Chapter XXX: Appendix: XX. Bibliography (1)

W. ARCHER: “The Elizabethan Stage” (Quarterly Review, No. 415, April, 1908).

R. BOYLE: Dictionary of National Biography: “Massinger.”

" Englische Studien (Heilbronn): “On Beaumont, Fletcher, and Massinger,” v. 74, vii, 66, viii. 39, ix. 209, x. 383.

" New Shakespeare Society Transactions, part ii., 1880-85, xviii., pp. 371-399: “Massinger and The Two Noble Kinsmen.” (_Cf._ Discussion on March 9, 1883, p. 66.)

" New Shakespeare Society Transactions, 1880-86, xxi., pp. 443-488: “Henry the Eighth.”

" New Shakespeare Society Transactions, 1886, xxvi., pp. 579-628.

A. C. BRADLEY: Oxford Lectures on Poetry: “Shakespeare the Man, and Shakespeare’s Theatre and Audience.”

A. H. BULLEN: Dictionary of National Biography: “Fletcher.”

H. COLERIDGE: Preface to Massinger and Ford. 1840.

S. T. COLERIDGE: Lectures on Shakespeare and the Poets (T. Ashe, 1883), pp. 403-407, 427, 432, 437, 534, 540.

W. T. COURTHOPE: History of English Poetry, vol. iv., pp. 348-369.

T. COXETER: The dramatic works of P. Massinger: 1761.

LIEUT.-COL. F. CUNNINGHAM: The plays of P. Massinger: Chatto and Windus: 1870.

DOWNES: Roscius Anglicanus.

EDINBURGH REVIEW, No. 23, 1808. (Review of Gifford’s edition.)

F. G. FLEAY: Biographical Chronicle of the English Drama.

" Chronicle History of the London Stage, 1559-1642.

F. G. FLEAY: Chronicle History of W. Shakespeare.

" New Shakespeare Society Transactions, 1874, vol. i., No. 2: “On Metrical Tests as applied to Dramatic Poetry” (Fletcher, Beaumont, Massinger.)

" Shakespeare Manual.

GARDINER: “The Political Element in Massinger.” (Contemporary Review, August, 1876): reprinted in New Shakespeare Society Transactions, 1875, No. xi., pp. 314-332. (_Cf._ also History of England, 1884, vol. vii., pp. 327 and 337)

GARNETT AND GOSSE: English Literature: an Illustrated Record. Heinemann.

GAYLEY AND BRANDER MATTHEWS: Representative English Comedies, vol. iii. New York, 1914.

W. GIFFORD: 1805. Second edition, 1813.

W. W. GREG: Henslowe’s Diary, vol. ii., pp. 165, 171, 224. 1904-08.

" Henslowe Papers, pp. 66, 70, 74, 85. 1907.

" List of English Plays written before 1643 and printed before 1700. Bibliographical Society, 1900.

HALLAM: Literature of Europe, part iii., chap. vi.

HAZLITT: Lectures on Elizabethan Literature, pp. 131-136.

E. KOEPPEL: Cambridge History of English Literature, vol. vi., chap, vi.: “Massinger.”

" Quellen Studien zu den Dramen George Chapman’s, Philip Massinger’s, und John Ford’s.

C. LAMB: Specimens of English Dramatic Poets.(590)

G. C. MACAULAY: Cambridge History of English Literature, vol. vi., chap. v.: “Beaumont and Fletcher.”

J. MONCK MASON: Dramatic Works, 1779.

E. H. C. OLIPHANT: Englische Studien, xiv., xv., xvi.

" Modern Language Review, iii., 337-355; iv., 190-199, 342-351.

" Problems of Authorship in the Elizabethan Drama. Chicago, 1911.

J. PHELAN: Dissertation (Halle), 1878. This careful performance contains information about Massinger’s family. (_Cf._, however, Furnivall’s Protest in Anglia, ii., p. 504.)

J. M. ROBERTSON: The Baconian Heresy, chap. iii.

G. SAINTSBURY: Cambridge History of English Literature, vol. v., chap, viii.: “Shakespeare.”

SCHELLING: Elizabethan Drama, 1908.

SHAKESPEARE’S ENGLAND: Oxford University Press, 1916.

L. STEPHEN: Hours in a Library, vol. ii.

A. C. SWINBURNE: Contemporaries of Shakespeare (Gosse and Wise).

" Fortnightly Review, July, 1889.

" Letters (Gosse and Wise), Nos. lxii. and lxxiii.

A. SYMONS: Mermaid Series, two volumes.

ASHLEY H. THORNDIKE: Tragedy. Constable, 1908.

L. WANN: Shakespeare Studies (University of Wisconsin), vii.: “The Collaboration of Beaumont, Fletcher, and Massinger.”

SIR A. W. WARD: Cambridge History of English Literature, vol. v., chap. xiv.

" History of English Dramatic Literature, especially vol. iii., pp. 1-47.

INDEX

A

AESCHYLUS, 149, 169

Alliteration in M., 121 _n._ 1, App. XVIII.

Aristophanes, 61, 70, 149

Aristotle, 27 _n._ 1, 28 _n._ 2, 75, 76, 110 _n._ 1, 140

Armada, 18

Aubrey, 5 _n._ 2

À Wood, A., 2, 6

B

_Bashful Lover, The_, 48, 50, 57, 58, 75, 98, 131, 147, 199

Beaumont, 21 _n._ 5, 25, 57, 59 _n._ 1, 70, 94, 99 _n._ 2, 110, 129 _n._ 1

Beethoven, 76

_Believe as You List_, 15, 54, 93, 140, App. VII., App. VIII.

Besant, Sir W., 7

Boccaccio, 9 _n._ 1, 11 _n._ 1, 76 _n._ 3

_Bondman, The_, 15, 24, 27, 31, 32 _n._ 1, 35, 36, 48, 61, 73, 75, 104,
108, 134, 145, 150

Boyle, 2 _n._ 3, 20, 21, 25, 55, 56, 62 _n._ 1, 70 _n._ 1, 88, 96, 97-104,
109, 122 _n._ 3, 129, 131, App. III., 198, 200

Bradley, A. C., 14, 26 _n._ 3, 28 _n._ 4, 65 _n._ 3, 80 _n._ 16

Bridges, R., 69 _n._ 1, 175

Brooke, R., 111, 159

Brooke, Tucker, 95-97

Browne, Sir T., 82, 119

Buckingham, Duke of, 16, 204

Bullen, A. H., 70, 95 _n._ 2, App. III., 178 _n._ 6, 201

Bunyan, 108 _n._ 1

C

Catalogue lines, 54, 91 _n._ 1

Cayet, 178 _n._ 6, 193

Cervantes, 5 _n._ 5, 203

Chapman, 15 _n._ 2, 66 _n._ 2, 117, 139, 202

Charles I., 7, 15

Cibber, Colley, 176, 181 _n._ 3

_City Madam, The_, 10, 11, 13, 31, 32 _n._ 1, 43, 53, 54, 55, 73, 113,
116, 133

Cokaine, Sir A., 22

Coleridge, S. T., 55, 64, 71, 76 _n._ 3

Collier, J., 24

Corneille, 43

Courthope, 96

Croker, T. Crofton, 175

Cunningham, F., 7 _n._ 1, 24, 133 _n._ 1, 182

D

Daborne, 2

Davies, 123

Dekker, 20, 44 _n._ 1, 123, 135 _n._ 2, 147, App. X., 199, 200

Diderot, 110 _n._ 1

Dostoevsky, 61

_Double Falsehood, The_, App. XV.

Downes, 24 _n._ 3

Dryden, 24, 116

Dublin MS., App. XVII.

_Duke of Milan, The_, 16, 31, 32 _n._ 1, 41, 52, 81, 82, 135, 145, 203

E

_Emperor of the East, The_, 17, 27, 28, 32 _n._ 1, 43 _n._ 2, 48, 51, 54,
72, 82, 101, 102, 108, 128, 146, 148, 149, 170

Euripides, 27, 32, 33, 75, 77, 110 _n._ 1, 169 _n._ 1

F

_Fair Penitent, The_, 137

_Fatal Dowry, The_, 8, 20, 28 _n._ 4, 36, 49, 53, 56 _n._ 2, 119, App:.
XI.

Field, 21, 138, App. XI.

Fielding, 63, 77

Fleay, F. G., 5 _n._ 5, 20, 33 _n._ 2, 56 _n._ 2, 57 _n._ 1, 159, 202

Fletcher, 3, 10, 19, 21 _n._ 1, 28, 59 _n._ 2, 66, 71, 84 _n._ 1, 91, 97,
98, 109, 123, 129, 130, 133, 135, 147, App. III., 170

Ford, 8, 13 _n._ 5, 13 _n._ 6, 33 _n._ 2, 59 _n._ 1, 62, 63 _n._ 3, 65
_n._ 3, 81, 120, 205 _n._ 2

G

Gardiner, 7

Garrick, 124 _n._ 4, 176

Gayley, 26 _n._ 4, 141 _n._ 1, 160

Georgian Poets, The, 61

Gibbon, 28

Gifford, 7 _n._ 1, 25, 176, App. IX., 198, 220

Goffe, 77 _n._ 3, 202

Gosse, E., App. XIX.

Gounod, 109 _n._ 1, 137 _n._ 3

_Great Duke of Florence, The_, 16 _n._ 1, 25, 47, 54, 102, 103, 150

Greene, 102 _n._ 5

Greg, W. W., 24 _n._ 2, 67 _n._ 2, 168

Grosart, 6 _n._ 1, 208

_Guardian, The_, 4, 12, 24, 27, 28, 49, 74, 120, 134, 148

H

Hallam, 70

Hazlitt, 25, 124 _n._ 4, 137 _n._ 3

_Henry VIII._, 11 _n._ 5, 20, 22, 71, 73 _n._ 1, 84-91, 128, 141 _n._ 1

Henslowe, 4, 177

Herbert, Sir H., 15

Heywood, 117

Homer, 169

Hroswitha, 124 _n._ 3

J

James I., 7

Johnson, S., 121 n. 2

Jonson, Ben, 6 _n._ 2, 12, 43 _n._ 2, 69 _n._ 4, 70, 72, 77 _n._ 3,
113-116, 118, 128, 133, 185 _n._ 1

K

Kean, 124 _n._ 4

Kemble, 124 _n._ 4

_Knacke to Know a Knave, A_, 208 _n._ 1

Koeppel, 28, 178 _n._ 6, 193

Kyd, 127

L

Lamb, C., 25, 33, 122 _n._ 3, 199

Langbaine, 2 _n._ 2, 34

Lee, Sir Sidney, 77 _n._ 2, 112

_Love Lost in the Dark_, 24

Lyly, 117

M

Macaulay, G. C., 21 _n._ 5, 65 _n._ 1, App. III.

_Maid of Honour, The_, 16, 18, 27, 28, 40, 74, 103, 132, 146

Malone, 15 _n._ 1, 15 _n._ 3, 24, 176

Marlowe, 29 _n._ 1, 110, 117, 150 _n._ 10

Marston, 62, 112 _n._ 1, 159

Massinger, Arthur, 1

Massinger, Philip: life, 2;
religion, 3;
knowledge of Spanish, 5 _n._ 5;
death, 7;
politics, 14;
stagecraft, 26;
style, 33;
versification, 55;
faults, 60;
imitation of Shakspere, 77;
introduction of doctors, 81;
method, 104;
favourite words, 106;
character, 118;
use of epithets, 120 _n._ 5;
use of assonances, 121 _n._ 1;
knowledge of Greek, App. II.;
a metrical peculiarity, App. VI.;
use of alliteration, App. XVIII.

Matthews, Brander, 25, 45, 64, 71, 123 _n._ 4, 142 _n._ 3, 160

Matthieu, P., 6 _n._ 2, App. XIV.

Middleton, 21, 28, 62, 65 _n._ 3, 124, 127, 141 _n._ 1, 147, 158, App.
XVI.

Milton, 32 _n._ 3, 51, 55, 69

Monck Mason, 25, 123, 134

Montgomery, Philip, Earl of Pembroke and, 5, 14

Mozart, 76, 88

N

_New Way to Pay Old Debts, A_, 12, 20, 25, 47 _n._ 3, 48, 52, 70, 108,
115, 122, 124, 142 _n._ 3

Nichol Smith, 77 _n._ 1

O

_Old Law, The_, 21, 141, 158

Oliphant, E. H. C., 59 _n._ 2, 162 _n._ 2

Ovid, 34, 105 _n._ 3, 151

P

_Parliament of Love, The_, 42, 50, 59, 60, 82, 83, 92, 139, 146, App. IX.

Peele, 142 _n._

Pembroke, second Earl of, 2

Pembroke, third Earl of, 6

Pepys, 24

Phelan, 137 _n._ 3, 203 _n._ 2

Philipps, Halliwell, 24 _n._ 2, 176

_Picture, The_, 8, 9, 29, 50, 54, 73, 74, 82, 111 _n._ 1, 140, 146

Plautus, 2, 67 _n._ 2, 104

_Powerful Favourite, The_, 6 _n._ 2, App. XIV.

_Prince of Tarent, The_, vide _A Very Woman_

Prynne, 65 _n._ 3

Puritans, 10, 45

R

_Renegado, The_, 3, 13, 24, 27, 31, 53, 65, 74, 75, 134, 145, 149

Repetition of words and phrases, 54, 197 _n._ 1

Richardson, 135

_Roman Actor, The_, 28, 33, 38, 52, 66, 72, 82, 116, 126, 137, 146

Rosenbach, 5 _n._ 5

Rowe, 56 _n._ 2, 137

Rowley, W., 21, 141 _n._ 1, 142, 168

S

Schelling, 5 _n._ 5, 65 _n._ 1

Schmidt, 43 _n._ 2, 171, 175

Scott, Sir W., 68

Sea scenes, 28

_Second Maiden’s Tragedy, The_, App. XIII.

_Sero sed Serio_, 5 _n._ 1

Shakspere, 3, 12 _n._ 3, 18, 20, 29, 32, 33 _n._ 1, 43 _n._ 1, 43 _n._ 2,
45,
49, 56 _n._ 2, 63, 69, 70, 72, 73, 77-80, 83, 85, 87, 90, 91, 98, 99,
101, 109, 113, 118, 121-123, 125, 128, 130, 135 _n._ 1, 137, 147, 153,
App. IV.

Shelley, 31

Shirley, 116, 126 _n._ 2, 147, 180 _n._ 1

Signorelli, Luca, 61

Simpson, P., 65 _n._ 3, 133 _n._ 1, 203 _n._ 2

_Sir J. V. O. Barnavelt_, 8, 9, 52, 139 _n._ 3, 177 _n._ 2, App. XII.

Sophocles, 150

Stephen, Sir Leslie, 45, 68, 76 _n._ 2, 76 _n._ 3, 132

Stevenson, 64

_Strangest Adventure, The_, 178

Subordinates combined, 29

Swinburne, 52, 151, 215

Sykes, Dugdale, 93, 94, 96

Symonds, J. A., 222

T

Taylor, J., 124 _n._ 2

Theobald, 204

Torture on stage, 28

Tourneur, 20, 55, 62, 157, 203

Turks, 9

_Two Noble Kinsmen, The_, 20, 22, 23 _n._ 1, 92-104

U

_Unnatural Combat, The_, 8, 28, 31, 54, 69, 138, App. XVIII.

V

_Very Woman, A_, 21, 42, 50, 81, 82, 84, 100, 102, 108, 129

Virgil, 127 _n._ 3

_Virgin Martyr_, _The_, 3, 18, 20, 24, 31, 32, 33, 46, 47 _n._ 3, 62, 72,
73, 81, 120, 123, 142, 149, App. X.

Vocabulary of M., 106

W

Warburton, 23, App. V.

Ward, Sir A., 25, 65 _n._ 1, 110

Warner, Sir G. F., 177

Weber, 21 _n._ 6

Webster, 5, 29 _n._ 2, 111-113, 159

_Wit and Fancy in a Maze_, 77 _n._ 3

Z

Zielinski, 50

FOOTNOTES

1 It is much to be wished that someone would essay the same task for
Beaumont and Fletcher, though there the work would be less easy,
partly from the looseness of the metres, partly from the corruption
of the text, but chiefly from the presence of prose-passages
bordering on verse.

2 A. à Wood’s _Fasti Oxonienses_, p. 313.

3 Herein he resembled F. Beaumont. G. Langbaine, on the other hand,
says that the Earl sent Massinger to Oxford, where he “closely
pursued his studies.” But we must be careful how we believe
Langbaine; his account of our poet begins thus: “This author was
born at Salisbury, in the reign of King Charles the First, being son
to Philip Massinger, a gentleman belonging to the Earl of
Montgomery.” Here are three gross blunders at once.

4 Boyle (_N. S. S._, xxi., p. 472) says that “Massinger’s inveterate
habit of repeating himself arose probably from his profession as an
actor.” I know of no evidence for this hypothesis. _Cf._, however,
p. 6, note 1.

_ 5 Cf._ Mommsen’s _History of Rome_, English translation, vol. ii., p.
440.

6 Thus in the play of _Lady Jane_, of which _The Famous History of Sir
T. Wyatt_ is a fragment, we find five authors concerned. It will be
remembered that Eupolis contributed to the _Knights_ of
Aristophanes.

7 For some account of Field see Appendix XI.

8 Daborne’s letters bulk large in the Henslowe Correspondence. We have
two plays of his: _A Christian turn’d Turke_, based on the story of
the pirate Ward; and _The Poor Man’s Comfort_, a tragi-comedy. Like
Marston, he abandoned the stage in middle life and took orders,
before 1618. It is therefore unlikely that he collaborated with
Massinger in any of the plays which we possess.

9 Such a reference to _Acta Sanctorum_ as is contained in these lines
might be made by an Anglican:

ANTONINUS. It may be, the duty
And loyal service, with which I pursued her,
And sealed it with my death, will be remember’d
Among her blessed _actions_.—_V. M._, IV., 3, 28.

More stress might be laid on the metaphor contained in these lines:

THEOPHILUS. O! mark it, therefore, and with that attention, As you
would hear an embassy from heaven, _By a wing’d legate_.—_V. M._,
V., 2, 103.

10 No doubt it required courage to present a Jesuit in this way so soon
after Gunpowder Plot; and the curious argument in _The Renegado_,
V., 1, 28-41, in favour of lay-baptism certainly shows a mind
interested in ecclesiastical problems.

_ 11 The Renegado_, I., 1, 24-32.

_ 12 Two Gentlemen of Verona_, V., 1.

13 Friar Paulo takes an important part in _The Maid of Honour_, ad
finem. Octavio, disguised as a priest, elicits Alonzo’s repentance
in _The Bashful Lover_, IV., 2. The same expedient occurs in _The
Emperor of the East_, V., 3, where Theodosius, disguised as a friar,
convinces himself of his wife’s innocence. Shakspere disguises the
Duke as a friar in _Measure for Measure_, II., 3, III., 1, 2, IV.,
1, 2, 3.

14 See the photograph at the beginning of the book. _Cf._ also Greg’s
Henslowe Papers, article 68. Fleay identifies the play referred to
in the document as _The Honest Man of Fortune_, acted in 1613. In
the first Dublin poem, after referring to the patronage which had
befriended Jonson and Fletcher, Massinger goes on thus:

“These are precedents
I cite with reverence; my low intents
Look not so high; yet some work I might frame
That should not wrong my duty, nor your name;
Were but your lordship pleased to cast an eye
Of favour on my trod-down poverty.”

_ 15 Cf._ W. W. Greg’s _Henslowe’s Diary_, vol. ii., pp. 110-147. Mr.
Greg points out (p. 113) that “there is no record of any
speculations of Henslowe’s own as far as the evidence of the Diary
is concerned. The accounts are company accounts”—_i.e._, of The Rose
and Fortune Theatres.

We have also at Dulwich a bond from R. Daborne and P. Massinger to
Philip Henslowe for payment of £3, dated July 4th, 1615. _Cf._
Greg’s Henslowe Papers, article 102.

16 Licensed March 4th, 1631.

17 Licensed May 6th, 1631.

18 See poem “Sero sed serio” (Cunningham, p. 628); _Picture_, II., 2,
37; _City Madam_, I., 2, 116; _Emperor of the East_, II., 1, 45.
_Cf._ _Catiline_; II, 1.

19 Aubrey, in his _Natural History of Wiltshire_ (ed. J. Britton, 1847,
p. 31), distinctly says that the poet had a pension of twenty or
thirty pounds per annum, which was “payed to his wife after his
decease.”

20 Younger brother of William Herbert, Earl of Pembroke.

21 The dedication begins thus: “However I could never arrive at the
happiness to be made known to your lordship,” etc.

22 No doubt he knew some foreign languages. His plays come from various
sources, French, Italian, and Spanish, some of which, however, had
been translated into English. _The Renegado_ is traceable to a
comedy of Cervantes, _Los Baños de Argel_, printed in 1615. _The
Emperor of the East_ is derived from a French translation of
Zonaras. If, which is doubtful, _The Duke of Milan_ owes anything to
Guicciardini, his history had appeared in an English translation by
Sir Geoffrey Fenton in 1579. Fleay has a curious theory that where
French scenes are found in Fletcher they are due to Massinger.

Much interesting information on the great debt which Fletcher and
other dramatists owed to Spanish literature will be found in F. E.
Schelling’s _Elizabethan Drama_, vol. ii., pp. 205-218 and 530.
Schelling comes to the conclusion that Fletcher did not know
Spanish; but he quotes an unpublished dictum of his friend Dr.
Rosenbach, who holds it as certain that Massinger knew Spanish. _The
Island Princess_ is based on a Spanish play, of which no translation
is known, _Conquista de las islas Malucas_, by De Argensola, 1609.
Rosenbach attributes the play to Massinger! It is clear, however,
that a translation may have been in circulation from which Fletcher
took his materials, or somebody may have seen the play acted in
Spain, and reported it to him. Further, _Love’s Cure_ is based on
the _Comedia de la Fuerza de la Costumbre_, by Guillen De Castro,
licensed at Valencia, February 7th, 1625, and published three months
later. Fletcher died in August, 1625, and Stiefel thinks that he
read Spanish, and that this is his last work. Rosenbach and Bullen
assign the play to Massinger (_cf._ Appendix III., No. 29). It is
highly desirable that the grounds which led Rosenbach to believe
that Massinger knew Spanish should be made public.

23 Lines 39-45 run thus:

Let them write well that do this, and in grace.
I would not for a pension or a place
Part so with over candour: let me rather
Live poorly on those toys I would not father;
Not known beyond a player or a man,
That does pursue the course that I have ran.
Ere so grow famous.

Lines 41-42 are interesting as seeming to hint that Massinger
preferred to waive publicity as to his collaboration with Fletcher
and others. The poem was published by A. B. Grosart in _Englische
Studien_, xxvi., pp. 1-7, and will be found with the original
spelling and punctuation in Appendix XVII.

_ 24 A. O._, ii., 654-656. A. à Wood includes in the list of Massinger’s
plays _Powerful Favourite, or the Life of Sejanus_. As Massinger was
but nineteen in 1603 he cannot have been the “happy genius” referred
to in the address “to the readers” of Ben Jonson’s play. For the
explanation of the mistaken attribution of _The Powerful Favourite_,
_cf._ Appendix XIV.

25 Gifford was right as to the date and Cunningham wrong. The entry in
question is as follows: “March 18th, 1639 [_i.e._, old style],
Philip Massenger, a stranger.” The entry about Fletcher runs thus:
“Aug. 29, 1625, John Ffletcher [sic], a man, in the church.” Entries
such as “a man,” “a boy,” “a girl” are not unusual in the book, and
the practice of burial “in the church” was comparatively common at
the time.

26 The stone inscribed with his name in the chancel of St. Saviour’s
does not mark the place of his burial, which is unknown.

27 By a charming if undesigned coincidence the Massinger window stands
next to that of Shakspere. It represents two scenes from _The Virgin
Martyr_, and, unfortunately, repeats the erroneous date (1639) of
the poet’s death, and gives 1583 as the year of his birth.

_ 28 Contemporary Review_, August, 1876.

29 II., 2, 140.

30 Intercourse with the Low Countries is referred to in the _New Way_
(I., 2, 75). The monastery to which Sir John Frugal retires is at
“Lovain” (_City Madam_, III., 2, 58). _Cf._ also for the University
of “Lovain” _The Elder Brother_, II., 1.

31 III., 1, 38. _Cf._ also Frank Wellborn’s petition, V., 1, _ad
finem_. Compare the part played in _Sir John Barnavelt_ by the
English mercenaries in Holland; and especially IV., 2.

ORANGE. I have sent patents out for the choicest companies
Hither to be remov’d, first Colonel Vere’s
From Dort, next Sir Charles Morgan’s, a stout Company.

IV., 3. BARNAVELT (_to his daughter_):

What! wouldst thou have a husband?
Go marry an English Captain, and he’ll teach thee
How to defy thy father and his fortune.

II., 1. BARNAVELT:

But have you tried by any means (it skills not
How much you promise) to win th’ old soldier
(The English Companies in chief I aim at)
To stand firm for us?

_ 32 Unnatural Combat_, I., 1, 243, 278; _Great Duke of Florence_, I.,
2, 62; II., 1, 145; _Picture_, I., 1, 3-5; _Guardian_, II., 1, 84;
V., 4, 160; _Very Woman_, V., 5, 28. _Cf._ in Marlowe,
_Tamburlaine_, Pt. I., III., 3; Pt. II., I., 2; _Jew of Malta_, I.,
1; II. 2. For a Christian pirate _cf._ _Decameron_, II. 4.

_ 33 Bondman_, IV., 3, 77; _Renegado_, IV., 1, 99-102; II., 6, 32.

_ 34 A Very Woman_, III., 1.

_ 35 Cf._ _The Unnatural Combat_ and _The Renegado_.

_ 36 Guardian_, II., 1, 84. Similarly in _The Bashful Lover_, V., 3,
110, Matilda warns Lorenzo that “Heaven’s liberal hand” has designed
him to fight rather against the Turk than a Christian
neighbour-king. Compare _The Devil’s Law-case_ (p. 138_b_).

ERCOLE. When our bloods
Embrac’d each other, then I pitied
That so much valour should be hazarded
On the fortune of a single rapier
And not spent against the Turk.

_ 37 Renegado_, II., 5, 24 and 64-73. Bertoldo, the Knight of Malta, is
the hero of _The Maid of Honour_. _Cf._ also Fletcher’s play of that
name; and _Guardian_, V., 4, 143-145.

_ 38 Unnatural Combat_, V., 2, 230. We find a similar emphasis on the
Turk and pirates in Webster’s _White Devil_ and_ Devil’s Law-case_.

39 The “zealous coblers” and “learned botchers” who preach at Amsterdam
are mentioned in _Renegado_, I., 1, 30-32. In _The Unnatural
Combat_, III., 1, 75, the “Hugonots” are referred to as using the
word “mortified.” “Geneva print” is mentioned in _Duke of Milan_,
I., 1, 11; “precisians” in _New Way_, I., 1, 6, use the word
“verity.”

_ 40 Fair Maid_, IV., 2.

_ 41 Very Woman_, III., 1, 124:

MERCHANT. They have a city, Sir—I have been in it.
And therefore dare affirm it—where if you saw
With what a load of vanity ’tis fraughted,
How like an everlasting morris-dance it looks,
Nothing but hobby-horse and Maid Marian,
You would start indeed.

_ 42 Old Law_, IV., 1, 20; _New Way_, III., 2, 169; _Very Woman_, III.,
5, 29 and 70; _Renegado_, I., 3, 74. _Cf._ _Decameron_, II. 5.

43 For the influence of the masque on Massinger, _cf._ _Picture_, II.,
2; _City Madam_, V., 3; _Guardian_, IV., 2.

_ 44 Cf._ the characters of Simonides in _The Old Law_ and young Novall
in _The Fatal Dowry_, II., 2; _Emperor of the East_, I., 2, 21;
_Picture_, II., 2, 29-36; _Very Woman_, III., 1, 131-2. Compare also
_Henry VIII._, I., 3.

_ 45 Renegado_, III., 1, 57; _Guardian_, II., 1, 81. _Cf._ _Merchant of
Venice_, I., 2, 78-81; _As You Like It_, IV., 1, 34-40.

46 The play ends thus:

Make you good
Your promised reformation, and instruct
Our city dames, whom wealth makes proud, to move
In their own spheres, and willingly to confess,
In their habits, manners, and their highest port,
A distance ’twixt the city and the court.

_Cf._ also _Maid of Honour_, III., 1, 84; _City Madam_, III., 2,
153; IV., 4, 43; _New Way_, II., 1, 81 and 88. In _The Renegado_,
I., 2, distinctions are drawn between the county ladies, the city
dames, and the court ladies of England. Compare also the epilogue to
_Henry VIII_:

Others, to hear the city
Abused extremely, and to cry “that’s witty.”

_Rape of Lucrece_, II., 1; II., 3; _The Devil is an Ass_, III., 1;
_Westward Ho!_ I., 1; “I tell thee, there is equality enough between
a lady and a city dame if their hair be but of a colour.” Ford
contrasts the ladies of the city and the court in _The Broken
Heart_, II., 1. In Dekker’s _Shoemaker’s Holiday_, I., 1, the Lord
Mayor says:

Too mean is my poor girl for his high birth,
Poor citizens must not with courtiers wed.

_Cf._ also _A Chaste Maid in Cheapside_, I., 1:

MAUDLIN. Besides, you have a presence, sweet Sir Walter,
Able to dance a maid brought up in the city;
A brave court-spirit makes our virgins quiver.

_Eastward Ho!_ deals with the same contrast. _Cf._ also the
Induction to _The Knight of the Burning Pestle_, and _ib._, IV., 5;
Induction to _Four Plays in One_.

_ 47 Renegado_, I., 3, 92-94; _City Madam_, I., 2, 34. _Cf._ _Henry
VIII._, V., 4; _Shoemaker’s Holiday_, V., 2; _The Honest Whore_, Pt.
I., III., 1; _Sir Thomas More_, II., 1.

_ 48 Parliament of Love_, IV., 5, 12; _New Way_, II., 1, 142. _Cf._
_Epicoene_, V., 1 _bis_; _Elder Brother_, IV., 3; _Honest Man’s
Fortune_, V., 3; _Thierry and Theodoret_, II., 3.

_ 49 Unnatural Combat_, III., 3, 35; IV., 2, 35; _Parliament of Love_,
IV., 5, 125, 126; _Bondman_, V., 3, 245-252; _Guardian_, III., 3, 8;
_City Madam_, IV., 1, 74; _Duke of Milan_, III., 2, 18. _Cf._ _1
Henry IV._, II., 2, 49; III., 1, 130; _2 Henry IV._, IV., 3, 52-54;
_Winter’s Tale_, IV., 3, 181-263; V., 2, 25-27; _Antony and
Cleopatra_, V., 2, 215; _Queen of Corinth_, III., 1; _Spanish
Curate_, IV., 7; _False One_, I., 1; _Elder Brother_, IV., 4; _The
White Devil_, p. 23b; _The Devil’s Law-case_, pp. 131_b_ and 143_b_;
_Love’s Sacrifice_, III., 1; IV., 1; _The Honest Whore_, Pt. I, I.,
1; _Bartholomew Fair_, Induction; II., 1; and III., 1; _Rape of
Lucrece_, II., 1; _Edward II._, II., 2; _Orlando Furioso_, IV., 1;
_George a Greene_, IV., 2; _Parliament of Bees_, ch. v.

_ 50 Renegado_, II., 4, 1. _Cf._ _Much Ado about Nothing_, V.,1,
295-297; _A King and No King_, I., 2; IV., 2; _Four Plays in One_;
_Triumph of Love_, 4; _Little French Lawyer_, III., 2; _The False
One_, III., 2; IV., 3; _Lover’s Progress_, I., 1; III., 4; V., 3;
_Cupid’s Revenge_, II., 4; _James IV._, 1, 2.

_ 51 New Way_, especially II., 1; for the difficulty of getting justice
done for the poor, _cf._ _Unnatural Combat_, I., 1; _Fatal Dowry_,
I., 1, especially lines 67-80.

52 II.; 4, 79-106. The reference to the mills is as follows:

Builders of iron mills, that grub up forests
With timber trees for shipping.

_Cf._ _Volpone_, I., 1, 33-36.

53 I., 1, 290-340.

_ 54 E.g._, in _The New Way_ and _The Guardian_.

_ 55 City Madam._

56 Thus Ford, in an interesting passage in _Love’s Sacrifice_, I., 1,
refers to the national love of self-depreciation among the English.
_Cf._ also _Rape of Lucrece_, III., 5.

57 I., 2, 22-49. _Cf._ also _Very Woman_, III., 1, 133-135; and
Webster’s _Westward Ho!_ I., 1, and III., 3.

_ 58 Cf._ _The Honest Whore_, Pt. II., IV., 1:

MATHEO. England is the only hell for horses, and only paradise for
women. Also Lamira’s words in _The Honest Man’s Fortune_, III., 3.

_ 59 Cf._ _Duke of Milan_, _Picture_, and _Roman Actor_. The Duke of
“Pavy” in Ford’s _Love’s Sacrifice_ is a slighter sketch of the same
type. The worthlessness of Bianca in the same play is a measure of
the moral gap between Massinger and Ford.

_ 60 Renegado_, IV., 2, 116-143.

61 Oxford Lectures on Poetry, pp. 363-365. _Cf._ also pp. 392-3.

_ 62 Cf._ op. cit., p. 381. _Cf._ Prologue to _Henry VIII._, line 13;
Prologue to _Romeo and Juliet_, line 12, and Chorus to Act I. in
_The Mayor of Queensborough_.

If all my powers
Can win the grace of two poor hours,
Well apaid I go to rest.

Also Prologues to _Two Noble Kinsmen_, lines 28, 29; _Alchemist_,
line 1; _Love’s Pilgrimage_, line 8; _Lover’s Progress_, line 18
(“_three_ short hours”); and Shirley’s Preface to the Folio of
Beaumont and Fletcher.

_ 63 Cf._ Malone’s _Shakspere_ (edition 1790), vol. i., pt. 2, p. 226.
_Believe as You List_ probably represents an adaptation of this
play, with classical names and setting substituted for the original
plot. _Cf._ Appendix VII.

64 Chapman had to suppress a considerable part of _The Tragedy of
Byron_, which referred to quite recent events in France. But the
censorship seems to have become much more stringent in Massinger’s
days.

_ 65 The King and the Subject_; now lost. The play was performed, after
alterations had been made, under another title. Sir H. Herbert
wrote, “Received of Mr. Lowen’s for my paines about Massinger’s play
called _The King and the Subject_, 2nd June, 1638, £1.”

66 Malone’s _Shakspere_ (ed. 1790), vol. i., pt. 2, p. 235.

_ 67 Bondman_, I., 3.

68 I., 1, 49-56. _Cf._ also _Great Duke of Florence_, I., 1, 75-84.
Sanazarro is one of the better type of favourites.

69 I., 1, 23-36.

70 III., 1, 10-17.

71 III., 3, 135.

72 IV., 5, 52. _Cf._ also _Great Duke of Florence_, I., 1, 73-84.

_ 73 Cf._ especially the offer made by the Informer to Paulinus, I., 2,
69-89.

74 1st quarto, “pole.”

75 I., 2, 236-257.

76 IV., 1, 136-147.

77 I., 1, 220-233.

78 Middleton refers to “the great Armada” in _A Trick to Catch the Old
One_, III., 4; Dampit: “In Anno ’88, when the great Armada was
coming.” _Cf._ _The Alchemist_, IV., 2.

_ 79 Cf._ Champernal in _The Little French Lawyer_, and Alberto in _The
Fair Maid of the Inn_. Notice too the zest with which Valerio (_A
Wife for a Month_, V., 3) describes the sea-action with the Turks.

80 The question whether Massinger knew Greek is discussed in Appendix
II. To take one play only, _The Maid of Honour_, we find classical
allusions in I., 1, 240; I., 2, 36, 107-128; II., 1, 48; II., 2, 23;
II., 3, 26; II., 4, 17; II., 5, 13, 28; III., I, 29; III., I, 194;
IV., 4, 13; IV., 4, 97, 108, 109; IV., 4, 140-145.

_ 81 N. S. S._, xxvi., p. 581.

_ 82 Englische Studien_, V., 93.

83 I., 2, 27.

84 Also called _The Prince of Tarent_. It would have been easier for
Fletcher to imitate Massinger than for Massinger to imitate
Fletcher. The pathos and comedy of the latter were alike out of our
author’s range.

85 III., 1, 39.

86 See discussion on p. 141.

_ 87 Cf._ Appendix III.

88 The question suggests itself at once: Did Massinger ever collaborate
with Beaumont? Mr. Macaulay does not face this problem in his
interesting monograph on Beaumont; indeed, he ignores Massinger’s
undoubted claims to have collaborated with Fletcher, though he makes
full amends for this omission in his article in the _Cambridge
History of English Literature_. Boyle at one time thought that
Massinger worked with Beaumont and Fletcher in _The Honest Man’s
Fortune_ and _The Knight of Malta_ (_N. S. S._, pp. 589-590).

89 From the nature of the case the idea is not new; thus Weber, in the
Preface to the 1812 Edinburgh edition of Beaumont and Fletcher,
attributes the completion of _The Lover’s Progress_, _Love’s
Pilgrimage_, and the character of Septimius in _The False One_ to
Massinger. Fleay (_Shakespeare Manual_, p. 152) makes out a list of
ten of Fletcher’s plays in which he traces Massinger’s hand. _Cf._
Appendix III.

_ 90 Eng. St._, VII., 75.

91 Reprinted 1877. Congleton. A copy of the original book is to be seen
at Shakspere’s birthhouse, Stratford-on-Avon.

92 An inauspicious date for such a publication!

93 There are many touches in _Henry VIII_ which remind one of
Massinger; and not a few passages in Massinger remind one of _Henry
VIII_. Take as an example _City Madam_, III., 2, 111.

LUKE. O my lord!
This heap of wealth, which you possess me of,
Which to a worldly man had been a blessing,
And to the messenger might with justice challenge
A kind of adoration, is to me
A curse I cannot thank you for; and, much less
Rejoice in that tranquillity of mind
My brother’s vows must purchase. I have made
A dear exchange with him: he now enjoys
My peace and poverty, the trouble of
His wealth conferr’d on me; and that a burthen
Too heavy for my weak shoulders.

LORD LACY. Honest Soul,
With what feeling he receives it!

Or this from _The Bashful Lover_, IV., 2, 87.

ALONSO. She cause, alas!
Her innocence knew no guilt, but too much favour.
To me unworthy of it; ’twas my baseness,
My foul ingratitude—what shall I say more?
The good Octavio no sooner fell
In the displeasure of his prince, his state
Confiscated, and he forced to leave the Court,
And she exposed to want; but all my oaths
And protestation of service to her,
Like seeming flames, raised by enchantment, vanish’d;
This, this sits heavy here.

_Cf._ also _City Madam_, I., 2,126-134. I feel inclined to say that
Massinger knew _Henry VIII_ by heart. _Cf. infra_, pp. 84, 85.

_ 94 The Two Noble Kinsmen_ is a remarkable play, full of fine poetry
and lofty thought. On the other hand, its technique is very
immature. The Gaoler’s daughter’s soliloquies are inartistic, and at
times ludicrous. The play has at once the dignity of an early period
and the complexity of style with which we are familiar in
Shakspere’s later manner. One thing is clear: Act I. is by a
different hand from the rest. Perhaps Shakspere and Fletcher touched
up an old anonymous play.

See, however, discussion _infra_, pp. 84-104.

_ 95 Cf._ Appendix V.

96 Mr. Halliwell Philipps, in his MS. note to _Believe as You List_,
now in the British Museum, expresses himself as sceptical of the
Warburton legend. _Cf._ Greg’s _Bakings of Betsy_ (_Library_, July,
1911).

97 Shakspere, III., p. 275. _Cf._ Downes’ _Roscius Anglicanus_, pp. 18,
52.

98 Diary, 1848 edition, I., p. 192; IV., p. 373.

99 Gayley’s _Representative English Comedies_, p. 319.

100 Gifford’s edition of Massinger, in four volumes, is one of the
classics of our literature, though careless in details.

101 To Hazlitt, however, we owe, in his estimate of Sir Giles Overreach,
one of the most brilliant pieces of English prose that we possess.

102 (_E. D. L._, iii., p. 42) “In Massinger we seem to recognize a man
who firmly believes in the eternal difference between right and
wrong, and never consciously swerves aside from the canon he
acknowledges.”

_ 103 N. S. S._, xxvi., p. 586.

_ 104 Iphigenia auf Tauris_, IV., 4: “Ich untersuche nicht, ich fühle
nur.”

105 Dr. Bradley (_Oxford Lectures_, p. 383) points out that “the average
play of Shakspere’s day has great merits of a strictly dramatic
kind, but it is not ‘well-built,’ it is not what we mean by ‘a good
play.’ ” He traces this fault to the multiplication of scenes, which
the absence of scenery in those days made easy.

106 Gayley points out (_R. E. C._, p. xci.) that, “Shakspere and
Fletcher excepted, Massinger has been adjudged by posterity the most
successful of the practical dramatists of the early seventeenth
century.” He suggests (_R. E. C._, p. xcv.) that with slight and
judicious modification an enterprising actor-manager might
successfully produce _A New Way_, _The Maid of Honour_, _The City
Madam_, and perhaps _The Bondman_.

107 Aristotle, _Rhetoric_, III., p. 1404_b_.

108 IV., 2. On the other hand, we should remember that our author did
not invent this incident, but took it from Byzantine history. _Cf._
Gibbon’s _Decline and Fall_, chapter xxxii.

_ 109 Bondman_, II., 1, 187. _Cf._ ὁ ἄφωνος in Ar. _Poetics_, 1460 a. 32.

_ 110 Cf._ _The Sea Voyage_ and _The Double Marriage_.

_ 111 Roman Actor_, III., 2, 71; _Virgin Martyr_, V., 2, 206. _Cf._ Dr.
Bradley’s remarks (_Oxford Lectures_, p. 366, note) on the blinding
of Gloucester in _King Lear_. When the Duke in Ford’s _Love’s
Sacrifice_ (V., 3) stabs himself and cries aloud:

Sprightful flood,
Run out in rivers! O, that these thick streams
Could gather head, and make a standing pool,
That jealous husbands here might bathe in blood;

the words can only produce an anticlimax in the spectator’s mind,
however effective they may be to the reader. Massinger is more
dexterous in _The Fatal Dowry_, IV., 4, 154: “Yes, sir; this is her
heart’s blood, is it not? I think it be.” There is a similar
difficulty about D’Amville in _The Atheist’s Tragedy_ (V., 2)
knocking out his brains with the executioner’s axe; and about
Scaevola in _The Rape of Lucrece_ (V. 4) burning off his hand. _Cf._
also Bajazet and Zabina in _Tamburlaine_, Pt. I., V., 1, and
Tamburlaine himself in Pt. II., III., 2.

112 Needless to say, the idea is not original; it is already a marked
feature of Marlowe’s _Tamburlaine_ and _Faustus_; but the device
does not often work so smoothly as in Massinger.

113 II., 2, 59-77. _Cf._ _The Virgin Martyr_, I., 1 (the three kings);
_Emperor of the East_, II., 1 (Theodosius and his courtiers); _A New
Way_, I., 3, 43 (the servants); _City Madam_, IV., 1 (Luke and the
three creditors); IV., 2 (Luke and the two apprentices); _Bashful
Lover_, I., 1 (Matilda and the waiting-women); V., 1 (Octavio and
three friends); _Bondman_, I., 3 (Timoleon and four senators);
_Unnatural Combat_, II., 2 (Theocrine and three attendants); _Great
Duke of Florence_, I., 2 (three councillors); II., 2; V., 2 and 3
(Cozimo and courtiers); _Guardian_, IV., 4 (Severino and four
banditti); _Maid of Honour_, I., 1 (Bertoldo and the two heirs “city
bred”); _Roman Actor_, IV., 1, 98; V., 1, 213 (the three tribunes);
V. 2, 1-19 (the conspirators); _Duke of Milan_ I., 3, _ad init._
(three gentlemen). We find this method again and again in Webster;
_cf._ _The Duchess of Malfi_, p. 63_a_; p. 78_b_; p. 80_b_; _The
White Devil_, p. 56; p. 42_a_; _The Devil’s Law-case_, p. 111_b_; p.
116_a_. _Cf._ also Cymbal and Fitton in _The Staple of News_, I., 2;
and the three courtiers in _Cupid’s Revenge_.

114 The exact cause of the son’s anger is the murder of his mother by
his father. The secret is not revealed until Act V., 2, 122, though
it is hinted at in II., 1, 118-120. The son knows nothing of the
other terrible charge.

115 In _The Renegado_ the brother and sister are not revealed until V.,
4.

116 IV., 3.

117 I., 1.

118 The best instance of Euripidean art is the scene in _The Emperor of
the East_ (II., 1), where all the arguments for the Emperor’s speedy
marriage are cleverly amassed. _Cf._ also Luke’s appeal for mercy to
the creditors in _The City Madam_, I., 3; the long preparation which
Sforza makes in _The Duke of Milan_, I., 3, 268; the skill which
leads up to the disclosure of Marullo’s name in _The Bondman_ (IV.,
3, 124), and the way in which he persuades the slaves to revolt
(II., 3). For other instances of what we may call the gradual
method, compare _The Virgin Martyr_, I., 1, 294, and _A Very Woman_,
V., 4, 91.

_ 119 Cf._ _Fatal Dowry_, I., 2; IV., 4; V., 2; _Roman Actor_, I., 3;
_Bondman_, I., 3; _Parliament of Love_, V., 1; _Great Duke of
Florence_, V., 3.

120 Here he incurs the censure of Milton on such plays (Preface to
_Samson Agonistes_): “This is mentioned to vindicate tragedy from
the small esteem, or rather infamy, which in the account of many it
undergoes at this day with other common interludes; happening
through the poet’s error of intertwining comic stuff with tragic
sadness and gravity; or introducing trivial and vulgar persons,
which by all judicious hath been counted absurd, and brought in
without discretion, corruptly to gratify the people!”

_ 121 Cf._ Shakspere’s _Julius Caesar_, where the hero dies in the third
act; but the plot is not felt to have exhausted itself until Brutus
and Cassius are disposed of.

122 Massinger is very sparing in his use of prose in his plays, though
Fleay goes too far when he says: “Neither Fletcher nor Massinger
admits prose” (_Shakespeare Manual_, p. 71). The grace of
Massinger’s dedications is very marked when compared with the
stilted and obscure style of Ford’s.

123 C. Lamb.

124 Lines referring to Massinger quoted by Langbaine.

_ 125 Bondman_, IV., 2, 51-88.

126 I., 2, 147.

127 I., 3, 268-30 6.

128 I., 3, 49-142.

129 II., 4, 22-35.

130 I., 3, 51-74.

131 IV., 3, 124-138.

132 V., 1, 42-60.

_ 133 Cf._ Prologue to _Henry V_, line 4, a passage imitated and expanded
in _The Virgin Martyr_, V., 2, 98-102.

134 We have a Somersetshire rustic in _The Emperor of the East_, IV., 2.
_Cf._ Schmidt’s _Shakespeare Lexicon_, Appendix II., p. 1424. “In
general it can be said that Shakspere abstains from the use of
provincial dialects, as characteristic of his dramatical persons....
It is only on one occasion that he seems to imitate the peculiar
speech of a certain dialect: _King Lear_, IV., 6, 239-251.
Concerning the particular county there referred to English scholars
have been of different opinions. Steevens pleads for Somersetshire,
in the dialect of which rustics were commonly introduced by ancient
writers; Collier inclines to decide in favour of the North.” _Cf._
Mr. H. Bradley’s remarks in _Shakspere’s England_, II., p. 570. In
_Bartholomew Fair_, IV., 3, a contrast is drawn between the dialect
of a rustic from the West and one from the North. Urania’s dialect
in _Cupid’s Revenge_ cannot be pronounced a success, or Antonio’s
Irish in _The Coxcomb_.

_ 135 City Madam_, II., 2, 128. Among the things which Anne demands from
her suitor, is:

A fresh habit,
Of a fashion never seen before, to draw
The gallants’ eyes, that sit on the stage, upon me.

_Cf._ also Induction to _The Malcontent_; Induction to _The Staple
of News_; Induction to _Cynthia’s Revels_; Fitzdottrel in _The Devil
is an Ass_, I., 3; Induction to _Knight of the Burning Pestle_;
_Woman-Hater_, I., 3; Prologue to _All Fools_; and Dekker’s _The
Guls Horne-booke_, Chapter VI.

_ 136 Hours in a Library_, ii., p. 171. Leslie Stephen elsewhere (pp.
167-171) does justice to Massinger’s “romantic tendency.” “The
chivalrous ideal of morality involves a reverence for women which
may be exaggerated or affected, but which has at least a genuine
element in it. The same vein of chivalrous sentiment gives a fine
tone to some of Massinger’s other plays; to _The Bondman_, for
example, and _The Great Duke of Florence_, in both of which the
treatment of lovers’ devotion shows a higher sense of the virtue of
feminine dignity and purity than is common in the contemporary
stage.”

_ 137 The Virgin Martyr_, IV., 3, 72-92. _Cf. Believe As You List_, IV.,
2, 183-204.

138 I., 1, 103-114. The whole play exhibits this element of grace more
than any other of our author. It should be acted by Lysis and
Charicles, Glaucon and Adeimantus.

139 IV., 3, 175. It is to be noted that great courtesy is observed and
expected in greetings and leave-takings in Massinger’s plays. Thus
in _The Virgin Martyr_, II., 2, Macrinus gets into trouble for the
curtness of his salutation; similarly, Wellborn in _A New Way_, V.,
1, 114. Compare also _Roman Actor_, IV., 1, 67; _A Very Woman_, I.,
l, 147.

140 I., 1, 246.

141 I., 2, 36.

142 II., 2, 71.

143 I., 1, 77.

144 IV., 2, 96.

145 III., 2, 92.

146 V., 2, 51.

147 I., 2, 162-175.

148 II., 3, 28-32.

149 I., 2, 136-141.

150 IV., 2, 46.

151 I., 2, 17.

152 I., 5, 44. The longest series of parentheses in Massinger is to be
found in Cardenes’ speech in _A Very Woman_ (I., 1, 240-256). For
clumsy periods see _Fatal Dowry_, IV., 2, 99-104; V., 2, 23-34;
_Roman Actor_, IV., 2, 123-128.

_ 153 Our Debt to Antiquity_, Eng. trans, by Strong and Stewart, p. 75.

154 It is needless to say how common this idiom is in Shakspere,
Webster, Shirley, and other authors of the period. I only mention it
because it lends itself in a peculiar way to the suppleness of
Massinger’s style.

155 I., 1, 18-32.

156 I., 3, 339.

157 V., 1, 25.

158 III., 3, 4.

159 V., 2, 22.

_ 160 Contemporaries of Shakespeare_, p. 183. Though I do not accept all
Mr. Swinburne’s estimates, I am at once pleased and humiliated at
the thought that he has expressed so much better than myself many of
my conclusions about Massinger.

161 V., 1, 51.

162 III., 1, 302.

_ 163 The Renegado_, III., 1, 30-39.

164 Oliphant (_Englische Studien_, xiv., 60) notes this feature as
Fletcherian.

165 Boyle, _N. S. S._, Trans., p. 378.

_ 166 Op. cit._, p. 403.

_ 167 E. S._, vii. 70.

_ 168 N. S. S._, xxvi. 584. The “run-on” line ends with a preposition or
other word which syntactically requires the next line. Take as an
example _Fatal Dowry_, V., 2, 255:

For the fact, as of
The former, I confess it; but with what
Base wrongs I was unwillingly drawn to it,
To my few words there are some other proofs
To witness this for truth.

The “double” or “feminine” ending is the outstanding feature of
Fletcher’s verse. _Cf._ _Fatal Dowry_, V., 2, 137:

ROCHFORT. You say you are sorry for him;
A grief in which I must not have a partner.
’Tis I alone am sorry, that when I raised
The building of my life, for seventy years,
Upon so sure a ground, that all the vices
Practised to ruin man, though brought against me,
Could never undermine, and no way left
To send these grey hairs to the grave with sorrow,
Virtue, that was my patroness, betrayed me.

(Gifford inserts “when” in that third line.)

Five instances in nine lines. Fleay (_Shakespeare Manual_, p. 171)
points out that in Shakspere’s part of _Henry VIII_ the proportion
of double endings to blank verse is 1 to 3; in Fletcher’s, 1 to 1·7.
The weak and sugary effect of double endings is very apparent in
Rowe’s _Fair Penitent_, the eighteenth-century play, based on _The
Fatal Dowry_.

Boyle (_E. S._, v. 74) takes six of Massinger’s plays: _The
Unnatural Combat_, _The Duke of Milan_, _The Bondman_, _The City
Madam_, _The Bashful Lover_, and _The Guardian_. These are his
conclusions: “The plays show in general a high percentage of double
endings, generally 40 per cent, or more. The percentage of run-on
lines is a little lower, but seldom sinks for more than a scene
below 30 per cent. The light and weak endings together make 5 to 7
per cent. The versification is exquisitely musical. There are very
few rhymes.” The corresponding figures for Fletcher are: double
endings, over 50 per cent.; run-on lines, under 20 per cent.; and
light and weak endings almost negligible; rhyme, rare. Shakspere in
his later manner (e.g., _The Tempest_) has 33 per cent. double
endings. (_E. S._, vi. 71.)

169 Fleay (_Shakespeare Manual_, p. 123) takes a piece of Dryden’s _All
for Love_, and rewrites it, as far as metre (and metre only) is
concerned, in the styles of Fletcher, Beaumont, Massinger, Greene,
and Rowley.

170 IV., 3, 5-24.

171 I., 2, 49-71.

172 In this respect Massinger resembles Beaumont and Ford, whose metre
in divided lines, unlike Webster’s and Fletcher’s, is very regular.
Shirley’s plays are full of lame lines. For strict division _cf._
_City Madam_, I., 3, 44; II., 1, 109; V., 1, 4 and 70; V., 2, 66;
V., 3, 126; _Guardian_, I., 1, 80, 221, 308; II., 3, 116; III., 2,
61; IV., 3, 16; _New Way_, I., 2, 48 and 63; II., 2, 151; III., 2,
241; V., 1, 233; _Very Woman_, I., 1, 26 and 147; V., 6, 31;
_Bashful Lover_, I., 1, 114, 163, and 207; II., 2, 36, 37; II., 3,
9; II., 4, 42; III., 1, 99; III., 3, 71 and 80; V., 1, 39, 40, 48,
50, 176; _Roman Actor_, I., 3, 32. Instances can be given of lines
divided between four speakers—e.g., _Very Woman_, V., 3, 23; V., 4,
167; _Bashful Lover_, II., 7, 20; _Roman Actor_, I., 4, 50; IV., 1,
83; _Guardian_, V., 4, 209. The carelessness of the metre in _The
Old Law_ is in itself proof that Massinger had little to do with it.

173 An instance of “emphatic” double-ending (_Oliphant_, _E. S._, xiv.,
71), common in Fletcher, rare in Massinger.

174 I., 5, 38.

175 V., 1, 226.

_ 176 Cf._ also Matilda in _The Bashful Lover_ (IV., 3, 170), and Olinda
in _The Lovers’ Progress_.

_ 177 Frogs_, l. 1413.

_ 178 Cf._ the dialogue in _A Very Woman_, I., 1, 1-24. “Heaven’s
greatest blessings” (line 21) is a very characteristic phrase. _Cf._
also _Emperor of the East_, II., 1, 216.

179 Boyle (_N. S. S._, 385-88) is severe but not, to my mind,
convincing. Reading between the lines, one arrives at the conclusion
that Boyle admired Massinger enormously, and would have allowed none
else to abuse him except himself. _Cf._ his spirited attack on
Charles Lamb’s “unfair judgment” (pp. 371-2).

180 Rubens took his wives as models for his art; let us hope that
Massinger’s portrait of the imperious woman was not drawn from his
wife. We happen to know that he was married.

181 I., 1. _Cf._ also Matilda in _The Bashful Lover_ (III., 3, 147), and
Donusa in _The Renegado_ (II., 4).

182 IV., 1; V., 4. _Cf._ also Thamasta in Ford’s _Lover’s Melancholy_
(III., 2), Calantha’s request to her father in _The Broken Heart_
(IV., 3), Fiormonda in _Love’s Sacrifice_ (I., 2), Hidaspes in
_Cupid’s Revenge_ (I., 3).

183 Act I., 3.

184 III., 1, 161. _Cf._ also _Romeo and Juliet_, I., 5, 95.

185 The situation is not unknown in modern fiction; take, for example,
_Dr. Breen’s Practice_ and _The House of Lynch_. _Cf._ Jebb’s
_Bentley_, p. 197.

_ 186 Op. cit._, p. 317.

187 A favourite phrase of Massinger’s—e.g., _Emperor of the East_, II.,
1, 345; V., 2, 83; _Great Duke of Florence_, II., 3, 112; _Unnatural
Combat_, I., 1, 312; IV., 1, 110; _Parliament of Love_, II., 3, 77.

188 B. Matthews, p. 318.

189 Especially Sir A. W. Ward (_English Dramatic Literature_, iii., pp.
41-42). _Cf._ also G. C. Macaulay in _Cambridge History of English
Literature_, vol. vi., p. 121, and Schelling’s verdict.

190 The Venetian in _The Renegado_.

191 Dr. Bradley (_Oxford Lectures_, pp. 373-4) minimizes the objections
to this custom, without, however, dwelling on the moral problem.
_Cf._ also Mr. Percy Simpson’s remarks in _Shakspere’s England_,
ii., p. 246. Prynne deals with it (_Histriomastix_, ed. 1633, pp.
214-216). He allows, reluctantly, that “men actors in women’s attire
are not altogether so bad, so discommendable as women
stage-players,” but goes on to say: “since both of them are evill,
yea extremely vitious, neither of them necessary, both superfluous
as all playes and players are; the superabundant sinfulnesse of the
one, can neither justifie the lawfulnesse, nor extenuate the
wickednesse of the other.... This should rather bee the conclusion,
both of them are abominable, both intolerable, neither of them
laudable or necessary; therefore both of them to bee abandoned,
neither of them henceforth to be tollerated among Christians.”

Ford, in _Love’s Sacrifice_ (III., 2), refers to the novelty of
women-antics—_i.e._, of women acting in masques. It is clear that
Queen Henrietta Maria, with her passion for appearing on the stage
in masques, however much she may have been before the times, must
have caused great scandal to the Puritan party. The complications
which sometimes arise from the use of men for female parts may be
illustrated from Middleton’s amusing play, _The Widow_, where Martia
is disguised as a man, Ansaldo, and, to escape further
complications, is subsequently disguised as a woman, _being a boy
all the time_. We find the same thing in the second Luce in _The
Wise Woman of Hogsdon_.

_ 192 Supra_, p. 38.

193 Though Massinger does not owe much to Chapman, it is to be noted
that this trick of repeating a phrase occurs several times in
Chapman’s popular play, _Bussy d’Ambois_. _Cf._ III., 1., “He shall
confess all, and you then may hang him,” and towards the end of the
same Act, “Ay, anything but killing of the King;” and in _The
Conspiracy of Byron_, Act II., in La Fin’s speech, “I can make good”
four times at the end of the line. _Cf._ “Behold the Turk and his
great Empress” in _Tamburlaine_, pt. I., V., 1; “I love my lord; let
that suffice for me” in Greene’s _Orlando Furioso_, I., 1.

_ 194 A Very Woman_, III., 4.

195 A few instances of γνῶμαι may be given from Massinger; his debt to
Shakspere will be clear:

_Fatal Dowry_, I., 1, 20:

There is a minute
When a man’s presence speaks in his own cause
More than the tongues of twenty advocates.

_Guardian_, I., 1, 241:

For a flying foe
Discreet and provident conquerors build up
A bridge of gold.

_Guardian_, IV., 1, 99: