Gelaia. Careful readers of the preceding play will recognise that all the men characters are repeated therefrom : Crites (Jon- son) from Asper ; Amorphus (? B. Eich) from Puntarvolo ; Asotus (? Lodge) from Fungoso; Hedon (Daniel) from Brisk; Anaides (Dekker) from EufFone ; the Citizen and his wife (omitted in the Court version) from Deliro and Fallace. Narcissus, the original title-name, is Lyly. In the Court additions, v. 3 (the mask of Cynthia) Jonson has imitated Lyly's manner of dialogue, but not his euphuism. In the Induction the "ghosts of three or four plays departed a dozen years since " are mentioned as resuscitated by the Chapel boys. Among these were Kyd's Hieronimo and Lyly's Love's Metamorphosis. In i. i Diana's "justice on Acteon " alludes to Kash's punishment for his Isle of Dogs. " As Acteon was worried of his own hounds, so is Tom Nash of his Isle of Dogs" Meres, 1598. The death of Nai'cissus is not to be literally taken ; it is the same as the death of "Willy in Spenser's Tears of the Iluses, and means Lyly's retirement from play-writing. His true death was in 1606. Amorphus, the Deformed Traveller, who " enriched his country with the true laws of the duello," i. I, must have been the translator of Saviolo's Fraeiisc, S. R. 1594, Nov. 19. I think Barnaby Rich is the man. Asotus, the prodigal son to the deceased Philargyrus, who was to have been prjetor (Lord Mayor) next year, is, I think, the prodigal Lodge, whose father had been Mayor in 1562, and may have been expecting a second election at his death in 1583. The " politic Ulysses," i. i, will recur hereafter. 364 THE ENGLISH DRA:\IA. Cos, I suppose, is George Whetstone. Hedon, " a Aymer, and that's thought better than a poet," ii. I, is certainly Daniel. The description of Anaides, ii. i, identifies him with Carlo Buffone (Dekker). Z«j;ws in fed) u la, ii. i., may be Wolf the publisher (see Harvey and iii. 2). Hedon is Envy in iii. 2 ; compare the Prologue to The Poetaster. Anaides, iii. 2, gives out that all Jonson does is "dictated Ijy other men;" so does Demetrius in Tlic Poetaster, v. i., in almost the same language, which to me seems conclusive as to the identity of Anaides, and therefore of Carlo Buffone, with Demetrius (Dekker). " I know the time and place where he stole it," says Anaides; "I know the authors from whence he stole, and could trace him too," says Demetrius. In Satirojimstix, Sc. 2, the lines in iii. 2 — "The one a liglit voluptuous reveller (Hedon), The other a strange arrogating puff (Anaides)," are taken as if spoken of Crispinus-Marston and Fannius- Dekker. But Dekker is certainly wrong as to the Marston part ; Daniel was the man intended. In iv. i , Philautia, Hedon's lady, says, " I should be some Laura or some Delia, methinks ; " and Daniel in his Delia sonnets calls his lady " a Laura," Sonnet 40. This is quite inapplicable to j\Iarston, or indeed to any one but Daniel. I think the explanation of this wrong attribution of Daniel allusions to Marston led to his reconciliation to Jonson in 1 60 1 . It should be noticed that when Jonson was talking to Drum- mond of his quarrels with Marston he mentions no play but The Poetaster as written against him, " Connive," iv. i, is quoted in Satiromastix, Sc. 4, as one of Horace' words adopted by Asinius Bubo. " Some idle Fungoso," applied to Asotus, iv. I , identifies him with Fungoso in the preceding play ; so "the silent gentleman" (Asotus) is the "kinsman to Justice Silence," Every man out of his Humour, v. 2. Asotus, JO^'SOX. 365 the " goldlincli," iv. i reuiinds one of Lodge's aiiagranimatic signature, " Golde." Anaides, who puts Jonson down like a schoolboy, but " could not construe an author I quoted at first sio"ht," is surely rather Dekker than Marston. Amorphus' " Science of Courtship," v. 2, which he teaches, iv. i, should be couipared with As you Like it, v. 4. It appears from V. 2 that Asotus is brother to the citizen or his wife. Kote the full names, Ulysses Polytropus Amorphus and Acolastus Polypragmon Asotus. Polypragmon is particularly suitable to Lodge. " You have played the painter yourself, and limned them (Amorphus, Hedon, and Anaides) to the life " would seem to be written before Marston's first acknow- ledged play, I Antonio and McUida, v. i, where the painter who '' limns" two portraits is undoubtedly Jonson. If any one still doubts whether Hedon be Daniel, I recommend a perusal of Crites' speech in Hedon's character to Philautia on her stolen beauty, along with Daniel's Sonnet 19 to Delia. They are too long to quote, and to abridge would weaken the argument, which is conclusive. See under Daniel for his calling Elizabeth Carey Delia, to the offence of the Queen, and note that in this play Cynthia-Diana is carefully ad- dressed as the true " celestial Delia." The praise of Crites put into Cynthia's mouth is a consummate piece of impu- dence on Jonson's part. Note that when he told Drumnioiul in 1 6 1 9 that by Criticus he meant Donne, he was not speaking of Criticus in this play, which had been changed to Crites in the 1616 Folio, but of Criticus in the lost "dialogue wise" translation of The Art of Poetry. The play was probably publicly acted early iu 1600, say c. April. 10. Tlie Poetaster, or his Arraiynment , C. S., was acted by the Chapel children 1 60 1 , and entered S. P. Dec. 2 i . In the 16 1 6 Folio a Dedication to Richard Martin, the 366 THE ENGLISH DRAMA. Recorder, wa,s added. He had answered for Jonson's in- nocence before the Lord Chief-Justice when an effort was made to suppress tlie play. Envy (the Induction) is also a name given to Hedon (Daniel), Cynthia's Revels, iii. 2. The " armed Prologue " is very important. He appears in " con- fidence," and is unquestionably alluded to in the " armed Prologue " to Tivylus mid Cressida, who does not " come in confidence." It is, then, in this play of Shakespeare's that we must expect to find the purge that he gave to Jonson in return for the pill, Jonson administered to Marston, cf. Rehtrn from Parnassus, iv. 3 ; and whoever will take the trouble to compare the description of Crites in Cynthia s Revels, ii. i, with that of Ajax in Troylus and Cressida, i. 2, will see that Ajax is Jonson : slow as the Elephant crowded by Nature with " humors," valiant as the Lion, churlish as the Bear, melancholy without cause (compare Macilente). Hardly a word is spoken of or by Ajax in ii. 3, iii. 3, which does not apply literally to Jonson ; and in ii. i he beats Thersites of the "mastic jaws," i. 3, y '^ (Histriomastix, Theriomastix), as Jonson " beat IMarston," Drum. Conv., I I . Thersites in all respects resembles Marston, the railing satirist. But it will be objected Troylus and Cressida was not acted. It was not staled, indeed, on the London stage, but in 1 60 1 the Chamberlain's men travelled and visited the Universities (see HcLinlct in my Life of Shakespeare), and I have no doubt acted Troylus and Cressida at Cambridge, where the author of The Return from Parnassus saw^ it. The "purge" is from ii. 3, 203, "he'll be the physician that should be the patient." When the Chamberlain's men returned to London at the close of 1601 Jonson, ]\Larston, and Shakespeare were reconciled, and Troylus was not pro- duced on the public stage. But I must not dwell longer on this now. " Put case our author should once more swear JOXSUX. 367 that his play were good" refers to the last line of CijiUhias Revels : — "By [Cod], 'lis good, and if you like 't you may," a strong contrast to Shakespeare's modest title, " As you like it." For the "poet apes" cf. Ujnf/ram 56. In the play Ovid, I think, is Donne, who divided his attention between law and poetry, and married Anne Moore (Julia) without her father's consent. It is possible that the Medea tragedy is the Medea MS, Sloane 911; but I have not ex- amined this. It is more likely that some other play is referred to, the name Medea being only given for local colour. It was the real name of Ovid's one play. Perhaps the play mentioned as "coming forth from the common players" never did come forth. I cannot trace any tragedy of this date likely to be alluded to, and Ovid says he had only begun it, and is not known to the open stage. Tibullus and his Delia (Plautia) are, I suppose, Daniel and Elizabeth Carey ; Virgil, Chapman (already at work on his Homer). Horace is known to be Jonson ; Crispinus, Marston ; and Demetrius, Dekker. Albius and Cloe are identical with Deliro and Fallace in Every man out of his Humour. Lupus was cer- tainly some one named Wolf ; the allusions in many places to the English name are too numerous to admit of any other explanation ; but whether Wolf the printer. Wolf the apo- thecary, or some other I know not. The players Histrio and ^sop belonged to Pembroke's company, as we shall see. Tucca, the skeldering captain, is, I feel sure, the same as the skeldering Shift, who never was a soldier, in Every man out of Ms Humour. ^The play[^took fifteen weeks in the writing. In I i. the translation of Ovid's Elegy is taken bodily, with slight alterations, from Marlow, and was inserted as " by B. I." by the side of Marlow's in the 3rd (2nd Middle- burgh) edition of his translation. Lupus is a magistrate, a .68 THE ENGLISH DRAMA. " venerable cropsliin ; " compare Justice Crop in Satiromas- iix. lu ii. I, Crispinus has little legs as a gentleman born, and his arms with the bloody toe or Mars-toen (for Mars means red), illustrate the way in which Jonson uses this heraldic method of designating his characters. Compare Boar-badge, supra. Hermogenes is a musician, but not a poet [is he meant for John Daniel ?]. In iii. i (from Horace' Satires, i. 9) Crispinus has an ash-coloured feather, and uses the language of Pistol, " do not exhale me thus ; " cf. Ilenrj/ 5, ii. i. The Histrio "Gulch" (cf. Histriomastix) is of a company that has Fortune (the Admiral's men) on its side, and that, if Marston write for it, "shall not need to travel with pumps full of gravel" any more. This is Pembroke's company, just settled, after years of strolling in the country, 1600 Nov., at the Rose under Henslow, who was also managing the Fortune. , They do not produce Humorous Revels and Satires, like the Blackfriars boys the other side of Tyler, but are of tlie round theatres (Globes) on the Bankside, who enact Triumphs (pageants). Tucca purveys boys for them, the 2 Pyrgi, who act pieces from The Battle of Alcazar, ii. 3 ; The Blind Beggar of Alexandria, Sc. I I ; and 2 Hieronymo, ii. i . These were plays belong- in"- to the Admiral's men. Tucca is, therefore, connected with that company. The players he invites to supper, i , lean Polyphagus ; 2, fiddler ^nobarbus ; 3, politician xEsop (compare the politician players in Histriomastix) ; 4, " my zany," Frisker ; 5, "my mango," the fat fool, belong to I'embroke's company. Frisker is probably Kemp ; the others Duke, Pallant, Beeston, &c. They are poor and starved this winter, and mean to hire Demetrius (Dekker, w^ho wrote for the Rose and the Fortune) to bring Horace in in a play. But they did not. It was the King's men and Paul's boys who did that. The description of Demetrius as a rank . JOKSOK 369 slanderer, &c., is conclusive as to his identity with Buffone and Anaides. In iv. i Crispinus plagiarises from Horace. The Histrio in iv. 2 is not he of iii. i, but the ^sop of V. I. In iv. 4 the "journeyman" playwright who writes to order is defined. Compare the Prologue to Volpone. In v. I note the reference to Julius Cccsar, iii. i : the " monopoly of playing," i.e., patent sought by Pembroke's men ; the Chamberlain's and Admiral's had theirs already : the asses' ears fixed on Lupus ; compare Timon (the University play) : Tucca's having served in the wars against Mark Antony, his being only known for a " motion" [can he be Captaiu Pod, and did he exhibit at Paris Garden?], and especially the consummate impudence of Jonson, who had been marked with the Tyburn T, in arraigning Crispinus under the Lex Bemniia that he might be branded with the C of calumny. For Marston's words disgorged see under Marston. Tucca's subornation of the poetasters and his bifronted punishment may perhaps some time lead to his identification. "With the locking up of Crispinus in some dark place compare the imprisonment of Malvolio in Twdfth Night. Finally, note that Demetrius as much as Crispinus affected the title of Untrusser, neglect of which fact has led to the common mistake in making Marston Carlo BuiFone. Jonson, after having been brought before the Lord Chief - Justice for this play, wrote an ajjology for it, which was restrained in 1 60 1 , but published in 1 6 1 6. It is a dialogue between Nasutus, a name from Martial [but query ^\ith a glance at Ovidius Naso, "the well nosed"], Polyposus, and the author, who says he had been provoked for three years on every stage ; i.e., at Paul's in Antonio and Mdlida and Jack Drum ; at the Curtain in Histriomastix ; at the Eose in Patient Grissell ; at the Globe (but not till The Poetaster had been acted) in ? Twelfth Night ; and by the VOL. I. 2 A 370 THE ENGLISH DRAMA. Cliamberlain's men subsequently, in Troylus and Cre$sida at the University, and in Satiromastix in London, which was also acted by the Paul's boys. But Jonson says nothing about the provocations he had given to others. The above list is not exhaustive ; nor can the subject be at present exhaustively treated. Jonson defends himself, but I doubt if with entire candour, against the charge of satirising the lawyers and captains, Lupus and Tucca, " by their parti- cular names " (Query Wolf), but acknowledges as to the players. As to other j)oets (Daniel, &c.), he ignores the whole matter. He introduces ^/n'^?'«wi 1 08 on true Soldiers ; and as to his slowness in making but one play a year, wishes he could do less. Play- writing with him was always a business, a mere matter of pay, and most deservedly he never suc- ceeded commercially in it. While Shakespeare, who threw his whole soul into whatever he did, made a fortune, Jonson for all his plays before 1619 did not get ;^200. II. A Tale of a Tuh, C. In its original shape this play was certainly acted in Queen Elizabeth's time. All through it, in scores of instances, we meet with '•' the queen, her majesty," and the like. " Old Blurt," ii. i, refers to Middle- ton's Blui't Master Constable, 1601. "John Clay and Cloth Breech," i. 2, alludes to the moral of Cloth Breeches, acted by the Chamberlain's men, S. K. 1600, May 27, and not to Greene's tract or its precursor. Diogenes Scriben is S. Row- lands, whose Letting of Humours hlood m the head vein was published 1 600, " with a new Morisco, danced by seven Satyrs upon the bottom of Diogenes' tub." In-and-Li Medlay in 1600 would no doubt be Monday. The date of production was almost certainly 1601, Feb 14, and the company the Chapel boys, from whom the play was lineally handed down to Queen Henrietta's, who had it in 1634. For its repro- duction by them, and the additions then made, iv. 2, v. 2, JONSOK 371 " can any man make — to him alone ; " v. 3, "I must con- fer " — end of play, see infra. Note that Scriben is of Chilcot, Finsbury, and not Chalcot, as the editors will have it. The word-play on smiter and scymitar and the tune of Dargison occur iv. 3. This play was not published by Jonson. 12. Jeronymo {The Spanish Tragedy), q.v. Jonson wrote " additions " for the Admiral's men at the Fortune 1 60 1 , Sept. 25; 1602, June 24. 13. Richard Croohhach, 1602, June 24, for the same company. Probably an alteration of Marlow's play (on which Shakespeare's was founded), brought by Jonson from the Chamberlain's company, just as he had td^Qio. Jeronymo from them, first to the Chapel boys, and then to the Admiral's men. This was apparently retaliation for their publishing Every Man in his JIttmour without his consent. See the Malcontent for their reprisal. 14. Scjanus his Fall, T. Acted by the King's servants 1603 ; therefore after May 17, when their patent was granted ; and as the theatres were closed, on account of the plague, from June 9 to Dec. 22, probably c. Christmas. Entered S. E. 1604, Nov. 2, for Blount, but not published till 1 605 by Thorpe. The 1 6 1 6 Folio has a list of actors, of whom Shakespeare was one. " Northampton was his mortal enemy for beating on a St. George's day [1605, when he was made Knight of the Garter] one of his attendants. He was called before the Council for his Sejanus, and ac- cused both of popery and treason by him " {Drum. Conv., 13). This was the occasion of Jonson's second imprisonment with Chapman (already noticed supra) from which they were released by the intervention of the Earl of Suffolk. As this nobleman's applause of the play is especially alluded to in Chapman's Complimentary Verses, the publication was pro- 372 THE ENGLISH DEAMA. bably subsequent to the imprisonment, and that was after 1605, May 4. The intended publication in 1604 Nov. had been, no doubt, interrupted by the Eastward Ho trouble. Chapman's imprisonment with Jouson in this matter leaves small doubt that his was the second pen mentioned in the Address. Chapman, frightened by the second imprisonment, seems to have withdrawn his consent to the publication of his part of Scjanus, although he had consented to that of Eastward Ho, and Jonson had to replace it with " weaker lines of his own," a phrase he would hardly have used of any other contemporary in 1605. At this time Jonson was living with Esme, Lord Aubigny, and to him he dedi- cated the play in the 1 6 1 6 Folio. It was condemned by the multitude ; ajoplauded by the gentry, i.e., by Suffolk, &c. (Fennor, Descriptions, 16 16). I suspect the incriminated parts of Sejanus were by Chapman, It was he who wrote the Eastward Ho bits against the Scots, and he that gave sub- sequent offence in Byron. In the Address Jonson refers to the translation of Horace' Ars Poetica, which he had just finished. He was now preparing the notes from Aristotle. The last sentence of the Argument in the 1605 Quarto, which mentions "God miraculously working" to preserve King James, would suit the Gunpowder Plot better than Ealegh's, and indicates a date of publication c. Nov. Jon- son's elaborate notes were depreciated in ]\Iarston's Address to his Sophonisha 1 606, Mar. 1 7. I 5. Eastward Ho, C. Acted by the Queen's Revels boys 1604, c. Nov. See Chapman. 1 6. Volpone, or The Fox, C. Acted by the King's men 1605. Published 1607, with a Dedication to the Two Universities. It had been acted " with love and acceptance at Oxford and Cambridge." See further under Mucedorus. The actor-list of the 16 16 Folio does not contain Shake- JOXSON. 373 speare's name. Jonson refers to the Eastward Ho matter in his Dedication, and claims that in the " works" entirely his there are no personalities except to mimics, buffoons, &c. (Marston, Dekker) ; he has not attacked public persons (Northumberland), nation (the Scots), order, or state (sol- diers or lawyers) ; other men's crimes have been imputed to him. The date of this Address, " i i th Feb. 1 607," must mean 1607-8, and the play was published in i6o7[— 8], which is to be taken as before 25th Mar. 1608. The acting at the Univei'sities was most likely during the plague, 1 606 July- Dec, but may have been 1607 July— Nov. The date of original production must be 1606, before 25th Mar. The new star, ii. i, appeared 1604, Oct- 10, and was visible about a year. The porpoises and whale at Woolwich date 1 606, Jan. 1 9, and a few days after {Stow, p. 8 8 l ) ; a second lion whelp in the Tower, 1605, Feb. 26 {Stoiv, p. 857); a former one was on 5th Aug. 1604 {Stoiv, p. 844). But a lioness had two whelps 1605, July 27, according to Stow, 13. 870, and these must be those here alluded to. Gifford's dates are all wrong, and have given me much trouble. The whale gives the decisive date. The play (which was only five weeks in writing) must have been produced Jan.— Feb. 1 606, immediately before Mucedorus (q.v.) was acted on Shrove Sun- day, Mar 2. A most interesting passage in the Prologue shows how joint plays were written ; the second hand was either i, coadjutor, where the authors had equal powers each over his own share of the play, as in the Beaumont and Fletcher series ; 2, novice, where the second hand was learning his business, and 4, the tutor, superintended and corrected, as in the early form of some of Shakespeare's plays; or 3, journeyman, where a part of the play was put out to an underwriter, as one act of The Arraignment of London was to Cyril Tourneur. The passage in iii. 2 about 374 THE ENGLISH DRAMA. authors wlio steal from Montaigne, Guarini, &c., is directed against Daniel, whose Arcadian pastorals had been acted before Royalty 1605 Aug. It has been absurdly supposed to point to Shakespeare. Jonson, who cared for the classics, had a poor opinion of the French and Italian authors, whom, says Drummond, he did not understand. "Fitting the time and catching the Court ear " certainly refers to Daniel : Shakespeare never wrote mask or pastoral for the Court, The verses to Celia, iii. 6, seem to me to indicate personal reference. They are reproduced in The Forest, 5, and Celia was a real person. See Underwoods, 26 (47). 17. Byron, 1608. See Chapman. 18 Epicoene, or The Silent Women, C, was acted in i6o9[— 10] by the Children of Her Majesty's Revels at Whitefriars (see Prologue) ; and therefore after the date when the patent was granted, 1610, Jan, 4, and of course before Mar, 25, Entered S. R, 16 10, Sept. 20, The earliest known edition is of 1 6 1 2 . It was dedicated in the 16 1 6 Folio to Sir Francis Stuart, and had been subjected to " contumely." Jonson anticipates a friendly verdict from Stuart, as he has not changed a syllable from the first copy. There is no reference to The Poetaster or any other early play, as Gilford carelessly supposed. The anecdote pre- served by Drummond, that the name Silent was well chosen because no man would say Plaudite, confirms the view that it was badly received at first — probably on account of its personal satire. Truewit appears to be Jonson. The name Clerimont and the verses i. i from Bonefons (born at Clermont) seem to point at the ' ' Swan " who wrote Pan- charis, for Bonefons had written a Pancharis. Is this English book founded on Bonefons, and is Clerimont the Swan ? Sir John Daw is Sir John Harington. Compare ii, 2, "Every man that writes in verse is not a poet/' with JONSON. 375 " the common sort term all that is written in verse poetry," Harrington's AiJology of Poetry ; Daw's enumeration of authors, ii. 2, with Harington's references in the Apology, especially in disparagement of the ancients and in reference to Aristotle ; and Daw's verses with Harington's Epigrams, which Jonson said were Narrations, not Epigrams, Drum. Conv., 3. There is a reference to Harington's Meta- morphosis of A-jax in iv. 2. Some one more familiar than I with Harington's life may be able to identify La Foole. The plague of 1608 July— 1609 Nov. is the one alluded to in i. i. Tliere is, as for all the 1616 Folio plays, a list of actors, and their difference from the Chapel children's lists ought to have shown the editors that a different company is here in question. This play, like The Fox and other plays, has hitherto been dated a year too early, in consequence of the use of Old Style dates. 19. The Alchemist, C, was acted 16 10 by the King's servants. Entered S, R. 16 10, Oct. 3. Published 161 2. This delay, combined with that of the publication of Epicmne, indicates some "staying" of these comedies. In the 16 16 Eolio the " j^riits " in the motto no doubt refers to Albumazar, but that i^lay was presented 161 5, Mar. 9, and published S. R. April 28 ; not in 16 14, as Gilford and Halliwell say. The 1 616 issue was dedicated to Lady Mary Wroth. The Address to the Reader ( 1 6 1 Oct.) refers to the " mocking at the term," Art, in The Winters Tale, iv. 4, 85-95. The " dances and antics " allude to the dances in the same scene; and however it may savour of "clumsy sarcasm," I do not hesitate to affirm that " those who, to gain the opinion of copy, utter all they can," is meant of Shakespeare, with regai-d to whose lines Jonson said he wished " he had blotted a thousand." In the Acrostic Argument (16 10, Oct.) the plague is said to be hot in London. It prevailed from July i 2 376 THE ENGLISH DRAMA. to Nov. 2 2. In iv. 2 Doll is born in i 591 ; in ii. i she is nineteen in 1 6 1 : this shows how accurately time is marked, as, indeed, it generally is in these old plays. For Ward, v. 2, of. Daborne and S. E. 1609, June 2, July 3. In iii. 2, V. 3, the date is placed in the eighth month of 16 10, and ii. I the plague is still in the kingdom. It is clear that the play was written in the plague-time, and could not then be performed in London ; cf . " the players will thank you then," i.e., if you drive out the plague, ii. i . It was, there- fore, Jonson's intention to publish it in Oct. ; but as the plague " fell below 40 " in Nov., the publication was deferred and the play was acted. This explanation does not apply to Epicc&nc. 20. Catiline his Conspiraci/, T., was acted by the King's men 1 6 1 i , and published the same year. In the Address of the 1 6 1 1 edition it appears that the people commended the two first acts, but disliked the oration of Cicero iv. 2. The want of success, as usual with Jonson, only provoked early publication. The learned notes do not appear here, as in Sejamcs, but there is a chorus in Seneca's manner. The Dedication is to William Herbert, Earl of Pembroke. Note the " places in Court go otherwise " in the Address. Jonson wrote no Court mask between 1 6 1 1 Jan. and 1 6 1 3 Dec. There must have been a quarrel w^ith Inigo Jones at this time. The 1616 Folio stops here. 21. Bartholomew Fair, C, was acted at the Hope Theatre 1614, Oct, 31, by the Lady Elizabeth's servants (who had been joined by Prince Charles'), and at Court on Nov. i. Published by Jonson 1631. The motto, as usual, refers to its reception (favourable in this case) ; but I cannot spare space to indicate all these allusions, though the reader of Jonson should not neglect them. This play in 1631 had a Prologue and Epilogue to King James ; hence the statement JONSOK 377 in the title that it was "dedicated" to him in 1614. In the Induction Brome is mentioned as " the poet's man ; " the " earthquake in the Fair," made by " some writer that I know/' alludes, I think, to The Faithful Friends, v. i (by Daborne? who retired in 161 4), " if we mnst down, let us make an earthquake tumbling ; " the kindheart, juggler, mousetrapman, &c., are forecasts of Pans Anniversary ; the pump and " witty young masters of the Inns of Court " alludes to the " stately fountain " in the Gray's Inn 3Iask of Flowers, 1 6 1 4, Jan, 6 ; Adams, an actor with Tarleton, is mentioned ; " the bears within " confirms my identification of the Hope with the Bear Garden ; the admission money, 6d. to 2S. 6d., is mentioned; Jeronymo, c. 1588 (the first part, not The Spanish Tragedy, which Jonson always calls Hieronymo), and Andronicus, 1594, are also mentioned as of twenty-five to thirty years' standing (over the mark, but these plays were before Jonson's time) ; the servant monster, nest of antics, " Tales, Tempests, and such-like drolleries to mix his head with other men's heels," are directly aimed at The Tempest and Winter's Tale, more outspoken than in the Alchemist preface, because Jonson is now writing for a rival company. The stage is said to be as dirty and stinking as Smithfield. This may seem strange, but Eossiter's Black- friars private house was then in contemplation. Littlewit, who makes the puppet-play for the motion-man, i. i, whose wife is " a Delia," v. 3 , is Samuel Daniel. The Damon and Pythias of the puppets, v. 3, are burlesqued from the Thirsis and Palsemon of his Queens Arcadia, 1605, Aug. 30. This pastoral is founded on fact, and many characters are continued \n Hymen's Triumph, 16 14, Feb. 3. Attention is drawn to this play in iv. 2, where Quarlous takes his word Argalus out of Sidney's Arcadia, and Quarlous his Palaeraon from the play The Queens Arcadia. The notion that Palamon 378 THE ENGLISH DEAMA. and Arcite have any concern in this is most unlucky. Clifford was right in identifying Littlewit with the Dacus of Sir John Davies, U^pigram 30, who made plays for the puppets, but did not see that the "silent eloquence" of Epigram 45 identifies Dacus with Daniel. He thinks Dekker was meant ; but, virulent as Jonson was, he has not been accused by any one except GifFord of attacking a quondam friend when im- poverished and imprisoned. That Lantern Leatherhead the puppet-man is Inigo Jones I cannot doubt. Jones had pre- paj-ed the show part of Daniel's Tetliys' Festival 1610, June 5, just after the rupture between Jones and Jonson, who worked together till 1609, Feb. 2. He is " parcel poet and an inginer," ii. i, his poetry consisting of his doggrel to Coryat's Crudities, 161 1, June 7. His " velvet jerkin " is mentioned iii. i ; he is sought for " at your great city suppers," such as the mask of the Four Seasons (q-v.), can "set out a mask," and "engrosses all," iii. i (compare Dominus Do-all in The Exp)ostulation) ; puts down Cokely as puppet-master (compare The Talc of a Tub), and "baited the fellow in the bear's skin," the "fighting bear of last year " in Love Festered (q.v.) ; he succeeds Captain Pod as motion-master, v. i ; is the mouth of the dumb shows, v. 2 (compare The Fxpostulation with its ' ' lantern-lerry " and Tale of a Tub with its " lantern-paper," which allude to the very name in this ' play) ; presents nothing but what is licensed by authority with the Master of the Revels' hand to it, &c., &c. This is all Jones. Note by the way the allu- sions to Lurbadge and Ostler of the King's men, and to Field of the Lady Elizabeth's as Burbadge's rival, in v. 3 ; also to female actors (who were they ?) in Overdo's speech, "The female putteth on the apparel of the male." There is much more personal allusion in this play which I have as yet only partially deciphered. JOKSO^. 379 2 2. The Sad Shepherd, P., was published 1641 ; Acts i., ii., iii. (part), and with it the plot of i., ii., iii. complete. In the Prologue Jonson says, " he that hath feasted yon these forty years." This must have been written at the end of his career, and the latest date of any writing known as his is 1635, Jan. I. This would give 1595, Jan. i, as the date of his earliest play ; and this cannot be far from the truth, for he was mentioned by Meres as one of our best " in tragedy " in 1598, and tragedies by him must have existed anterior to 1597 Oct., from which date we have complete lists of his plays for i 597—8 in Henslow's Diary : no tragedy there appears ; but plays in i 5 9 5-7 (e.g., Ccesar, Harry 5, Julian) may have been by him. He also mentions " a heresy of late let fall That mirth by no means fits a Pastoral." This leads us to Drum. Conv., 16, "He hath a Pastoral entitled The May Lord. His own name is Alkin ; Ethra, the Countess of Bedford's ; Mogibell Overbury ; the old Countess of Suffolk, an enchantress. Other names are given to Somerset's lady, [Lady] Pembroke, the Countess of Rut- land, Lady Wroth. In his first story Alkin cometh in mend- ing his broken pipe. Contrary to all other pastorals, he bringeth the clowns making mirth and foolish sports." The appearance of Alkin in both plays ; the witch of Papplewick in one, and an enchantress in the other ; the palpable identity of Robin Hood and Maid Marian as possessors of Belvoir and Sherwood with Roger Earl and Elizabeth Countess of Rutland (for Belvoir was their seat, and the Earl was Justice in Eyre of Sherwood Forest) ; the correspondence in num- ber of the female characters in the two plays ; the allusion to mirth in Pastoral, which could not have been let fall " of late" in 1635, since Jonson discussed it with Drummond in 1 6 1 9 J the witch's daughter Douce in one play, and Frances Howard, Somerset's lady, in the other ; the time of action, J So THE ENGLISH DEAMA. " youthful June"— all point to tlie identification of these two plays. Moreover, The May Lord is the only play unacted mentioned by Jon son to Drummond. Part of only one play was burned in the 1623 fire (see Execration on Vulcan), and only of one unnoted play was part found in Jonson's MSS., for I do not suppose any one will take The Fall of Mortimer, after what I have said of it above, to fall under that category. I must here intercalate a personal explanation. Casually dipping into Ben Jonson by John Addington Symonds in The English Worthies, published by Longmans 1886, and edited by Andrew Lang, " all rights reserved," I was surprised and delighted to find that a critic of whom I had heard so favourably from a friend of his should have come to the same conclusion as myself respecting the identity of these plays, 13. 190 seq. ; and as he does not mention my name once in his book, I of course thought his investigations were independent of my own. When, on further exami- nation, I found that he agreed with me in the division of Jonson's life into four periods, in supposing (contrary to all other critics known to me) that he was attacked in Marston's Satires, p. 37, and above all in stating that Jonson was with Shakespeare when they acted at the Curtain, p. 24 (a fact entirely unknown to any writer on Jonson before me), my delight was increased. My article, which had been published in Shahespeariana 1884 June, was not known to the general English public, and I took it for granted that no honourable man would borrow from it without acknowledgment, and that no man base enough to parade its results as his own would escape the keen eyes of our English reviewers. Yet one point perplexed me. No one acquainted with Stage His- tory could talk about the Chamberlain's men as using the Blackfriars in Elizabeth's reign, p. 24, and I scrutinised the book. I did not find any single new fact in the whole of JONSOX. 381 it, except that Jonson liad showed ' ' The Pirates " to their Majesties, p. 46. On referring to my article in Shake- speariana, I found, among a number of misprints which are a disgrace to that periodical, The Pirates misprinted for The Penates. Evidently some shameless plagiarist has copied this misprint, and, as I suppose, misled Mr, J. A. Symonds, who will no doubt, on this public appeal, give an explanation of the source from which he obtained his statements. I do not apply to him privately, because some years since I wrote to him on another matter, and not receiving an answer, sup- pose that my letter miscarried — a risk I cannot incur in this case, I confidently rely on Mr, Symonds' aid to help me to expose this appropriator of my property. Eeturning to the play. It was no doubt written close to the Overbury trial, commenced 1 6 1 5 April, Somerset's lady would hardly have been made a witch's daughter till then, and it was on 20th Jan, 161 5 that Jonson's altered mask, omitting Somerset's name, was entered S, R. ; nor could it have well been much later, I should date it 161 5, c. Mar., and in the original Prologue read " xx years." Whether it was ever finished I doubt. The plot of only three acts is extant, and the loss of the end of the third act would suffi- ciently account for what Jonson says in The Execration. Had the whole play been written, I should have expected to find the plot of all five acts prefixed to the fragment. The applicability of the name Maid Marian to the Countess of Rutland will require no proof for readers of Beaumont's Eletju on her, and of Drummond's Conversations. A pastoral involving the story of so many people since dead could never have been acted, and it is difficult to suppose what Jonson meant to do with it; but as Goffe, who died in 1627, imi- tated many passages of it in his Careless Shepherdess, it is certain that ho allowed the MS. to be circulated. 382 THE ENGLISH DRAMA. 23. The Devil is an ass, C, was acted by the King's men 1 6 1 6 at Blackfriars. Published by Jonson 1 6 3 I . The Pro- logue complains of the spectators who sat on the stage as unduly crowding it, mentions Drayton's The Merry Devil of Edmonton, and alludes to Dekker's If this he not a good play the Devil is int. In i, I Heywood's Wise Woman of Hogs- don is alluded to ; and so are The Lancashire Witehes of 161 3, Vennor, Cokeley, and the standard in Chepe. In i. 2 Gresham, Forman, Franklin, Fisk, Savory, are mentioned ; they were concerned in the Overbury matter, and Bretnor is their successor (compare liollo). Play-bills (programmes) are also spoken of. The story of i. 3, from Boccaccio's De- cameron, iii. 5; lias been used in other plays. The allusions to the Peak in Derbyshire should be noted by those who care to unravel Jonson's personal satire (compare The Metavior- 'phosed Gipsies). The "noble house" which pretends to a Duke's title, ii. I, is, I think, that of Stuart. Lodowick was made Earl of Eichmond 1 6 1 3 , and Duke in 1623. The song in ii. 2 identifies Mrs. Fitzdottrel and Charis, and that Charis was Lady E. Hatton no reader of Charis, Undenvoods, 16, 17 (35, 36), The Metamooyhosed Gipsies, and the pre- sent play will, I think, be inclined to dispute. Here, as in U. 17 (36), we have the "milk and roses," the "banks of kisses," and the husband who is the " just excuse," for any- thing can be done to him, ii. 2. That the husband. Sir. E. Coke, should not be mistaken, Jonson makes Fitzdottrel an " esquire of Norfolk." Wittipol, returned from travel, who had seen Mrs. Fitzdottrel before he went, is evidently Jon- son. The disguise of Fitzdottrel as the sham demoniac, the boy of Norwich, Thomas Harrison, v. 3 (with many details borrowed from the parallel case of Will Somers, the boy of Burton, v. 5), is a covert allusion to Coke's adoption of the popular witch doctrines in the Overbury trial ; and his JONSON. 383 jealousv of his wife was shown in this same trial, when he refused to read the document of " what Ladies loved what lords," because, as was popularly supposed (and it must be remembered in these plays common rumour rather than exact truth should always be expected), his own wife's name headed the list. The motto to this play, Fida voluptatis causa sint proxima veris, I think implies that we are to look on its characters as real persons. The date of the play is probably late in 1 6 1 6, after Coke's discharge in November. Jonson was always ready to attack the fallen. How he had flattered Coke in 161 3 may be seen in U. 44 (65). There are several compliments to the actor Dick Robinson in ii. I, iii. I. The "Globes and Mermaids" (theatres and taverns), iii. I, should be compared with " your Globes, your Triumphs " (theatres and pageants) in The Poetaster, on which so much nonsense has been written. Meercraft is, I think, Sir Giles Mompesson, the projector and monopolist ; he was knighted 1 6 1 6, Nov. 1 6. Plutarchus Gilthead, who is writing the lives of the great men in the City ; the captain who writes of the Artillery Garden " to train the youth," &c., iii. I, is, I think, Edmond Howes, whose continuation of Stow's chronicle was published 1 6 1 5 . Quer}-, Is Howes the "Howe, do you call him" of Epica^ne, ii. 3? For brevity, I always quote Howe's continuation as " Stow," the date being sufficient guide as to authorship. The falling off in this play of Jonson's power is manifest, and for literary criticism it would be much better to begin Jonson's Second Period at the date of his laureate j)ension, 1 6 1 6, Feb. i , than in 1 6 1 2 ; but for dramatic history this latter date is much more convenient. 1616-25. See The Widow, The Spanish Curate, The City Madam, Jidius Ccesar. 24. I'he Staple of Hews, C, was acted by the King's men 384 THE ENGLISH DRAMA. 1 62 5 [-6] ; entered S. E. 1626, Aiml 14 (but the publica- tion was, I think, interrupted by Jonson's paralysis). Pub- lished by Jonson 1 63 i. It was acted at Court, probably in 1626 Feb. The mention of Shrovetide (which began Feb. 19 in 1626) in the Induction, coupled with "now at the Coronation," 1626, Feb. 2, fixes the public performance to Candlemas, and the Court one to Shrovetide. This is one more instance of the misdating of Jonson's plays by GifFord, &c., through the neglect of the use of Old Style. In the Induction occurs a reference to the celebrated line in Julius Ccc-sar, " Cassar did never wrong but with just cause," and one to Jonson's tunlike unwieldiness, which developed c. 161 8. In the stage Prologue " left to write " means began to write badly ; not has ceased writing for years, as often, but absurdly, interpreted. For the plot compare News from the Moon. There are many allusions to Nat Butter in i. 2, iii. 2, V. I ; to The Merry Devil of Edmonton in the Induction (2) ; to Dr. Lamb, Ind. 2,4; to Pocahontas, ii. i ; to the triply named Infanta of Spain, ii. I. Act iii. gave offence for its many personal allusions, not so much those to Gon- domar, Spalato, Middleton's Game at Chess, the Amboyna massacre, Arch}'-, &c., as i. That to " the fine poet" Daniel, whose " silent eloquence " is recognised even by GifFord in this instance. He therefore prefixed an exculpatory Address, in which the meaning he attached to the motto already quoted, Ficta, voluptatis, &c., is unmistakable. 2. That to Inigo Jones, the cook poet, wherein there is much repetition from Neptune s Triumph {q.v.), which had been publicly per- formed at the Fortune 1625 Dec. Madrigal, the " Horace, his Art of Poetry," who begins all works and finishes none, iv. I, is, of course, Jonson. For the use made of Aristo- phanes see Gifford, who has quite sufficiently treated that question. JOXSOX. 385 25. The Xeiv Inn, or The Light Heart, C, was "negli- gently" played by the King's servants 1629 [Jan. 19], " squeamishly censured "' by the King's subjects ; entered S. E. 163 I, April 17; published 163 i with an argument or plot and " characterism of the chief actors." The chief offence was in the character of the chambermaid, " Secre- tary Sis " (Query Cecil or Cicely). That this is no imagi- nary character is clear from Charis 8. Charis must be the Frances Lady Frampul of the play. I am not learned euough in the history of the Hatton family to explain the personal allusions. The statement, ii. 2, that the Shirley s were a great Irish family is interesting. There is a quota- tion, iv. 3, "Every stoop he made Was like an eagle's at a flight of cranes," which I have tried in vain to trace. For the part of this play common to it and Love's Pilgrimage see under Fletcher. The Epilogue [for the Court] " in the Poet's defence, but the Play lived not in opinion to have it spoken," would seem to ha\"e been written in ex- pectation of a Court presentation. The stage Epilogue says, "the maker is sick and sad," and the words, " had he lived the care of King and Queen " must precede the gift of ;^iOO in his sickness, U. 60 (80). The Ode to him- self, and the answers to it, have been sufficiently noticed above. 26. TJie Mugnetic Lady, or Humors Eeconciled, C, was licensed to the King's men 1632, Oct. 12. On 1633, Oct. 24, the players in their second petition to the High Commission Court " did Herbert right," and the Arch- bishop " laid the whole fault " of this play on them. In their first petition they had excused themselves on Herbert and Jonson ; i.e., denied having made interpolations (mostly oaths ; see Gill's verses). In the Induction or Chorus, Dam- play, who derives magnetic from magnus, and requires '' a \0L. 1. 2 B 386 THE ENGLISH DEAMA. portal according to Vitruvius," is certainly Inigo Jones (Vitruvius Hoop). I think this Chorus, which at the end is changed into an " Epilogue for the King," was added for a Court presentation, Jones had been present at the first public performance with Butter, and laughed " because there was nothing worth laughing at " (Gill). Note Dam- play's use of the word " business," and compare Mercury Vindicated thereon. Ironside, the " fat, corpulent, unwieldy fellow," iii. 3, is certainly Jonson ; Diaphanous Silkworm, the courtier, is, I think, Aurelian Townsend (the Town top of iii. 4), who liad supplanted Jonson as Court mask- maker. I cannot agree with GifFord that " one who had lost his ears," iii. 4, in 1632 was Prynne, who wore his till 1634. I think Alexander Lsighton is intended. Nat. Butter, Allestrie's almanacs, The Practice of Piety, are alluded to iv. i. Thinwit, " surveyor of the projects," I do not know. The Ember week, v. 2, must be that of 1632 Sept. The painting of all city statues, v. 5, is remarkable. Alexander Gill's virulent verses on this play, already mentioned, are further noticeable as alluding to Jonson's having sent a play to the Fortune {i.e., The Fortu- nate Isles, q.v.), and the low estimate in which Pursfoot and Trundell were held as printers. Zouch, Townley and Jonson answered him. Gill had been sentenced to lose Iiis ears for treasonous talk, and it may be that he took the iii. 4 allusion to himself. This play was not published till 1 64 1. 27. The Tale of a Tub, C, was altered in 1633; licensed for Queen Henrietta's men May 7, and performed at Court 1634, Jan. 14. But the added part iv. inter- loping scene [iv. 2, Gilford] ; v. 26, " Can any man — him alone;" v. 36, "I must confer" — end of play, including Vitruvius Hoop's part (assimilated to In-and-in Medlay's JONSOX. 387 when published), was all left out, because Inigo Jones ex- cepted to it. In this part we have the characteristics which identify Jones with characters in other plays ; he is the " Do-all," and talks of " feasible and conduce," v, 2 ; makes blunders in Latin, must be joined with no man, and uses " lantern paper," v. 3 ; makes masks, v. 4 (where the " half lord chamberlain in my master's absence " is a severe hit at Herbert ; Astley being the nominal, but he the acting. Master of the Revels) ; acts as architect, motion-maker, and interpreter to the puppets in v. 5. This was Jonson's last production for the stage ; his repeated failures com- pletely broke him down, and nothing can be more absurd than the attribution of some of his best work to subsequent years. For his Masks, &c., see the next volume. END OF VOL. I. PRINTED BY BALLANTVNE, HANSON AND CO. EDINBURGH AND LONDON. ^y^ ■^^ V in SnilTHERN REGIONAL LIBRARY FACILITY AA 000 629 677 6 ^^04 JNIVEB: ITY OF CA, RIV^f'.S'PS'-'^^Mll^ 3 1210 01178 3386 ^i:' i ^: Wk .;SSiS