Chapter XVI: Part 1: with Heywood, Dec. 1602–Jan. 1603; one payment had been made to (4)

Robert Greene was baptized at Norwich on 11 July 1558. He entered St. John’s College, Cambridge, as a sizar in 1575 and took his B.A. in 1578 and his M.A. by 1583, when he was residing in Clare Hall. The addition of an Oxford degree in July 1588 enabled him to describe himself as _Academiae Utriusque Magister in Artibus_. He has been identified with a Robert Greene who was Vicar of Tollesbury, Essex, in 1584–5, but there is no real evidence that he took orders. The earlier part of his career may be gathered from his autobiographic pamphlet, _The Repentance of Robert Greene_ (1592), eked out by the portraits, also evidently in a measure autobiographic, of Francesco in _Never Too Late_ (1590) and of Roberto in _Green’s Groats-worth of Wit bought with a Million of Repentance_ (1592). It seems that he travelled in youth and learnt much wickedness; then married and lived for a while with his wife and had a child by her. During this period he began his series of euphuistic love-romances. About 1586, however, he deserted his wife, and lived a dissolute life in London with the sister of Cutting Ball, a thief who ended his days at Tyburn, as his mistress. By her he had a base-born son, Fortunatus. He does not seem to have been long in London before he ‘had wholly betaken me to the penning of plays which was my continual exercise’.[664] His adoption of his profession seems to be described in _The Groats-worth of Wit_. Roberto meets a player, goes with him, and soon becomes ‘famozed for an arch-plaimaking poet’.[665] Similarly, in _Never Too Late_, Francesco ‘fell in amongst a company of players, who persuaded him to try his wit in writing of comedies, tragedies, or pastorals, and if he could perform anything worthy of the stage, then they would largely reward him for his pains’. Hereupon Francesco ‘writ a comedy, which so generally pleased the audience that happy were those actors in short time, that could get any of his works, he grew so exquisite in that faculty’.[666] Greene’s early dramatic efforts seem to have brought him into rivalry with Marlowe (q.v.). In the preface to _Perimedes the Blacksmith_ (S. R. 29 March 1588) he writes: ‘I keep my old course to palter up something in prose, using mine old poesie still, Omne tulit punctum, although lately two Gentlemen Poets made two mad men of Rome beat it out of their paper bucklers: and had it in derision for that I could not make my verses jet upon the stage in tragical buskins, every word filling the mouth like the faburden of Bo-Bell, daring God out of heaven with that Atheist _Tamburlan_, or blaspheming with the mad priest of the Sun.... Such mad and scoffing poets that have poetical spirits, as bred of Merlin’s race, if there be any in England that set the end of scholarism in an English blank-verse, I think either it is the humour of a novice that tickles them with self-love, or too much frequenting the hot-house (to use the German proverb) hath sweat out all the greatest part of their wits.... I but answer in print what they have offered on the stage.’[667] The references here to Marlowe are unmistakable. His fellow ‘gentleman poet’ is unknown; but the ‘mad priest of the Sun’ suggests the play of ‘the lyfe and deathe of Heliogabilus’, entered on S. R. to John Danter on 19 June 1594, but now lost.[668] In 1589 Greene published his _Menaphon_ (S. R. 23 Aug.), in which he further alluded to Marlowe as the teller of ‘a Canterbury tale; some prophetical full-mouth that as he were a Cobler’s eldest son, would by the last tell where anothers shoe wrings’.[669] Doron, in the same story, appears to parody a passage in the anonymous play of _The Taming of A Shrew_, which is further alluded to in a prefatory epistle _To the Gentlemen Students of Both Universities_ contributed to Greene’s book by Thomas Nashe. Herein Nashe, while praising Peele and his _Arraignment of Paris_, satirizes Marlowe, Kyd, and particularly the players (cf. App. C, No. xlii). To _Menaphon_ are also prefixed lines by Thomas Brabine which tells the ‘wits’ that ‘strive to thunder from a stage-man’s throat’ how the novel is beyond them. ‘Players, avaunt!’[670] In the following year, 1590, Greene continued the attack on the players in the autobiographic romance, already referred to, of _Never Too Late_ (cf. App. C, No. xliii). In 1590 Greene, whose publications had hitherto been mainly toys of love and romance, began a series of moral pamphlets, full of professions of repentance and denunciations of villainy. To these belong, as well as _Never Too Late_, _Greene’s Mourning Garment_ (1590) and _Greene’s Farewell to Folly_ (1591). A preface to the latter contains some satirical references to the anonymous play of _Fair Em_ (cf. ch. xxiv.) One R. W. retorted upon Greene in a pamphlet called _Martine Mar-Sextus_ (S. R. 8 Nov. 1591), in which he abuses lascivious authors who finally ‘put on a mourning garment and cry Farewell’.[671] Similarly, Greene’s exposures of ‘cony-catching’ or ‘sharping’ provoked the following passage in the _Defence of Cony-catching_ (S. R. 21 April 1592) by one Cuthbert Conycatcher: ‘What if I should prove you a cony-catcher, Master R. G., would it not make you blush at the matter?... Ask the Queen’s players if you sold them not Orlando Furioso for twenty nobles, and when they were in the country sold the same play to the Lord Admiral’s men for as many more.... I hear, when this was objected, that you made this excuse; that there was no more faith to be held with players than with them that valued faith at the price of a feather; for as they were comedians to act, so the actions of their lives were camelion-like; that they were uncertain, variable, time-pleasers, men that measured honesty by profit, and that regarded their authors not by desert but by necessity of time.’[672] It is probable that the change in the tone of Greene’s writings did not correspond to any very thorough-going reformation of life. There is nothing to show that Greene had any share in the Martinist controversy. But he became involved in one of the personal animosities to which it led. Richard Harvey, the brother of Gabriel, in his _Lamb of God_ (S. R. 23 Oct. 1589), while attacking Lyly as Paphatchet, had ‘mistermed all our other poets and writers about London, piperly make-plaies and make-bates. Hence Greene, beeing chiefe agent for the companie [i.e. the London poets] (for hee writ more than foure other, how well I will not say: but _sat citò, si sat benè_) tooke occasion to canuaze him a little.’[673] Apparently he called the Harveys, in his _A Quip for an Upstart Courtier_ (S. R. 21 July 1592, cf. App. C, No. xlvii), the sons of a ropemaker, which is what they were.[674] In August Greene partook freely of Rhenish wine and pickled herrings at a supper with Nashe and one Will Monox, and fell into a surfeit. On 3 September he died in a squalid lodging, after writing a touching letter to his deserted wife, and begging his landlady, Mrs. Isam, to lay a wreath of bays upon him. These details are recorded by Gabriel Harvey, who visited the place and wrote an account of his enemy’s end in a letter to a friend, which he published in his _Four Letters and Certain Sonnets: especially Touching Robert Greene, and Other Parties by him Abused_ (S. R. 4 Dec. 1592).[675] This brought Nashe upon him in the _Strange News of the Intercepting of Certain Letters_[676] (S. R. 12 Jan. 1593) and began a controversy between the two which lasted for several years. In _Pierce’s Supererogation_ (27 Apr. 1593) Harvey spoke of ‘Nash, the ape of Greene, Greene the ape of Euphues, Euphues the ape of Envy’, and declared that Nashe ‘shamefully and odiously misuseth every friend or acquaintance as he hath served ... Greene, Marlowe, Chettle, and whom not?’[677] In _Have With You to Saffron Walden_ (1596), Nashe defends himself against these accusations. ‘I never abusd Marloe, Greene, Chettle in my life.... He girds me with imitating of Greene.... I scorne it ... hee subscribing to me in anything but plotting Plaies, wherein he was his crafts master.’[678] The alleged abuse of Marlowe, Greene, and Chettle belongs to the history of another pamphlet. This is _Green’s Groats-worth of Wit, Bought with a Million of Repentance_ (S. R. 20 Sept. 1592, ‘upon the peril of Henry Chettle’[679]). According to the title-page, it was ‘written before his death and published at his dying request’. To this is appended the famous address _To those Gentlemen, his Quondam Acquaintance, that spend their wits in making Plays_.[680] The reference here to Shakespeare is undeniable. Of the three playwrights warned, the first and third are almost certainly Marlowe and Peele; the third may be Lodge, but on the whole is far more likely to be Nashe (q.v.). It appears, however, that Nashe himself was supposed to have had a hand in the authorship. Chettle did his best to take the responsibility off Nashe’s shoulders in the preface to his _Kind-Hart’s Dream_ (S. R. 8 Dec. 1592; cf. App. C, No. xlix). In the epistle prefixed to the second edition of _Pierce Penniless his Supplication to the Devil_ (_Works_, i. 154), written early in 1593, Nashe denies the charge for himself and calls _The Groats-worth_ ‘a scald trivial lying pamphlet’; and it is perhaps to this that Harvey refers as abuse of Greene, Marlowe, and Chettle, although it is not clear how Marlowe comes in. There is an echo of Greene’s hit at the ‘upstart crow, beautified with our feathers’ in the lines of R. B., _Greene’s Funerals_ (1594, ed. McKerrow, 1911, p. 81):

Greene, gaue the ground, to all that wrote upon him.
Nay more the men, that so eclipst his fame:
Purloynde his plumes, can they deny the same?

It should be added that the theory that Greene himself was actor as well as playwright rests on a misinterpretation of a phrase of Harvey’s and is inconsistent with the invariable tone of his references to the profession.

_Collections_

1831. A. Dyce, _The Dramatic Works of R. G._ 2 vols.

1861, &c. A. Dyce, _The Dramatic and Poetical Works of R. G. and George Peele_.

1881–6. A. B. Grosart, _The Complete Works in Prose and Verse of R. G._ 15 vols. (_Huth Library_).

1905. J. C. Collins, _The Plays and Poems of R. G._ 2 vols.

1909. T. H. Dickinson, _The Plays of R. G._ (_Mermaid Series_).

_Dissertations_: W. Bernhardi, _R. G.’s Leben und Schriften_ (1874); J. M. Brown, _An Early Rival of Shakespeare_ (1877); N. Storojenko, _R. G.: His Life and Works_ (1878, tr. E. A. B. Hodgetts, in Grosart, i); R. Simpson, _Account of R. G., his Life and Works, and his Attacks on Shakspere_, in _School of Sh._ (1878), ii; C. H. Herford, _G.’s Romances and Shakespeare_ (1888, _N. S. S. Trans._ 181); K. Knauth, _Ueber die Metrik R. G.’s_ (1890, Halle diss.); H. Conrad, _R. G. als Dramatiker_ (1894, _Jahrbuch_, xxix. 210); W. Creizenach, _G. über Shakespeare_ (1898, _Wiener Festschrift_); G. E. Woodberry, _G.’s Place in Comedy_, and C. M. Gayley, _R. G., His Life and the Order of his Plays_ (1903, _R. E. C._ i); K. Ehrke, _R. G.’s Dramen_ (1904); S. L. Wolff, _R. G. and the Italian Renaissance_ (1907, _E. S._ xxxvii. 321); F. Brie, _Lyly und G._ (1910, _E. S._ xlii. 217); J. C. Jordan, _R. G._ (1915).

_Alphonsus. c. 1587_

1599. The Comicall Historie of Alphonsus King of Aragon. As it hath bene sundrie times Acted. Made by R. G. _Thomas Creede_.

There is general agreement that, on grounds of style, this should be the earliest of Greene’s extant plays. In IV. 1444 is an allusion to ‘mighty Tamberlaine’, and the play reads throughout like an attempt to emulate the success of Marlowe’s play of 1587 (?). In IV. i Mahomet speaks out of a brazen head. The play may therefore be alluded to in the ‘Mahomet’s poo [pow]’ of Peele’s (q.v.) _Farewell_ of April 1589, although Peele may have intended his own lost play of _The Turkish Mahomet and Hiren the Fair Greek_. There is no reference in _Alphonsus_ to the Armada of 1588. On the whole, the winter of 1587 appears the most likely date for it, and if so, it is possibly the play whose ill success is recorded by Greene in the preface to _Perimedes_ (1588). The Admiral’s revived a _Mahomet_ on 16 Aug. 1594, inventoried ‘owld Mahemetes head’ in 1598, and revived the play again in Aug. 1601, buying the book from Alleyn, who might have brought it from Strange’s, or bought it from the Queen’s (Greg, _Henslowe_, ii. 167; _Henslowe Papers_, 116). Collins dates _Alphonsus_ in 1591, on a theory, inconsistent with the biographical indications of the pamphlets, that Greene’s play-writing did not begin much before that year. A ‘Tragicomoedia von einem Königk in Arragona’ played at Dresden in 1626 might be either this play or _Mucedorus_ (Herz, 66, 78).

_A Looking Glass for London and England. c. 1590_

_With_ Lodge.

_S. R._ 1594, March 5. ‘A booke intituled the lookinge glasse for London by Thomas Lodg and Robert Greene gent.’ _Thomas Creede_ (Arber, ii. 645).

1594. A Looking Glasse for London and England. Made by Thomas Lodge Gentleman, and Robert Greene. In Artibus Magister. _Thomas Creede, sold by William Barley._

1598. _Thomas Creede, sold by William Barley._

1602. _Thomas Creede, for Thomas Pavier._

1617. _Bernard Alsop._

_Edition_ by J. S. Farmer (1914, _S. F. T._).

The facts of Lodge’s (q.v.) life leave 1588, before the Canaries voyage, or 1589–91, between that voyage and Cavendish’s expedition, as possible dates for the play. In favour of the former is Lodge’s expressed intention in 1589 to give up ‘penny-knave’s delight’. On the other hand, the subject is closely related to that of Greene’s moral pamphlets, the series of which begins in 1590, and the fall of Nineveh is referred to in _The Mourning Garment_ of that year. Fleay, ii. 54, and Collins, i. 137, accept 1590 as the date of the play. Gayley, 405, puts it in 1587, largely on the impossible notion that its ‘priest of the sun’ (IV. iii. 1540) is that referred to in the _Perimedes_ preface, but partly also from the absence of any reference to the Armada. It is possible that ‘pleasing Alcon’ in Spenser’s _Colin Clout’s Come Home Again_ (1591) may refer to Lodge as the author of the character Alcon in this play. _The Looking Glass_ was revived by Strange’s men on 8 March 1592. The clown is sometimes called Adam in the course of the dialogue (ll. 1235 sqq., 1589 sqq., 2120 sqq.), and a comparison with _James IV_ suggests that the original performer was John Adams of the Queen’s men, from whom Henslowe may have acquired the play. Fleay, ii. 54, and Gayley, 405, make attempts to distinguish Greene’s share from Lodge’s, but do not support their results by arguments. Crawford, _England’s Parnassus_, xxxii, 441, does not regard Allot’s ascription of the passages he borrowed to Greene and Lodge respectively as trustworthy. Unnamed English actors played a ‘comedia auss dem propheten Jona’ at Nördlingen in 1605 (Herz, 78).

_Friar Bacon and Friar Bungay_, _c. 1589_

_S. R._ 1594, May 14. ‘A booke entituled the Historye of ffryer Bacon and ffryer Boungaye.’ _Adam Islip_ (Arber, ii. 649). [Against this and other plays entered on the same day, Adam Islip’s name is crossed out and Edward White’s substituted.]

1594. The Honorable Historie of frier Bacon, and frier Bongay. As it was plaid by her Maiesties seruants. Made by Robert Greene Maister of Arts. _For Edward White._ [Malone dated one of his copies of the 1630 edition ‘1599’ in error; cf. Gayley, 430.]

1630.... As it was lately plaid by the Prince Palatine his Seruants.... _Elizabeth Allde_. [The t.p. has a woodcut representing Act II, sc. iii.]

1655. _Jean Bell._

_Editions_ by A. W. Ward (1878, &c.), C. M. Gayley (1903, _R. E. C._ i), W. A. Neilson (1911, _C. E. D._), and J. S. Farmer (1914, _S. F. T._).--_Dissertation_: O. Ritter, _De R. G. Fabula: F. B. and F. B._ (1866, _Thorn diss._).

Fleay, in _Appendix B_ to Ward’s ed., argues from I. i. 137, ‘next Friday is S. James’, that the date of the play is 1589, in which year St. James’s Day fell on a Friday. This does not seem to me a very reliable argument. Probably the play followed not long after Marlowe’s _Doctor Faustus_ (q.v.), itself probably written in 1588–9. The date of 1589, which Ward, i. 396, and Gayley, 411, accept, is likely enough. Collins prefers 1591–2, and notes (ii. 4) a general resemblance in tone and theme to _Fair Em_, but there is nothing to indicate the priority of either play, and no charge of plagiarism in the pamphlets (_vide supra_) to which _Fair Em_ gave rise. _Friar Bacon_ was revived by Strange’s men on 19 Feb. 1592, and again by the Queen’s and Sussex’s men together on 1 April 1594. Doubtless it was Henslowe’s property, as Middleton wrote a prologue and epilogue for a performance by the Admiral’s men at Court at Christmas 1602 (Greg, _Henslowe_, ii. 149).

_Orlando Furioso. c. 1591_

[_MS._] The Dulwich MSS. contain an actor’s copy with cues of Orlando’s part. Doubtless it belonged to Alleyn. The fragment covers ll. 595–1592 of the Q_{q}, but contains passages not in those texts. It is printed by Collier, _Alleyn Papers_, 198, Collins, i. 266, and Greg, _Henslowe Papers_, 155.

_S. R._ 1593, Dec. 7. ‘A plaie booke, intituled, the historye of Orlando ffurioso, one of the xij peeres of Ffraunce.’ _John Danter_ (Arber, ii. 641).

1594, May 28. ‘Entred for his copie by consent of John Danter.... A booke entytuled The historie of Orlando furioso, &c. Prouided alwaies, and yt is agreed that soe often as the same booke shalbe printed, the saide John Danter to haue thimpryntinge thereof.’ _Cuthbert Burby_ (Arber, ii. 650).

1594. The Historie of Orlando Furioso One of the twelve Pieres of France. As it was plaid before the Queenes Maiestie. _John Danter for Cuthbert Burby._

1599. _Simon Stafford for Cuthbert Burby._

_Edition_ by W. W. Greg (1907, _M. S. R._).

The Armada (1588) is referred to in I. i. 87. Two passages are common to the play and Peele’s _Old Wive’s Tale_ (before 1595), and were probably borrowed by Peele with the name Sacripant, which Greene got from Ariosto. The play cannot be the ‘King Charlemagne’ of Peele’s (q.v.) _Farewell_ (April 1589), as Charlemagne does not appear in it. The appearance of Sir John Harington’s translation of Ariosto’s _Orlando Furioso_ in 1591 suggests that as a likely date. This also would fit the story (_vide supra_) of the second sale to the Admiral’s men, when the Queen’s ‘were in the country’ (cf. vol. ii, p. 112). Strange’s men played _Orlando_ for Henslowe on 22 Feb. 1592. Collins, i. 217, seems to accept 1591 as the date, but Fleay, i. 263, Ward, i. 395, and Gayley, 409, prefer 1588–9. So does Greg (_Henslowe_, ii. 150) on the assumption that _Old Wive’s Tale_ (q.v.) ‘must belong to 1590’. A ‘Comoedia von Orlando Furioso’ was acted at Dresden in 1626 (Herz, 66, 77).

_James the Fourth. c. 1591_

_S. R._ 1594, May 14. ‘A booke intituled the Scottishe story of James the Ffourth slayne at Fflodden intermixed with a plesant Comedie presented by Oboron Kinge of ffayres.’ _Thomas Creede_ (Arber, ii. 648.)

1598. The Scottish Historie of Iames the fourth, slaine at Flodden. Entermixed with a pleasant Comedie, presented by Oboram, King of Fayeries: As it hath bene sundrie times publikely plaide. Written by Robert Greene, Maister of Arts. _Thomas Creede._

_Editions_ by J. M. Manly (1897, _Specimens_, ii. 327) and A. E. H. Swaen and W. W. Greg (1921, _M. S. R._).--_Dissertation_: W. Creizenach, _Zu G.’s J. IV_ (1885, _Anglia_, viii. 419).

There is very little to date the play. Its comparative merit perhaps justifies placing it, as Greene’s maturest drama, in 1591. Collins, i. 44, agrees; but Fleay, i. 265; Ward, i. 400; Gayley, 415, prefer 1590. Fleay finds traces of a second hand, whom he believes to be Lodge, but he is not convincing. In l. 2269 the name Adam appears for Oberon in a stage-direction, which, when compared with _A Looking-Glass_, suggests that the actor was John Adams of the Queen’s.

_Lost Play_

Warburton’s list of burnt plays (_3 Library_, ii. 231) contains the duplicate entries ‘His^t of Jobe by Rob. Green’ and ‘The Trag^d of Jobe. Good.’ Greg suggests a confusion with Sir Robert Le Grys, who appears in the list as ‘S^r Rob. le Green’.

The statement that Greene had a share in a play on Henry VIII (_Variorum_, xix. 500) seems to be based on a confusion with a Robert Greene named by Stowe as an authority for his _Annales_ (Collins, i. 69).

_Doubtful Plays_

Greene’s hand has been sought in _Contention of York and Lancaster_, _Edward III_, _Fair Em_, _George a Greene_, _Troublesome Reign of King John_, _Knack to Know a Knave_, _Thracian Wonder_, _Leire_, _Locrine_, _Mucedorus_, _Selimus_, _Taming of A Shrew_, _Thomas Lord Cromwell_ (cf. ch. xxiv), and Shakespeare’s _Titus Andronicus_ and _Henry VI_.

FULKE GREVILLE, LORD BROOKE (_c._ 1554–1628).

Greville’s father, Sir Fulke, was a cadet of the Grevilles of Milcote, and held great estates in Warwickshire. The son was born at Beauchamp Court ten years before he entered Shrewsbury School on 17 Oct. 1564 with Philip Sidney, of whom he wrote, _c._ 1610–12, a _Life_ (ed. Nowell Smith, 1907). In 1568 he went to Jesus College, Cambridge, and from 1577 was a courtier in high favour with Elizabeth, and entrusted with minor diplomatic and administrative tasks. He took part in the great tilt of 15 May 1581 (cf. ch. xxiv) and was a steady patron of learning and letters. His own plays were for the closet. He was knighted in 1597. James granted him Warwick Castle in 1605, but he was no friend of Robert Cecil, and took no great part in affairs until 1614, when he became Chancellor of the Exchequer. In 1621 he was created Lord Brooke. On 1 Sept. 1628 he was stabbed to death by his servant Ralph Haywood. D. Lloyd, _Statesmen of England_ (1665), 504, makes him claim to have been ‘master’ to Shakespeare and Jonson.

_Collections_

_S. R._ 1632, Nov. 10 (Herbert). ‘A booke called Certaine learned and elegant Workes of Fulke Lord Brooke the perticular names are as followeth (viz^t) ... The Tragedy of Alaham. The Tragedy of Mustapha (by assignment from Master Butter).... _Seile_ (Arber, iv. 288).

1633. Certaine Learned and Elegant Workes of the Right Honorable Fulke Lord Brooke, Written in his Youth, and familiar exercise with Sir Philip Sidney. The seuerall Names of which Workes the following page doth declare. _E. P. for Henry Seyle._ [Contains _Alaham_ and _Mustapha_.]

1670. The Remains of Sir Fulk Grevill Lord Brooke: Being Poems of Monarchy and Religion: Never before Printed. _T. N. for Henry Herringham._ [Contains _Alaham_ and _Mustapha_.]

1870. A. B. Grosart, _The Works in Verse and Prose Complete of the Lord Brooke_. 4 vols. (_Fuller Worthies Library_).

_Dissertations_: M. W. Croll, _The Works of F. G._ (1903, _Pennsylvania thesis_); R. M. Cushman (_M. L. N._ xxiv. 180).

_Alaham. c. 1600_ (?)

[_MS._] Holograph at Warwick Castle (cf. Grosart, iv. 336).

1633. [Part of _Coll._ 1633. Prologue and Epilogue; at end, ‘This Tragedy, called Alaham, may be printed, this 13 day of June 1632, Henry Herbert.’]

Croll dates 1586–1600 on metrical grounds, and Cushman 1598–1603, as bearing on Elizabethan politics after Burghley’s death.

_Mustapha. 1603 < > 8_

[_MSS._] Holograph at Warwick Castle (cf. Grosart, iv. 336). _Camb. Univ. MS._ F. f. 2. 35.

_S. R._ 1608, Nov. 25 (Buck). ‘A booke called the Tragedy of Mustapha and Zangar.’ _Nathanaell Butter_ (Arber, iii. 396).

1609. The Tragedy of Mustapha. _For Nathaniel Butter._

_S. R._ 1632, Nov. 10. Transfer from Butter to Seile (Arber, iv. 288) (_vide Collections_, _supra_).

Cushman dates 1603–9, as bearing on the Jacobean doctrine of divine right.

MATTHEW GWINNE (_c._ 1558–1627).

Gwinne, the son of a London grocer of Welsh descent, entered St. John’s, Oxford, from Merchant Taylors in 1574, and became Fellow of the College, taking his B.A. in 1578, his M.A. in 1582, and his M.D. in 1593. In 1592 he was one of the overseers for the plays at the visit of Elizabeth (Boas, 252). He became Professor of Physic at Gresham College in 1597 and afterwards practised as a physician in London.

LATIN PLAYS

_Nero > 1603_

_S. R._ 1603, Feb. 23 (Buckerydge). ‘A booke called Nero Tragedia nova Matheo Gwyn medicine Doctore Colegij Divi Johannis precursoris apud Oxonienses socio Collecta.’ _Edward Blunt_ (Arber, iii. 228).

1603. Nero Tragoedia Nova; Matthaeo Gwinne Med. Doct. Collegii Diui Joannis Praecursoris apud Oxonienses Socio collecta è Tacito, Suetonio, Dione, Seneca. _Ed. Blount._ [Epistle to James, ‘Londini ex aedibus Greshamiis Cal. Jul. 1603’, signed ‘Matthaeus Gvvinne’; commendatory verses to Justus Lipsius, signed ‘Io. Sandsbury Ioannensis’; Prologue and Epilogue.]

1603. _Ed. Blount._ [Epistle to Thomas Egerton and Francis Leigh, ‘Londini ex aedibus Greshamiis in festo Cinerum 1603’; Epilogue.]

1639. _M. F. Prostant apud R. Mynne._

Boas, 390, assigns the play to St. John’s, Oxford, _c._ Easter 1603, but the S. R. entry and the ‘Elisa regnat’ of the Epilogue point to an Elizabethan date.

_Vertumnus. 29 Aug. 1605_

[_MS._] _Inner Temple Petyt MS._ 538, 43, f. 293, has a _scenario_, with the title ‘The yeare about’.

1607. Vertumnus sive Annus Recurrens Oxonii, xxix Augusti, Anno. 1605. Coram Iacobo Rege, Henrico Principe, Proceribus. A Joannensibus in Scena recitatus ab vno scriptus, Phrasi Comica propè Tragicis Senariis. _Nicholas Okes, impensis Ed. Blount._ [Epistle to Henry, signed ‘Matthaeus Gwinne’; Verses to Earl of Montgomery; commendatory verses, signed ‘Guil. Paddy’, ‘Ioa. Craigius’, ‘Io. Sansbery Ioannensis’, ‘Θώμας ὁ Φρεάῤῥεος’; _Author ad Librum_. Appended are verses, signed ‘M. G.’ and headed ‘Ad Regis introitum, è Ioannensi Collegio extra portam Vrbis Borealem sito, tres quasi Sibyllae, sic (ut e sylua) salutarunt’, which are thought to have given a hint for _Macbeth_.]

This was shown to James during his visit to Oxford, and it sent him to sleep. The performance was at Christ Church by men of St. John’s.

STEPHEN HARRISON (_c._ 1604).

Designer and describer of the arches at the coronation of James I (cf. ch. xxiv, C).

RICHARD HATHWAY (_c._ 1600).

Practically nothing is known of Hathway outside Henslowe’s diary, although he was included by Meres amongst the ‘best for comedy’ in 1598, and wrote commendatory verses for Bodenham’s _Belvedere_ (1600). It is only conjecture that relates him to the Hathaways of Shottery in Warwickshire, of whom was Shakespeare’s father-in-law, also a Richard. He has left nothing beyond an undetermined share of _1 Sir John Oldcastle_, but the following plays by him are traceable in the diary:

(a) _Plays for the Admiral’s, 1598–1602_

(i) _King Arthur._

April 1598.

(ii) _Valentine and Orson._

With Munday, July 1598. It is uncertain what relation, if any, this bore to an anonymous play of the same name which was twice entered in the S. R. on 23 May 1595 and 31 March 1600 (Arber, ii. 298, iii. 159), was ascribed in both entries to the Queen’s and not the Admiral’s, and is not known to be extant.

(iii, iv) _1, 2 Sir John Oldcastle._

With Drayton (q.v.), Munday, and Wilson, Oct.–Dec. 1599.

(v) _Owen Tudor._

With Drayton, Munday, and Wilson, Jan. 1600; but apparently not finished.

(vi) _1 Fair Constance of Rome._

With Dekker, Drayton, Munday, and Wilson (q.v.), June 1600.

(vii) _2 Fair Constance of Rome._

June 1600; but apparently not finished.

(viii) _Hannibal and Scipio._

With Rankins, Jan. 1601. Greg, ii. 216, bravely suggests that Nabbes’s play of the same name, printed as a piece of Queen Henrietta’s men in 1637, may have been a revision of this.

(ix) _Scogan and Skelton._

With Rankins, Jan.–March 1601.

(x) _The Conquest of Spain by John of Gaunt._

With Rankins, Mar.–Apr. 1601, but never finished, as shown by a letter to Henslowe from S. Rowley, bidding him let Hathway ‘have his papars agayne’ (_Henslowe Papers_, 56).

(xi, xii) _1, 2 The Six Clothiers._

With Haughton and Smith, Oct.–Nov. 1601; but the second part was apparently unfinished.

(xiii) _Too Good To Be True._

With Chettle (q.v.) and Smith, Nov. 1601–Jan. 1602.

(xiv) _Merry as May Be._

With Day and Smith, Nov. 1602.

(b) _Plays for Worcester’s, 1602–3_

(xv, xvi) _1, 2 The Black Dog of Newgate._

With Day, Smith, and an anonymous ‘other poete’, Nov. 1602–Feb. 1603.

(xvii) _The Unfortunate General._

With Day, Smith, and a third, Jan. 1603.

(c) _Play for the Admiral’s, 1603_

(xviii) _The Boss of Billingsgate._

With Day and one or more other ‘felowe poetes’, March 1603.

CHRISTOPHER HATTON (1540–91).

Christopher Hatton, of Holdenby, Northants, entered the Inner Temple in Nov. 1559. He was Master of the Game at the Grand Christmas of 1561, and the mask to which he is said to have owed his introduction to Elizabeth’s favour was probably that which the revellers took to Court, together with Norton (q.v.) and Sackville’s _Gorboduc_ on 18 Jan. 1562. He became a Gentleman Pensioner in 1564, Gentleman of the Privy Chamber, Captain of the Guard in 1572, Vice-Chamberlain and Privy Councillor in 1578, when he was knighted, and Lord Chancellor on 25 April 1587. He was conspicuous at Court in masks and tilts, and is reported, even as Lord Chancellor, to have laid aside his gown and danced at the wedding of his nephew and heir, Sir William Newport, alias Hatton, to Elizabeth Gawdy at Holdenby in June 1590.

His only contribution to the drama is as writer of an act of _Gismond of Salerne_ at the Inner Temple in 1568 (cf. s.v. Wilmot).

WILLIAM HAUGHTON (_c._ 1575–1605).

Beyond his extant work and the entries in Henslowe’s diary, in the earliest of which, on 5 Nov. 1597, he appears as ‘yonge’ Haughton, little is known of Haughton. Cooper, _Ath. Cantab._ ii. 399, identified him with an alleged Oxford M.A. of the same name who was incorporated at Cambridge in 1604, but turns out to have misread the name, which is ‘Langton’ (Baugh, 15). He worked for the Admiral’s during 1597–1602, and found himself in the Clink in March 1600. Baugh, 22, prints his will, made on 6 June 1605, and proved on 20 July. He left a widow Alice and children. Wentworth Smith (q.v.) and one Elizabeth Lewes were witnesses. He was then of Allhallows, Stainings. He cannot be traced in the parish, but the name, which in his will is Houghton, is also spelt by Henslowe Harton, Horton, Hauton, Hawton, Howghton, Haughtoun, Haulton, and Harvghton, and was common in London. He might be related to a William Houghton, saddler, who held a house in Turnmill Street in 1577 (Baugh, 11), since in 1601 (_H. P._ 57) Day requested that a sum due to Haughton and himself might be paid to ‘Will Hamton sadler’.

_Englishmen for My Money_, or _A Woman Will Have
Her Will. 1598_

_S. R._ 1601, Aug. 3. ‘A comedy of A woman Will haue her Will.’ _William White_ (Arber, iii. 190).

1616. English-Men For my Money: or, A pleasant Comedy, called, A Woman will haue her Will. _W. White._

1626.... As it hath beene diuers times Acted with great applause. _I. N., sold by Hugh Perry._

1631. _A. M., sold by Richard Thrale._

_Editions_ in _O. E. D._ (1830, i) and Dodsley^4, x (1875), and by J. S. Farmer (1911, _T. F. T._), W. W. Greg (1912, _M. S. R._), and A. C. Baugh, (1917).

The evidence for Haughton’s evidence is in two payments in Henslowe’s diary of 18 Feb. and early in May 1598 on behalf of the Admiral’s. The sum of these is only £2, but it seems possible that at least one, and perhaps more than one, other payment was made for the book in 1597 (cf. Henslowe, ii. 191).

_Patient Grissell. 1599_

_With_ Chettle and Dekker (q.v.).

_Lost and Doubtful Plays_

The following plays by Haughton, all for the Admiral’s, are traceable in Henslowe’s diary:

(i) _A Woman Will Have Her Will._

See _supra_.

(ii) _The Poor Man’s Paradise._

Aug. 1599; apparently not finished.

(iii) _Cox of Collumpton._

With Day, Nov. 1599; on a ‘note’ of the play by Simon Forman, cf. ch. xiii (Admiral’s).

(iv) _Thomas Merry_, or _Beech’s Tragedy_.

With Day, Nov.–Dec. 1599, on the same theme as one of Yarington’s _Two Lamentable Tragedies_ (q.v.).

(v) _The Arcadian Virgin._

With Chettle, Dec. 1599; apparently not finished.

(vi) _Patient Grissell._

With Chettle and Dekker (q.v.), Oct.–Dec. 1599.

(vii) _The Spanish Moor’s Tragedy._

With Day and Dekker, Feb. 1600; but apparently then unfinished; possibly identical with _Lust’s Dominion_ (cf. s.v. Marlowe).

(viii) _The Seven Wise Masters._

With Chettle, Day, and Dekker, March 1600.

(ix) _Ferrex and Porrex._

March-April 1600.

(x) _The English Fugitives._

April 1600, but apparently not finished.

(xi) _The Devil and His Dame._

6 May 1600; probably the extant anonymous _Grim the Collier of Croydon_ (q.v.).

(xii) _Strange News Out of Poland._

With ‘M^r. Pett’, May 1600.

(xiii) _Judas._

Haughton had 10_s._ for this, May 1600; apparently the play was finished by Bird and S. Rowley, Dec. 1601.

(xiv) _Robin Hood’s Pennorths._

Dec. 1600–Jan. 1601; but apparently not finished.

(xv, xvi) _2, 3 The Blind Beggar of Bethnal Green._

With Day (q.v.), Jan.–July 1600.

(xvii) _The Conquest of the West Indies._

With Day and Smith, April-Sept. 1601.

(xviii) _The Six Yeomen of the West._

With Day, May–June 1601.

(xix) _Friar Rush and the Proud Woman of Antwerp._

With Chettle and Day, July 1601–Jan. 1602.

(xx) _2 Tom Dough._

With Day, July–Sept. 1601; but apparently not finished.

(xxi, xxii) _1, 2 The Six Clothiers._

With Hathway and Smith, Oct.–Nov. 1601; but apparently the second part was not finished.

(xxiii) _William Cartwright._

Sept. 1602; perhaps never finished.

WALTER HAWKESWORTH (?-1606).

A Yorkshireman by birth, Hawkesworth entered Trinity College, Cambridge, in 1588, and became a Fellow, taking his B.A. in 1592 and his M.A. in 1595. In 1605 he went as secretary to the English embassy in Madrid, where he died.

LATIN PLAYS

_Leander. 1599_

[_MSS._] _T. C. C. MS._ R. 3. 9. _Sloane MS._ 1762. [‘Authore M^{ro} Haukesworth, Collegii Trinitatis olim Socio Acta est secundo A. D. 1602 comitiis Baccalaureorum ... primo acta est A. D. 1598.’ Prologue, ‘ut primo acta est’; Additions for revival; Actor-lists.]

_St. John’s, Cambridge, MS._ J. 8. [Dated at end ‘7 Jan. 1599’.]

_Emmanuel, Cambridge, MS._ I. 2. 30.

_Cambridge Univ. Libr. MS._ Ee. v. 16.

_Bodl. Rawl. Misc. MS._ 341.

_Lambeth MS._ 838.

The production in 1599 and 1603 indicated by the MSS. agrees with the Trinity names in the actor-lists (Boas, 399).

_Labyrinthus. 1603_ (?)

[_MSS._] _T. C. C. MS._ R. 3. 6.

_Cambridge Univ. Libr. MS._ Ee. v. 16. [Both ‘M^{ro} Haukesworth’. Prologue. Actor-list in _T. C. C. MS._]

_St. John’s, Cambridge, MS._ J. 8. _T. C. C. MS._ R. 3. 9. _Bodl. Douce MSS._ 43, 315. _Lambeth MS._ 838.

_S. R._ 1635, July 17 (Weekes). ‘A Latyn Comedy called Laborinthus &c.’ _Robinson_ (Arber, iv. 343).

1636. Labyrinthus Comoedia, habita coram Sereniss. Rege Iacobo in Academia Cantabrigiensi. _Londini, Excudebat H. R._ [Prologue.]

An allusion in the text (v. 5) to the marriage ‘_heri_’ of Leander and Flaminia has led to the assumption that production was on the day after the revival of _Leander_ in 1603; the actor-list has some inconsistencies, and is not quite conclusive for any year of the period 1603–6 (Boas, 317, 400).

MARY HERBERT, COUNTESS OF PEMBROKE (1561–1621).

Mary, daughter of Sir Henry, and sister of Sir Philip, Sidney, married Henry, 2nd Earl of Pembroke, in 1577. She had literary tastes and was a liberal patroness of poets, notably Samuel Daniel. Most of her time appears to have been spent at her husband’s Wiltshire seats of Wilton, Ivychurch, and Ramsbury, but in the reign of James she rented Crosby Hall in Bishopsgate, and in 1615 the King granted her for life the manor of Houghton Conquest, Beds.

_Dissertation_: F. B. Young, _Mary Sidney, Countess of Pembroke_ (1912).

TRANSLATION

_Antony. 1590_

_S. R._ 1592, May 3. ‘Item Anthonius a tragedie wrytten also in French by Robert Garnier ... donne in English by the Countesse of Pembrok.’ _William Ponsonby_ (Arber, ii. 611).

1592. A Discourse of Life and Death. Written in French by Ph. Mornay. Antonius, A Tragoedie written also in French by Ro. Garnier Both done in English by the Countesse of Pembroke. _For William Ponsonby._

1595. The Tragedie of Antonie. Doone ... _For William Ponsonby_.

_Edition_ by A. Luce (1897). The _Marc-Antoine_ (1578) of Robert Garnier was reissued in his _Huit Tragédies_ (1580).

ENTERTAINMENT

_Astraea. 1592_ (?)

In Davison’s _Poetical Rapsody_ (1602, S. R. 28 May 1602) is ‘A Dialogue betweene two Shepheards, Thenot and Piers, in Praise of Astrea. Made by the excellent Lady the Lady Mary Countesse of Pembrook at the Queenes Maiesties being at her house at ---- Anno 15--’.

S. Lee (_D. N. B._) puts the visit at Wilton ‘late in 1599’. But there was no progress in 1599, and progresses to Wilts. planned in 1600, 1601, and 1602 were abandoned. Presumably the verses were written for the visit to Ramsbury of 27–9 Aug. 1592 (cf. App. A).

JASPER HEYWOOD (1535–98).

Translator of Seneca (q.v.).

THOMAS HEYWOOD (_c._ 1570–1641).

Heywood regarded Lincolnshire as his ‘country’ and had an uncle Edmund, who had a friend Sir Henry Appleton. K. L. Bates has found Edmund Heywood’s will of 7 Oct. 1624 in which Thomas Heywood and his wife are mentioned, and has shown it to be not improbable that Edmund was the son of Richard Heywood, a London barrister who had manors in Lincolnshire. If so, Thomas was probably the son of Edmund’s disinherited elder brother Christopher who was aged 30 in 1570. And if Richard Heywood is the same who appears in the circle of Sir Thomas More, a family connexion with the dramatist John Heywood may be conjectured. The date of Thomas’s birth is unknown, but he tells us that he was at Cambridge, although a tradition that he became Fellow of Peterhouse cannot be confirmed, and is therefore not likely to have begun his stage career before the age of 18 or thereabouts. Perhaps we may conjecture that he was born _c._ 1570, for a Thomas Heywood is traceable in the St. Saviour’s, Southwark, token-books from 1588 to 1607, and children of Thomas Heywood ‘player’ were baptized in the same parish from 28 June 1590 to 5 Sept. 1605 (Collier, in _Bodl. MS._ 29445). This is consistent with his knowledge (App. C, No. lvii) of Tarlton, but not of earlier actors. He may, therefore, so far as dates are concerned, easily have written _The Four Prentices_ as early as 1592; but that he in fact did so, as well as his possible contributions to the Admiral’s repertory of 1594–7, are matters of inference (cf. Greg, _Henslowe_, ii. 284). The editors of the _Apology for Actors_ (Introd. v) say that in his _Funeral Elegy upon James I_ (1625) he claims to have been ‘the theatrical servant of the Earl of Southampton, the patron of Shakespeare’. I have never seen the Elegy. It is not in the B. M., but a copy passed from the Bindley to the Brown collection. There is no other evidence that Southampton ever had a company of players. The first dated notice of Heywood is in a payment of Oct. 1596 on behalf of the Admiral’s ‘for Hawodes bocke’. On 25 March 1598 he bound himself to Henslowe for two years as an actor, doubtless for the Admiral’s, then in process of reconstitution. Between Dec. 1598 and Feb. 1599 he wrote two plays for this company, and then disappears from their records. He was not yet out of his time with Henslowe, but if _Edward IV_ is really his, he may have been enabled to transfer his services to Derby’s men, who seem to have established themselves in London in the course of 1599. By the autumn of 1602 he was a member of Worcester’s, for whom he had probably already written _How a Man may Choose a Good Wife from a Bad_. He now reappears in Henslowe’s diary both as actor and as playwright. On 1 Sept, he borrowed 2_s._ 6_d._ to buy garters, and between 4 Sept, and 6 March 1603 he wrote or collaborated in not less than seven plays for the company. During the same winter he also helped in one play for the Admiral’s. It seems probable that some of his earlier work was transferred to Worcester’s. He remained with them, and in succession to them Queen Anne’s, until the company broke up soon after the death of the Queen in 1619. Very little of his work got into print. Of the twelve plays at most which appeared before 1619, the first seven were unauthorized issues; from 1608 onwards, he himself published five with prefatory epistles. About this date, perhaps in the enforced leisure of plague-time, he also began to produce non-dramatic works, both in prose and verse, of which the _Apology for Actors_, published in 1612, but written some years earlier (cf. App. C, No. lvii), is the most important. The loss of his _Lives of All the Poets_, apparently begun _c._ 1614 and never finished, is irreparable. After 1619 Heywood is not traceable at all as an actor; nor for a good many years, with the exception of one play, _The Captives_, for the Lady Elizabeth’s in 1624, as a playwright, either on the stage or in print. In 1623 a Thomas Heywarde lived near Clerkenwell Hill (_Sh.-Jahrbuch_, xlvi. 345) and is probably the dramatist. In 1624 he claims in the Epistle to _Gynaikeion_ the renewed patronage of the Earl of Worcester, since ‘I was your creature, and amongst other your servants, you bestowed me upon the excellent princesse Q. Anne ... but by her lamented death, your gift is returned againe into your hands’. But about 1630 he emerges again. Old plays of his were revived and new ones produced both by Queen Henrietta’s men at the Cockpit and the King’s at the Globe and Blackfriars. He wrote the Lord Mayor’s pageants for a series of years. He sent ten more plays to the press, and included a number of prologues, epilogues, and complimentary speeches of recent composition in his _Pleasant Dialogues and Dramas_ of 1637. This period lies outside my survey. I have dealt with all plays in which there is a reasonable prospect of finding early work, but have not thought it necessary to discuss _The English Traveller_, or _A Maidenhead Well Lost_, merely because of tenuous attempts by Fleay to connect them with lost plays written for Worcester’s or still earlier anonymous work for the Admiral’s, any more than _The Fair Maid of the West_, _The Late Lancashire Witches_, or _A Challenge for Beauty_, with regard to which no such suggestion is made. As to _Love’s Mistress_, see the note on _Pleasant Dialogues and Dramas_. The Epistle to _The English Traveller_ (1633) is worth quoting. Heywood describes the play as ‘one reserued amongst two hundred and twenty, in which I haue had either an entire hand, or at the least a maine finger’, and goes on to explain why his pieces have not appeared as _Works_. ‘One reason is, that many of them by shifting and change of Companies, haue beene negligently lost, Others of them are still retained in the hands of some Actors, who thinke it against their peculiar profit to haue them come in Print, and a third, That it neuer was any great ambition in me, to bee in this kind Volumniously read.’ Heywood’s statement would give him an average of over five plays a year throughout a forty years’ career, and even if we assume that he included every piece which he revised or supplied with a prologue, it is obvious that the score or so plays that we have and the dozen or so others of which we know the names must fall very short of his total output. ‘Tho. Heywood, Poet’, was buried at St. James’s, Clerkenwell, on 16 Aug. 1641 (_Harl. Soc. Reg._ xvii. 248), and therefore the alleged mention of him as still alive in _The Satire against Separatists_ (1648) must rest on a misunderstanding.

_Collections_

1842–51. B. Field and J. P. Collier, _The Dramatic Works of Thomas Heywood_. 2 vols. (_Shakespeare Society_). [Intended for a complete edition, although issued in single parts; a title-page for vol. i was issued in 1850 and the 10th Report of the Society treats the plays for 1851 as completing vol. ii. Twelve plays were issued, as cited _infra_.]

1874. _The Dramatic Works of Thomas Heywood._ 6 vols. (_Pearson Reprints_). [All the undoubted plays, with _Edward IV_ and _Fair Maid of the Exchange_; also Lord Mayors’ Pageants and part of _Pleasant Dialogues and Dramas_.]

1888. A. W. Verity, _The Best Plays of Thomas Heywood_ (_Mermaid Series_). [_Woman Killed with Kindness_, _Fair Maid of the West_, _English Traveller_, _Wise Woman of Hogsdon_, _Rape of Lucrece._]

_Dissertations_: K. L. Bates, _A Conjecture as to Thomas Heywood’s Family_ (1913, _J. G. P._ xii. 1); P. Aronstein, _Thomas Heywood_ (1913, _Anglia_, xxxvii. 163).

_The Four Prentices of London. 1592_ (?)

_S. R._ 1594, June 19. ‘An enterlude entituled Godfrey of Bulloigne with the Conquest of Jerusalem.’ _John Danter_ (Arber, ii. 654).

1615. The Foure Prentises of London. With the Conquest of Ierusalem. As it hath bene diuerse times Acted, at the Red Bull, by the Queenes Maiesties Seruants. Written by Thomas Heywood. _For I. W._ [Epistle to the Prentices, signed ‘Thomas Heywood’ and Prologue, really an Induction.]

1632.... Written and newly reuised by Thomas Heywood. _Nicholas Okes._

_Editions_ in Dodsley^{2, 3} (1780–1827) and by W. Scott (1810, _A. B. D._ iii).

The Prologue gives the title as _True and Strange, or The Four Prentises of London_. The Epistle speaks of the play as written ‘many yeares since, in my infancy of iudgment in this kinde of poetry, and my first practice’ and ‘some fifteene or sixteene yeares agoe’. This would, by itself, suggest a date shortly after the publication of Fairfax’s translation from Tasso under the title of _Godfrey of Bulloigne, or The Recouerie of Ierusalem_ in 1600. But the Epistle also refers to a recent revival of ‘the commendable practice of long forgotten armes’ in ‘the Artillery Garden’. This, according to Stowe, _Annales_ (1615), 906, was in 1610, which leads Fleay, i. 182, followed by Greg (_Henslowe_, ii. 166), to assume that the Epistle was written for an edition, now lost, of about that date. In support they cite Beaumont’s _K. B. P._ iv. 1 (dating it 1610 instead of 1607), ‘Read the play of the _Foure Prentices of London_, where they tosse their pikes so’. Then, calculating back sixteen years, they arrive at the anonymous _Godfrey of Bulloigne_ produced by the Admiral’s on 19 July 1594, and identify this with _The Four Prentices_, in which Godfrey is a character. But this _Godfrey of Bulloigne_ was a second part, and it is difficult to suppose that the first part was anything but the play entered on the S. R. earlier in 1594. This, from its title, clearly left no room for a second part covering the same ground as _The Four Prentices_, which ends with the capture of Jerusalem. If then Heywood’s play is as old as 1594 at all, it must be identified with the first part of _Godfrey of Bulloigne_. And is not this in its turn likely to be the _Jerusalem_ played by Strange’s men on 22 March and 25 April 1592? If so, Heywood’s career began very early, and, as we can hardly put his Epistle earlier than the opening of the Artillery Garden in 1610, his ‘fifteene or sixteene yeares’ must be rather an understatement. There is of course nothing in the Epistle itself to suggest that the play had been previously printed, but we know from the Epistle to _Lucrece_ that the earliest published plays by Heywood were surreptitious.

Greg, _Henslowe_, ii. 230, hesitatingly suggests that a purchase by Worcester’s of ‘iiij lances for the comody of Thomas Hewedes & M^r. Smythes’ on 3 Sept. 1602 may have been for a revival of _The Four Prentices_, ‘where they tosse their pikes so’, transferred from the Admiral’s. But I think his afterthought, that the comedy was Heywood and Smith’s _Albere Galles_, paid for on the next day, is sound.

_Sir Thomas Wyatt. 1602_

See s.v. Dekker.

_The Royal King and the Loyal Subject. 1602_ (?)

_S. R._ 1637, March 25 (Thomas Herbert, deputy to Sir Henry Herbert). ‘A Comedy called the Royall king and the Loyall Subiects by Master Heywood.’ _James Beckett_ (Arber, iv. 376).

1637. The Royall King, and the Loyall Subject. As it hath beene Acted with great Applause by the Queenes Maiesties Servants. Written by Thomas Heywood. _Nich. and John Okes for James Becket._ [Prologue to the Stage and Epilogue to the Reader.]

_Editions_ by J. P. Collier (1850, _Sh. Soc._) and K. W. Tibbals (1906, _Pennsylvania Univ. Publ._).--_Dissertation_: O. Kämpfer, _Th. Heywood’s The Royal King and Painter’s Palace of Pleasure_ (1903, _Halle diss._).

The Epilogue describes the play as ‘old’, and apparently relates it to a time when rhyme, of which it makes considerable use, was more looked after than ‘strong lines’, and when stuffed and puffed doublets and trunk-hose were worn, which would fit the beginning of the seventeenth century. An anonymous Marshal is a leading character, and the identification by Fleay, i. 300, with the _Marshal Osric_ written by Heywood and Smith for Worcester’s in Sept. 1602 is not the worst of his guesses.

_A Woman Killed With Kindness. 1603_

1607. A Woman Kilde with Kindnesse. Written by Tho: Heywood. _William Jaggard, sold by John Hodgets._ [Prologue and Epilogue.]

1617.... As it hath beene oftentimes Acted by the Queenes Maiest. Seruants.... The third Edition. _Isaac Jaggard._

_Editions_ in Dodsley^{1, 2, 3} (1744–1827) and by W. Scott (1810, _A. B. D._ ii), J. P. Collier (1850, _Sh. Soc._), A. W. Ward (1897, _T. D._), F. J. Cox (1907), W. A. Neilson (1911, _C. E. D._), K. L. Bates (1919).--_Dissertation_: R. G. Martin, _A New Source for a Woman Killed with Kindness_ (1911, _E. S._ xliii. 229).

Henslowe, on behalf of Worcester’s, paid Heywood £6 for this play in Feb. and March 1603 and also bought properties for it. It is mentioned in T. M., _The Black Book of London_ (1604), sig. E3.

_The Wise Woman of Hogsdon. c. 1604_ (?)

_S. R._ 1638, Mar. 12 (Wykes). ‘A Play called The wise woman of Hogsden by Thomas Haywood.’ _Henry Sheapard_ (Arber, iv. 411).

1638. The Wise Woman of Hogsdon. A Comedie. As it hath been sundry times Acted with great Applause. Written by Tho: Heywood. _M. P. for Henry Shephard._

Fleay, i. 291, suggested a date _c._ 1604 on the grounds of allusions to other plays of which _A Woman Killed with Kindness_ is the latest (ed. Pearson, v. 316), and a conjectural identification with Heywood’s _How to Learn of a Woman to Woo_, played by the Queen’s at Court on 30 Dec. 1604. The approximate date is accepted by Ward, ii. 574, and others. It may be added that there are obvious parallelisms with the anonymous _How a Man may Choose a Good Wife from a Bad_ (1602) generally assigned to Heywood.

_If You Know not Me, You Know Nobody. 1605_

_S. R._ 1605, July 5 (Hartwell). ‘A booke called yf you knowe not me you knowe no body.’ _Nathaniel Butter_ (Arber, iii. 295).

1605, Sept. 14 (Hartwell). ‘A Booke called the Second parte of Yf you knowe not me you knowe no bodie with the buildinge of the exchange.’ _Nathaniel Butter_ (Arber, iii. 301).

[_Part i_]

1605. If you Know not me, You Know no bodie: Or, The troubles of Queene Elizabeth. _For Nathaniel Butter._

1606, 1608, 1610, 1613, 1623, 1632, 1639.

[_Part ii_]

1606. The Second Part of, If you Know not me, you know no bodie. With the building of the Royall Exchange: And the famous Victorie of Queene Elizabeth, in the Yeare 1588. _For Nathaniell Butter._

1609.... With the Humors of Hobson and Tawny-cote. _For Nathaniell Butter._

N.D. [1623?].

1632. _For Nathaniel Butter._ [With different version of Act V.]

_Editions_ by J. P. Collier (1851, _Sh. Soc._) and J. Blew (1876).--_Dissertation_: B. A. P. van Dam and C. Stoffel, _The Fifth Act of Thomas Heywood’s Queen Elizabeth: Second Part_ (1902, _Jahrbuch_, xxxviii. 153).

_Pleasant Dialogues and Dramas_, 248, has ‘A Prologue to the Play of Queene Elizabeth as it was last revived at the Cockpit, in which the Author taxeth the most corrupted copy now imprinted, which was published without his consent’. It says:

This: (by what fate I know not) sure no merit,
That it disclaimes, may for the age inherit.
Writing ’bove one and twenty; but ill nurst,
And yet receiv’d, as well perform’d at first,
Grac’t and frequented, for the cradle age,
Did throng the Seates, the Boxes, and the Stage
So much; that some by Stenography drew
The plot: put it in print: (scarce one word trew:)