Chapter XXI: Part 1: with Heywood, Dec. 1602–Jan. 1603; one payment had been made to (9)

1858. F. W. Fairholt, _The Dramatic Works of J. L._ 2 vols. (_Library of Old Authors_).

1902. R. W. Bond, _The Complete Works of J. L._ 3 vols.

_Dissertations_: H. Morley, _Euphuism_ (1861, _Quarterly Review_, cix); W. L. Rushton, _Shakespeare’s Euphuism_ (1871); R. F. Weymouth, _On Euphuism_ (1870–2, _Phil. Soc. Trans._); C. C. Hense, _J. L. und Shakespeare_ (1872–3, _Jahrbuch_, vii. 238; viii. 224); F. Landmann, _Der Euphuismus, sein Wesen, seine Quelle, seine Geschichte_ (1881), _Shakespeare and Euphuism_ (1880–5, _N. S. S. Trans._ 241); J. Goodlet, _Shakespeare’s Debt to J. L._ (1882, _E. S._ v. 356); K. Steinhäuser, _J. L. als Dramatiker_ (1884); J. M. Hart, _Euphuism_ (1889, _Ohio College Trans._); C. G. Child, _J. L. and Euphuism_ (1894); J. D. Wilson, _J. L._ (1905); W. W. Greg, _The Authorship of the Songs in L.’s Plays_ (1905, _M. L. R._ i. 43); A. Feuillerat, _J. L._ (1910); F. Brie, _L. und Greene_ (1910, _E. S._ xlii. 217).

_Campaspe. 1584_

(_a_) 1584. A moste excellent Comedie of Alexander, Campaspe, and Diogenes. Played before the Queenes Maiestie on twelfe day at night by her Maiesties Children and the Children of Poules. _For Thomas Cadman._ [Huth Collection. Prologue and Epilogue at the Blackfriars; Prologue and Epilogue at Court. Running title, ‘A tragical Comedie of Alexander and Campaspe’.]

(_b_) 1584. Campaspe, Played ... on newyeares day at night, by her Maiesties Children.... _For Thomas Cadman._ [Dyce Collection.]

(_c_) 1584. Campaspe, Played ... on newyeares day at night, by her Maiesties Childrẽ.... _For Thomas Cadman._ [B.M.; Bodleian.]

1591. Campaspe, Played ... on twelfe day.... _Thomas Orwin for William Broome._

_S. R._ 1597, Apr. 12 (in full court). ‘Sapho and Phao and Campaspe ... the which copies were Thomas Cadmans.’ _Joan Broome_ (Arber, iii. 82).

1601, Aug. 23 (in full court). ‘Copies ... which belonged to Mystres Brome ... viz. Sapho and Phao, Campaspe, Endimion, Mydas, Galathea.’ _George Potter_ (Arber, iii. 191).

_Editions_ in Dodsley^{1–3} (1825, ii), and by W. Scott (1810, _A. B. D._ i), J. M. Manly (1897, _Specimens_, ii. 273), G. P. Baker (1903, _R. E. C._)--_Dissertations_: R. Sprenger, _Zu J. L.’s C._ (1892, _E. S._ xvi. 156); E. Koeppel, _Zu J. L.’s A. und C._ (1903, _Archiv_, cx).

The order of the 1584 prints is not quite clear; (_c_) follows (_b_), but the absence of any collation of (_a_) leaves its place conjectural. I conjecture that it came first, partly because a correction in the date of Court performance is more likely to have been made after one inaccurate issue than after two, partly because its abandoned t.p. title serves as running title in all three issues. I do not think the reversion to ‘twelfe day’ in 1591, when the facts may have been forgotten, carries much weight. If so, the Court production was on a 1 Jan., and although the wording of the t.p. suggests, rather than proves, that it was 1 Jan. in the year of publication, this date fits in with the known facts of Lyly’s connexion with the Blackfriars (cf. ch. xvii). The _Chamber Accounts_ (App. B) give the performers on this day as Lord Oxford’s servants, but I take this company to have been a combination of Chapel and Paul’s children (cf. chh. xii, xiii). Fleay, ii. 39, and Bond, ii. 310, with imperfect lists of Court performances before them, suggest 31 Dec. 1581, taking ‘newyeares day at night’, rather lamely, for New Year’s Eve. So does Feuillerat, 574, but I am not sure that his view will have survived his Blackfriars investigations. In any case, the play must have been written later than Jan. 1580, as Lyly uses Sir T. North’s English translation of Plutarch, of which the preface is dated in that month. In a prefatory note by N. W. to S. Daniel, _The Worthy Tract of Paulus Jovius_ (1585), that work is commended above ‘Tarlton’s toys or the silly enterlude of Diogenes’ (Grosart, _Daniel_, iv. 8).

_Sapho and Phao. 3 Mar. 1584_

_S. R._ 1584, Apr. 6. ‘Yt is graunted vnto him yat yf he gett ye comedie of Sappho laufully alowed vnto him, then none of this cumpanie shall interrupt him to enjoye yt’ (_in margin_ ‘Lyllye’). _Thomas Cadman_ (Arber, ii. 430).

1584. Sapho and Phao, Played beefore the Queenes Maiestie on Shrouetewsday, by her Maiesties Children, and the Boyes of Paules. _Thomas Dawson for Thomas Cadman._ [Prologues ‘at the Black fryers’ and ‘at the Court’, and Epilogue.]

1591. _Thomas Orwin for William Broome._

_S. R._ 1597, Apr. 12 }
1601, Aug. 23 } _vide supra_ s.v. _Campaspe_.

I date the Court production on the Shrove-Tuesday before the S. R. entry, on which day Oxford’s boys, whom I regard as made up of Chapel and Paul’s boys, played under Lyly (cf. App. B). Fleay, ii. 40, Bond, ii. 367, and Feuillerat, 573, prefer Shrove-Tuesday (27 Feb.) 1582.

_Galathea. 1584 < > 88_

_S. R._ 1585, Apr. 1. ‘A Commoedie of Titirus and Galathea’ (no fee recorded). _Gabriel Cawood_ (Arber, ii. 440).

1591, Oct. 4 (Bp. of London). ‘Three Comedies plaied before her maiestie by the Children of Paules thone called Endimion, thother Galathea and thother Midas.’ _Widow Broome_ (Arber, ii. 596).

1592. Gallathea. As it was playde before the Queenes Maiestie at Greenewiche, on Newyeeres day at Night. By the Chyldren of Paules. _John Charlwood for Joan Broome._ [Prologue and Epilogue.]

The only performance by Paul’s, on a 1 Jan. at Greenwich, which can be referred to in the t.p. is that of 1588 (cf. App. B), and in III. iii. 41 is an allusion to the approaching year _octogesimus octavus_, which would of course begin on 25 March 1588. Fleay, ii. 40, and Feuillerat, 575, accept this date. Bond, ii. 425, prefers 1586 or 1587, regardless of the fact that the New Year plays in these years were by the Queen’s men. A phrase in V. iii. 86 proves it later than _Sapho and Phao_. But if, as seems probable, the 1585 entry in the Stationers’ Register was of this play, the original production must have been at least as early as 1584–5, and that of 1588 a revival.

_Endymion. 1588_

_S. R._ 1591, Oct. 4. _Vide supra_ s.v. _Galathea_.

1591. Endimion, The Man in the Moone. Playd before the Queenes Maiestie at Greenewich on Candlemas Day at night, by the Chyldren of Paules. _John Charlwood for Joan Broome._ [Epistle by the Printer to the Reader; Prologue and Epilogue.]

_Editions_ by C. W. Dilke (1814, _O. E. P._ ii), G. P. Baker (1894) and W. A. Neilson (1911, _C. E. D._).--_Dissertations_: N. J. Halpin, _Oberon’s Vision in M. N. D. Illustrated by a Comparison with L.’s E._ (1843, _Sh. Soc._); J. E. Spingarn, _The Date of L.’s E._ (1894, _Athenaeum_, ii. 172, 204); P. W. Long, _The Purport of L.’s E._ (1909, _M. L. A._ xxiv. 1), _L.’s E., an Addendum_ (1911, _M. P._ viii. 599).

The prologue and epilogue were evidently for the Court. The epistle describes this as the first of certain comedies which had come into the printer’s hands ‘since the plays in Pauls were dissolved’. Baker, lxxxiii, suggested a date of composition in the autumn of 1579, while Spingarn, Bond, iii. 11, and Feuillerat, 577, take the Candlemas of the t.p. to be that of 1586, but the only available Candlemas performance by the Paul’s boys is that of 1588 (cf. App. B). With Long I find no conviction in the attempts of Halpin, Baker, Bond, and Feuillerat to trace Elizabeth’s politics and amours in the play. If Lyly had meant half of what they suggest, he would have ruined his career in her service at the outset.

_Midas. 1589–90_

_S. R._ 1591, Oct. 4. _Vide supra_, s.v. _Galathea_.

1592. Midas. Plaied before the Queenes Maiestie upon Twelfe day at night. By the Children of Paules. _Thomas Scarlet for J. B._ [Prologue ‘in Paules’.]

_Edition_ by C. W. Dilke (1814, _O. E. P._ i).

Internal allusions suggest a date as late as 1589, and the Twelfth Night of the t.p. must therefore be 6 Jan. 1590. Fleay, ii. 42, and Bond, iii. 111, accept this date. Feuillerat, 578, prefers 6 Jan. 1589, because Gabriel Harvey alludes to the play in his _Advertisement to Pap-Hatchet_, dated 5 Nov. 1589. But there was no Court performance on that day, and Harvey may have seen the play ‘in Paules’.

_Mother Bombie. 1587 < > 90_

_S. R._ 1594, June 18. ‘A booke intituled mother Bumbye beinge an enterlude.’ _Cuthbert Burby_ (Arber, ii. 654).

1594. Mother Bombie. As it was sundrie times plaied by the Children of Powles. _Thomas Scarlet for Cuthbert Burby._

1598. _Thomas Creede for Cuthbert Burby._

_Edition_ by C. W. Dilke (1814, _O. E. P._ i).

The play doubtless belongs to the Paul’s series of 1587–90. It seems hardly possible to date it more closely. Feuillerat, 578, thinks it later in style than _Midas_.

_Love’s Metamorphosis. 1589–90_ (?)

_S. R._ 1600, Nov. 25 (Pasfield). ‘A booke Called Loves metamorphesis wrytten by master John Lylly and playd by the Children of Paules.’ _William Wood_ (Arber, iii. 176).

1601. Loves Metamorphosis. A Wittie and Courtly Pastorall. Written by M^r Iohn Lyllie. First playd by the Children of Paules, and now by the Children of the Chapell. _For William Wood._

F. Brie (_E. S._ xlii. 222) suggests that the play borrowed from Greene’s _Greenes Metamorphosis_ (S. R. 9 Dec. 1588). Probably the Paul’s boys produced it _c._ 1589–90, and the Chapel revived it in 1600–1.

_The Woman in the Moon. 1590 < > 5_ (?)

_S. R._ 1595, Sept. 22. ‘A booke intituled a woman in the moone.’ _Robert Fynche_ (Arber, iii. 48).

1597. The Woman in the Moone. As it was presented before her Highnesse. By Iohn Lyllie Maister of Arts. _William Jones._ [Prologue.]

The prologue says:

Remember all is but a poet’s dream,
The first he had in Phoebus holy bower,
But not the last, unless the first displease.

This has been taken as indicating that the play was Lyly’s first; but it need only mean that it was his first in verse. All the others are in prose. The blank verse is that of the nineties, rather than that of the early eighties. There is nothing to show who were the actors, but it is not unlikely that, after the plays in Paul’s were dissolved, Lyly tried his hand in a new manner for a new company. Feuillerat, 232, 580, suggests that Elizabeth may have taken the satire of women amiss and that the ‘overthwartes’ of Lyly’s fortunes of which he complained in Jan. 1595 may have been the result. He puts the date, therefore, in 1593–4.

_Doubtful Work_

Lyly has been suggested as the author of _Maid’s Metamorphosis_ and _A Warning for Fair Women_ (cf. ch. xxiv) and of several anonymous entertainments and fragments of entertainments (ibid., and _supra_, s.vv. Cecil, Clifford, Lee).

LEWIS MACHIN (_fl. c._ 1608).

Nothing is known of Machin’s personality. He is probably the L. M. who contributed ‘eglogs’ to the _Mirrha_ (1607) of the King’s Revels actor William Barksted (q.v.). A Richard Machin was an actor in Germany, 1600–6. There is no traceable connexion between either Richard or Lewis and Henry Machyn the diarist.

Machin collaborated with Gervase Markham in _The Dumb Knight_ (q.v.).

The anonymous _Every Woman in Her Humour_ and _Fair Maid of the Exchange_ have also been ascribed to him (cf. ch. xxiv).

GERVASE MARKHAM (_c._ 1568–1637).

There were two Gervase Markhams, as to both of whom full details are given in C. R. Markham, _Markham Memorials_ (1913). The dramatist was probably the third son of Robert Markham of Cotham, Notts., a soldier and noted horseman, whose later life was devoted to an industrious output of books, verses, romance, translations, and treatises on horsemanship, farming, and sport. He was, said Jonson to Drummond in 1619, ‘not of the number of the faithfull, i.e. Poets, and but a base fellow’ (Laing, 11). Fleay, ii. 58, suggested, on the basis of certain phrases in his _Tragedy of Sir Richard Grenville_ (1595), which has a dedication, amongst others, to the Earl of Southampton, that he might be the ‘rival poet’ of Shakespeare’s _Sonnets_. The other Gervase Markham was of Sedgebrook and later of Dunham, Notts., and is not known to have been a writer. C. W. Wallace thinks he has found a third in an ‘adventurer’ whose wagers with actors and others on the success of an intended walk to Berwick in 1618 led to a suit in the Court of Requests (_Jahrbuch_, xlvi. 345). But as he, like Markham of Cotham, had served in Ireland, the two may conceivably be identical, although the adventurer had a large family, and it is not known that Markham of Cotham had any. Markham of Dunham, who had also served in Ireland, had but two bastards. Conceivably Markham wrote for the Admiral’s in 1596–7 (cf. vol. ii, p. 145). Beyond the period dealt with, he collaborated with William Sampson in _Herod and Antipater_ (1622) acted by the Revels company at the Red Bull.

_The Dumb Knight. 1607–8_

_S. R._ 1608, Oct. 6 (Buck). ‘A playe of the Dumbe Knight.’ _John Bache_ (Arber, iii. 392).

1610. Nov. 19. Transfer from Bache to Robert Wilson (Arber, iii. 449).

1608. The dumbe Knight. A pleasant Comedy, acted sundry times by the children of his Maiesties Reuels. Written by Iaruis Markham. _N. Okes for J. Bache._ [Epistle to Reader, signed ‘Lewes Machin’. There were two reissues of 1608 with altered t.ps. Both omit the ascription to Markham. One has ‘A historicall comedy’; the other omits the description.]

1633. _A. M. for William Sheares._

_Editions_ in Dodsley^{1–4} (1744–1875) and by W. Scott (1810, _A. B. D._ ii).--_Dissertation_: J. Q. Adams, _Every Woman in Her Humour and The Dumb Knight_ (1913, _M. P._ x. 413).

The Epistle says that ‘Rumour ... hath made strange constructions on this Dumb Knight’, and that ‘having a partner in the wrong whose worth hath been often approved ... I now in his absence make this apology, both for him and me’. Presumably these ‘constructions’ led to the withdrawal of Markham’s name from the title-page. Fleay, ii. 58, assigned him the satirical comedy of the underplot, but Adams points out that Markham’s books reveal no humour, and that the badly linked underplot was probably inserted by Machin. It borrows passages from the anonymous unprinted _Every Woman in Her Humour_ (q.v.). The production of a King’s Revels play is not likely to be before 1607, but Herz, 102, thinks that an earlier version underlies the _Vom König in Cypern_ of Jacob Ayrer, who died 1605. A later German version also exists, and was perhaps the _Philole und Mariana_ played at Nuremberg in 1613.

CHRISTOPHER MARLOWE (1564–93).

Marlowe, whose name was also spelt Marley and Marlin, was the son of John and Catherine Marlowe of Canterbury. He was born 6 Feb. 1564. John Marlowe was a shoemaker and subsequently became parish clerk of St. Mary’s. He entered the King’s School, Canterbury, in 1579 and in March 1581 matriculated with a pension on Abp. Parker’s foundation at Corpus Christi or Benet’s College, Cambridge. He took his B.A. in 1584 and his M.A. in 1587. In this year he probably began his literary career in London, with _Tamburlaine_. A ballad, printed by Collier, which represents him as a player and breaking his leg in a lewd scene on the stage of the Curtain, is now discredited. There are satirical allusions to him in the preface to the _Perimedes_ (S. R. 29 March 1588) and in the _Menaphon_ (23 Aug. 1589) of Robert Greene, but it is very doubtful whether, as usually assumed, Nashe had him especially in mind when he criticized certain tragic poets of the day in his epistle to the latter pamphlet (cf. App. C, No. xlii). On 1 Oct. 1588 ‘Christofer Marley, of London, gentleman,’ had to give bail to appear at the next Middlesex Sessions. The exact nature of the charge is unknown; but it cannot be doubted that his personal reputation, even in the free-living Elizabethan London, did not stand high. He is clearly the ‘famous gracer of tragedians’ reproved for atheism in Greene’s _Groats-worth of Wit_ (1592) and it is probably to him that Chettle alludes in his apology when he says, ‘With neither of them that take offence was I acquainted and with one of them I care not if I never be’ (cf. App. C, Nos. xlviii, xlix). The charge of atheism doubtless arose from Marlowe’s association with the group of freethinkers which centred round Sir Walter Raleigh. In 1593 these speculative tendencies brought him into trouble. About 1591, while writing for the players of a certain lord, as yet unidentified, he had shared a room with Thomas Kyd (q.v.), who was then in the service of the same lord. Certain theological notes of his got amongst Kyd’s papers and were found there when Kyd was arrested on a charge of libel on 12 May 1593. On 18 May the Privy Council sent a messenger to the house of Thomas Walsingham, at Scadbury in Kent, to arrest Marlowe, and on 20 May he was ordered to remain in attendance on the Council. There exists a ‘Note’ drawn up at this time by one Richard Baines or Bame, containing a report of some loose conversation of Marlowe’s which their Lordships could hardly be expected to regard as anything but blasphemous. But, so far as Marlowe was concerned, the proceedings were put a stop to by his sudden death. The register of St. Nicholas, Deptford, records that he was ‘slain by Francis Archer’ and buried there on 1 June 1593. Francis Meres’s _Palladis Tamia_ (1598) tells us that he was ‘stabbed to death by a bawdy servingman, a rival of his in his lewde love’. Somewhat different versions of the story are given by Thomas Beard, _The Theater of God’s Judgments_ (1597), and William Vaughan, _The Golden Grove_ (1600), both of whom use Marlowe’s fate to point the moral against atheism. There are some rather incoherent allusions to the event in verses affixed by Gabriel Harvey to his _A New Letter of Notable Contents_, which is dated 16 Sept. 1593:

Sonet

Gorgon, or the Wonderfull yeare

... The fatall yeare of yeares is Ninety Three:
... Weepe Powles, thy Tamberlaine voutsafes to dye.

L’envoy

The hugest miracle remaines behinde,
The second Shakerley Rash-swash to binde.

* * * * *

The Writer’s Postscript; or a friendly Caveat to the Second
Shakerley of Powles.

Slumbring I lay in melancholy bed
Before the dawning of the sanguin light:
When Eccho shrill, or some Familiar Spright,
Buzzed an Epitaph into my hed.

Magnifique Mindes, bred of Gargantuas race.
In grisly weedes His Obsequies waiment
Whose Corps on Powles, whose mind triumph’d on Kent,
Scorning to bate Sir Rodomont an ace.

I mus’d awhile: and having mus’d awhile,
Iesu, (quoth I) is that Gargantua minde
Conquerd, and left no Scanderbeg behinde?
Vowed he not to Powles A Second bile?
What bile or kibe (quoth that same early Spright)
Have you forgot the Scanderbegging wight?

Glosse

Is it a Dreame? or is it the Highest Minde
That ever haunted Powles, or hunted winde,
Bereaft of that same sky-surmounting breath,
That breath, that taught the Tempany to swell?
He, and the Plague contested for the game:

* * * * *

The grand Dissease disdain’d his toade Conceit,
And smiling at his tamberlaine contempt,
Sternely struck-home the peremptory stroke....

Harvey seems to have thought in error that Marlowe died of the plague. I do not infer from the allusions to ‘Powles’ that Marlowe wrote for the Paul’s boys; but rather that _Tamburlaine_, like Nashe’s pamphlets, was sold by the booksellers in St. Paul’s Churchyard. The ‘second Shakerley’ is certainly Nashe. Surely ‘Scanderbeg’, who is ‘left behinde’, must also be Nashe, and I do not see how Fleay, ii. 65, draws the inference that Marlowe was the author of the lost play entered on the Stationers’ Register by Edward Allde on 3 July 1601 as ‘the true historye of George Scanderbarge, as yt was lately playd by the right honorable the Earle of Oxenford his servantes’ (Arber, iii. 187). There is much satire both of Marlowe and of Nashe in the body of _A New Letter_ (Grosart, _Harvey_, i. 255).

_Collections_

1826. [G. Robinson] _The Works of C. M._ 3 vols.

1850. A. Dyce, _The Works of C. M._ 3 vols. [Revised 1858, and in 1 vol. 1865, &c.]

1870. F. Cunningham, _The Works of C. M._

1885. A. H. Bullen, _The Works of C. M._ 3 vols.

1885–9. H. Breymann and A. Wagner, _C. M. Historisch-kritische Ausgabe._ 3 parts. [_Tamburlaine_, _Dr. Faustus_, _Jew of Malta_ only issued.]

1887. H. Ellis, _The Best Plays of C. M._ (_Mermaid Series_). [_Tamburlaine_, _Dr. Faustus_, _Jew of Malta_, _Edward II_.]

1910. C. F. Tucker Brooke, _The Works of C. M._ [Larger edition in progress.]

1912. W. L. Phelps. _Marlowe_ [_M. E. D._]. [_Tamburlaine_, _Dr. Faustus_, _Jew of Malta_, _Edward II_.]

_Dissertations_: H. Ulrici, _C. M. und Shakespeare’s Verhältniss zu ihm_ (1865, _Jahrbuch_, i. 57); J. Schipper, _De versu Marlowii_ (1867); T. Mommsen, _M. und Shakespeare_ (1886); A. W. Verity, _M.’s Influence on Shakespeare_ (1886); E. Faligan, _De Marlovianis Fabulis_ (1887); O. Fischer, _Zur Charakteristik der Dramen M.’s_ (1889); J. G. Lewis, _C. M.: Outlines of his Life and Works_ (1891); F. S. Boas, _New Light on M._ (1899, _Fortnightly Review_, lxxi, 212); J. H. Ingram, _C. M. and his Associates_ (1904); H. Jung, _Das Verhältniss M.’s zu Shakespeare_ (1904); W. L. Courtney, _C. M._ (_Fortnightly Review_, 1905, ii. 467, 678); A. Marquardsen, _C. M.’s Kosmologie_ (1905, _Jahrbuch_, xli. 54); J. Le G. Brereton, _The Case of Francis Ingram_ (_Sydney Univ. Publ._ v); G. C. Moore Smith, _Marlowe at Cambridge_ (1909, _M. L. R._ iv. 167); F. C. Danchin, _Études critiques sur C. M._ (1912–13, _Revue Germanique_, viii. 23; ix. 566); C. Crawford, _The Marlowe Concordance_ (1911, _Materialien_, xxxiv, pt. i only); F. K. Brown, _M. and Kyd_ (_T. L. S._, 2 June, 1921).

_Tamburlaine. c. 1587_

_S. R._ 1590, Aug. 14 (Hartwell). ‘The twooe commicall discourses of Tomberlein the Cithian shepparde.’ _Richard Jones_ (Arber, ii. 558).

1590. Tamburlaine the Great. Who, from a Scythian Shephearde by his rare and wonderfull Conquests became a most puissant and mightye Monarque. And (for his tyranny, and terrour in Warre) was tearmed, The Scourge of God. Deuided into two Tragicall Discourses, as they were sundrie times shewed vpon Stages in the Citie of London, By the right honorable the Lord Admyrall, his seruantes. Now first, and newlie published. _Richard Jones_ [8vo]. [Epistle to the Readers, signed ‘R. I. Printer’; Prologues to both Parts. See Greg, _Plays_, 66; _Masques_, cxxv. Ingram, 281, speaks of two 4tos and one 8vo of 1590, probably through some confusion.]

1592. _R. Jones._ [Greg, _Masques_, cxxv, thinks that the date may have been altered in the B.M. copy from 1593. Langbaine mentions an edition of 1593.]

1597. [An edition apparently known to Collier; cf. Greg, _Masques_, cxxv.]

1605. _For Edward White._ [Part i.]

1606. _E. A. for E. White._ [Part ii.]

_Editions_ by A. Wagner (1885) and K. Vollmöller (1885) and of Part i by W. A. Neilson (1911, _C. E. D._).--_Dissertations_: C. H. Herford, _The Sources of M.’s T._ (_Academy_, 20 Oct. 1883); L. Frankel, _Zum Stoffe von M.’s T._ (1892, _E. S._ xvi. 459); E. Köppel in _Englische Studien_, xvi. 357; E. Hübner, _Der Einfluss von M.’s Tamburlaine auf die zeitgenössischen und folgenden Dramatiker_ (_Halle diss._ 1901); F. G. Hubbard, _Possible Evidence for the Date of T._ (1918, _M. L. A._ xxxiii. 436).

There is no real doubt as to Marlowe’s authorship of _Tamburlaine_, but the direct evidence is very slight, consisting chiefly of Greene’s (q.v.) _Perimedes_ coupling of ‘that atheist Tamburlan’ with ‘spirits as bred of Merlin’s race’, and Harvey’s allusion to its author as dying in 1593. Thomas Heywood, in his prologue to _The Jew of Malta_, speaks of Alleyn’s performance in the play. The entry printed by Collier in Henslowe’s _Diary_ of a payment to Dekker in 1597 ‘for a prolog to Marloes tambelan’ is a forgery (Warner, 159; Greg, _Henslowe_, i. xxxix). The Admiral’s produced ‘Tamberlan’ on 30 Aug. 1594. Henslowe marks the entry ‘j’, which has been taken as equivalent to ‘n. e.’, Henslowe’s symbol for a new play, and as pointing to a revision of the play. I feel sure, however (cf. _M. L. R._ iv. 408), that ‘j’ only means ‘First Part’. ‘Tamberlen’ was given fifteen times from 30 Aug. 1594 to 12 Nov. 1595, and the ‘2 pt. of tamberlen’ seven times from 19 Dec. 1594 to 13 Nov. 1595 (Henslowe, ii. 167). Tamburlaine’s cage, bridle, coat, and breeches are included in the inventories of the Admiral’s men in 1598 (_Henslowe Papers_, 116).

Greene’s _Perimedes_ reference suggests 1587 or early 1588 as the probable date of _Tamburlaine_. In his preface to the 1590 edition Richard Jones says that he has omitted ‘some fond and frivolous gestures’, but does not say whether these were by the author of the tragic stuff. The numerous references to the play in contemporary literature often indicate its boisterous character; e.g. T. M. _The Black Book_ (Bullen, _Middleton_, viii. 25), ‘The spindle-shank spiders ... went stalking over his head as if they had been conning of Tamburlaine’; T. M. _Father Hubburd’s Tales_ (ibid. viii. 93), ‘The ordnance playing like so many Tamburlaines’.

_Dr. Faustus, c. 1588_

_S. R._ 1592, Dec. 18. Herbert-Ames, _Typographical Antiquities_, ii. 1160, records the following decision of the Stationers’ Company not printed by Arber, ‘If the book of D^r. Faustus shall not be found in the Hall Book entered to R^d. Oliff before Abell Jeffes claymed the same, which was about May last, That then the said copie shall remayne to the said Abell his proper copie from the tyme of his first clayme’. [This can hardly refer to the prose _History of Faustus_, of which the earliest extant, but probably not the first, edition was printed by T. Orwin for Edward White in 1592.]

1601, Jan. 7 (Barlowe). ‘A booke called the plaie of Doctor Faustus.’ _Thomas Bushell_ (Arber, iii. 178).

1610, Sept. 13. Transfer from Bushell to John Wright of ‘The tragicall history of the horrible life and Death of Doctor Faustus, written by C. M.’ (Arber, iii. 442).

1604. The tragicall History of D. Faustus. As it hath bene Acted by the Right Honorable the Earle of Nottingham his seruants. Written by Ch. Marl. _V. S. for Thomas Bushell._

1609. _G. E. for John Wright._

1616. _For John Wright._ [An enlarged and altered text.]

1619.... With new Additions. _For John Wright._

1620; 1624; 1631.

1663.... Printed with New Additions as it is now Acted. With several New Scenes, together with the Actors names. _For W. Gilbertson._ [A corrupt text.]

Breymann mentions an edition of 1611 not now known, and Heinemann quotes from foreign writers mentions of editions of 1622, 1626, 1636, 1651, 1690 (1884, _Bibliographer_).

_Editions_ by C. W. Dilke (1814, _O. E. P._ i), A. Reidl (N.D. [1874]), W. Wagner (1877), A. W. Ward (1878, 1887, 1891, 1901), Anon. (1881, Zurich), H. Morley (1883), H. Breymann (1889), I. Gollancz (1897, _T. D._), W. A. Neilson (1911, _C. E. D._), J. S. Farmer (1914, _S. F. T._).--_Dissertations_: G. Herzfeld, _Zu M.’s Dr. F._ (1905, _Jahrbuch_, xli. 206); H. R. O. De Vries, _Die Überlieferung und Entstehungsgeschichte von M.’s Dr. F._ (1909); K. R. Schröder, _Textverhältnisse und Entstehungsgeschichte von M.’s F._ (1909); R. Rohde, _Zu M.’s D. F._ (1913, _Morsbach-Festschrift_); P. Simpson, _The 1604 Text of M.’s D. F._ (1921, _Essays and Studies_, vii); with much earlier literature summarized in Ward’s edition, to which also (1887, ed. 2) Fleay’s excursus on _The Date and Authorship of Dr. F._ was contributed.

The Admiral’s men played ‘Docter ffostose’ for Henslowe twenty-four times from 2 Oct. 1594 to Oct. 1597 (Henslowe, ii. 168). Their 1598 inventories include ‘j dragon in fostes’ (_Henslowe Papers_, 118). Alleyn (q.v.) played the title-rôle. The entry printed by Collier from Henslowe’s _Diary_ of a payment to Dekker on 20 Dec. 1597 ‘for adycyons to ffostus’ is a forgery (Warner, 159; Greg, _Henslowe_, i. xxxix), but Henslowe did pay £4 to William Bird and Samuel Rowley ‘for ther adicyones in doctor fostes’ on 22 Nov. 1602 (Henslowe, i. 172). Probably, therefore, the Admiral’s revived the play about 1602–3. These additions are doubtless the comic passages which appear for the first time in the 1616 text, although that may also contain fragments of the original text omitted from the 1,485 lines of 1604. The source of the play seems to be the German _Faustbuch_ (1587) through the English _History of Dr. Johann Faustus_, of which an edition earlier than the extant 1592 one is conjectured. A probable date is 1588–9. On 28 Feb. 1589 ‘a ballad of the life and deathe of Doctor Faustus the great Cungerer’ was entered on S. R. (Arber, ii. 516). There are apparent imitations of the play in _Taming of A Shrew_ (q.v.).

The reference in _The Black Book_ (_vide infra_) can hardly be taken as evidence that the original production was at the Theatre.

Greg (_Henslowe_, ii. 168) gives some support to the view of Fleay (Ward, clxvii) that Marlowe is only responsible for part even of the 1604 text, and that the rest, including the comic matter, may have been contributed by Dekker. But he doubts whether Dekker worked upon the play before the date of a revision in 1594, for which there is some evidence, such as an allusion in xi. 46 to Dr. Lopez. Fleay thought Dekker to have been also an original collaborator, which his age hardly permits.

The play seems to have formed part of the English repertories in Germany in 1608 and 1626 (Herz, 66, 74).

It became the centre of a curious _mythos_, which was used to point a moral against the stage (cf. ch. viii). Of this there are several versions:

(_a_) 1604. T. M. _The Black Book_ (Bullen, _Middleton_, viii. 13), ‘Hee had a head of hayre like one of my Diuells in Dr. Faustus when the old Theater crackt and frighted the audience.’

(_b_) 1633. Prynne, _Histriomastix_, f. 556, ‘The visible apparition of the Devill on the stage at the Belsavage Play-house, in Queen Elizabeths dayes (to the great amazement both of the actors and spectators) while they were there prophanely playing the History of Faustus (the truth of which I have heard from many now alive, who well remember it) there being some distracted with that feareful sight.’

(_c_) N.D. ‘J. G. R.’ from manuscript note on ‘the last page of a book in my possession, printed by Vautrollier’ (1850, _2 Gent. Mag._ xxxiv. 234), ‘Certaine Players at Exeter, acting upon the stage the tragical storie of Dr. Faustus the Conjurer; as a certain nomber of Devels kept everie one his circle there, and as Faustus was busie in his magicall invocations, on a sudden they were all dasht, every one harkning other in the eare, for they were all perswaded, there was one devell too many amongst them; and so after a little pause desired the people to pardon them, they could go no further with this matter; the people also understanding the thing as it was, every man hastened to be first out of dores. The players (as I heard it) contrarye to their custome spending the night in reading and in prayer got them out of the town the next morning.’

(_d_) _c._ 1673. John Aubrey, _Natural History and Antiquities of Surrey_ (1718–19), i. 190, ‘The tradition concerning the occasion of the foundation [of Dulwich College] runs thus: that Mr. Alleyne, being a Tragedian and one of the original actors in many of the celebrated Shakespear’s plays, in one of which he played a Demon, with six others, and was in the midst of the play surpriz’d by an apparition of the Devil, which so work’d on his Fancy, that he made a Vow, which he perform’d at this Place’.

_The Jew of Malta, c. 1589_

_S. R._ 1594, May 17. ‘The famouse tragedie of the Riche Jewe of Malta.’ _Nicholas Ling and Thomas Millington_ (Arber, ii. 650). [On 16 May ‘a ballad intituled the murtherous life and terrible death of the riche Jew of Malta’ had been entered to John Danter.]

1632, Nov. 20 (Herbert). ‘A Tragedy called the Jew of Malta.’ _Nicholas Vavasour_ (Arber, iv. 288).

1633. The Famous Tragedy of the Rich Iew of Malta. As it was played before the King and Queene, in his Majesties Theatre at White-Hall, by her Majesties Servants at the Cockpit. Written by Christopher Marlo. _I. B. for Nicholas Vavasour._ [Epistle to Thomas Hammon of Gray’s Inn, signed ‘Tho. Heywood’; Prologues and Epilogues at Court and at Cockpit by Heywood; Prologue by Machiavel as presenter.]

_Editions_ in Dodsley^{2, 3}, viii (1780–1827), and by W. Scott (1810, _A. B. D._ i), Reynell and Son (publ. 1810), S. Penley (1813), A. Wagner (1889), and W. A. Neilson (1911, _C. E. D._).--_Dissertations_: J. Kellner, _Die Quelle von M.’s J. of M._ (1887, _E. S._ x. 80); M. Thimme, _M.’s J. of M._ (1921).

An allusion in Marlowe’s prologue to the death of the Duc de Guise gives a date of performance later than 23 Dec. 1588. Strange’s men gave the play for Henslowe seventeen times from 26 Feb. 1592 to 1 Feb. 1593. Probably it belonged to Henslowe, as it was also played for him by Sussex’s men on 4 Feb. 1594, by Sussex and the Queen’s together on 3 and 8 April 1594, by the Admiral’s on 14 May 1594, by either the Admiral’s or the Chamberlain’s on 6 and 15 June 1594, and thirteen times by the Admiral’s from 25 June 1594 to 23 June 1596 (Henslowe, ii. 151). The 1598 inventories of the latter company include ‘j cauderm for the Jewe’ (_Henslowe Papers_, 118). On 19 May 1601 Henslowe advanced them money to buy ‘things’ for a revival of the play (Henslowe, i. 137). Heywood’s epistle and Cockpit prologue name Marlowe and Alleyn as writer and actor of the play. Fleay, i. 298, suggests that Heywood wrote the Bellamira scenes (III. i; IV. iv, v; V. i), the motive of which he used for the plot of his _Captives_, and Greg agrees that the play shows traces of two hands, one of which may be Heywood’s. The Dresden repertory of 1626 included a ‘Tragödie von Barabas, Juden von Malta’, but this was not necessarily the play ‘von dem Juden’ given by English actors at Passau in 1607 and Graz in 1608 (Herz, 66, 75).

_Edward the Second. c. 1592_

_S. R._ 1593, July 6 (Judson). ‘A booke, Intituled The troublesom Reign and Lamentable Death of Edward the Second, king of England, with the tragicall fall of proud Mortymer.’ _William Jones_ (Arber, ii. 634).

1593? [C. F. Tucker Brooke (1909, _M. L. N._ xxiv. 71) suggests that a manuscript t.p. dated 1593 and sig. A inserted in Dyce’s copy of 1598 may be from a lost edition, as they contain textual variants.]

1594. The troublesome raigne and lamentable death of Edward the second, King of England: with the tragicall fall of proud Mortimer. As it was sundrie times publiquely acted in the honourable citie of London, by the right honourable the Earl of Pembroke his servants. Written by Chri. Marlow. Gent. _For William Jones._

1598. _Richard Bradocke for William Jones._ [With an additional scene.]

1612. _For Roger Barnes._

1622.... As it was publikely Acted by the late Queenes Maiesties Servants at the Red Bull in S. Iohns streete.... _For Henry Bell._

_Editions_ in Dodsley^{1–3}, ii (1744–1825), and by W. Scott (1810, _A. B. D._ i), W. Wagner (1871), F. G. Fleay (1873, 1877), O. W. Tancock (1877, etc.), E. T. McLaughlin (1894), A. W. Verity (1896, _T. D._), and W. A. Neilson (1911, _C. E. D._).--_Dissertations_: C. Tzschaschel, _M.’s Edward II und seine Quellen_ (1902, _Halle diss._); M. Dahmetz, _M.’s Ed. II und Shakespeares Rich. II_ (1904).

Pembroke’s men seem only to have had a footing at Court in the winter of 1592–3, and this is probably the date of the play. Greg (_Henslowe_, ii. 224) suggests that it may have had some ‘distant connexion’ with Chettle and Porter’s _The Spencers_ and an anonymous _Mortimer_ of the Admiral’s men in 1599 and 1602 respectively. But I think _Mortimer_ is a slip of Henslowe’s for _Vortigern_.

_The Massacre at Paris. 1593_

[_MS._] Collier, ii. 511, prints a fragment of a fuller text than that of the edition, but it is suspect (cf. Tucker Brooke, 483).

N.D. The Massacre at Paris: With the Death of the Duke of Guise. As it was plaide by the right honourable the Lord high Admirall his Seruants. Written by Christopher Marlow. _E. A. for Edward White._

Strange’s men produced ‘the tragedey of the gvyes’ as ‘n.e.’ on 26 Jan. 1593. The Admiral’s men also played it for Henslowe as ‘the Gwies’ or ‘the masacer’ ten times from 21 June to 27 Sept. 1594. Possibly in Nov. 1598 and certainly in Nov. 1601 Henslowe advanced sums for costumes for a revival of the play by the Admiral’s. The insertion by Collier of Webster’s name in one of these entries is a forgery and whether the lost _Guise_ of this writer (q.v.) bore any relation to Marlowe’s play is wholly unknown. On 18 Jan. 1602 Henslowe paid Alleyn £2 for the ‘boocke’ of ‘the massaker of france’ on behalf of the company (Henslowe, i. xlii; ii. 157). For the offence given in France by this play, cf. ch. x.

_Dido Queen of Carthage > 1593_

_With_ Thomas Nashe.

1594. The Tragedie of Dido Queene of Carthage: Played by the Children of her Maiesties Chappell. Written by Christopher Marlowe, and Thomas Nash. Gent. _Widow Orwin for Thomas Woodcock._

_S. R._ 1600, June 26. Transfer from Paul Lynley to John Flasket, ‘Cupydes Journey to hell with the tragedie of Dido’ (Arber, iii. 165). [Perhaps another book.]

_Editions_ in _Old English Drama_ (1825, ii), by J. S. Farmer (1914, _S. F. T._), and with _Works_ of Nashe.--_Dissertations_: J. Friedrich, _Didodramen des Dolce, Jodelle, und M._ (1888); B. Knutowski, _Das Dido-Drama von M. und Nash_ (1905, _Breslau diss._).

Tanner, _Bibl. Britanniae_ (1748), says, ‘Petowius in praefatione ad secundam partem Herois et Leandri multa in Marlovii commendationem adfert; hoc etiam facit Tho. Nash in _Carmine Elegiaco tragediae Didonis praefixo in obitum Christoph. Marlovii_, ubi quatuor eius tragediarum mentionem facit, necnon et alterius _de duce Guisio_’. The existence of this elegy is confirmed by Warton, who saw it either in 1734 or 1754 (_Hist. Eng. Poet._ iv. 311; cf. McKerrow, ii. 335). It was ‘inserted immediately after the title-page’, presumably not of all copies, as it is not in the three now known. Whether Nashe’s own share in the work was as collaborator, continuator, or merely editor, remains uncertain. Fleay, ii. 147, gives him only I. i. 122 to end, III. i, ii, iv; IV. i, ii, v; Knutowski regards him as responsible for only a few trifling passages. As, moreover, the play has affinities both to early and to late work by Marlowe, it cannot be dated. Beyond its title-page and that of the anonymous _Wars of Cyrus_ there is nothing to point to any performances by the Chapel between 1584 and 1600. It is true that Tucker Brooke, 389, says, ‘The one ascertained fact concerning the history of this company during the ten years previous to 1594 seems to be that they acted before the Queen at Croydon in 1591, under the direction of N. Giles, and Mr. Fleay assumes, apparently with no further evidence, that _Dido_ was presented on this ‘occasion’. But this only shows what some literary historians mean by an ‘ascertained fact’. A company played _Summers Last Will and Testament_ (q.v.) at Croydon in 1592 and said that they had not played for a twelvemonth. But the Queen was not present, and they are not known to have been the Chapel, whose master was not then Nathaniel Giles. Nor did they necessarily play twelve months before at Croydon; and if they did, there is nothing to show that they played _Dido_. There is nothing to connect the play with the Admiral’s _Dido and Aeneas_ of 1598 (Greg, _Henslowe_, ii. 189).

_Lust’s Dominion. c. 1600_ (?)

1657. Lusts Dominion; Or, The Lascivious Queen. A Tragedie. Written by Christopher Marlowe, Gent. _For F. K., sold by Robert Pollard._

_Editions_ by C. W. Dilke (1814, _O. E. P._ i) and in Dodsley^4, xiv (1875).

The attribution of the play, as it stands, to Marlowe is generally rejected. Fleay, i. 272, supported by Greg (_Henslowe_, ii. 211), suggests an identification with _The Spanish Moor’s Tragedy_, which Day, Dekker, and Haughton were writing for the Admiral’s in Feb. 1600, although the recorded payment does not show that this was finished. They think that a play in which Marlowe had a hand may perhaps underlie it, and attempt, not wholly in agreement with each other, to distribute the existing scenes amongst the collaborators.

_Lost Play_

_The Maiden’s Holiday_

Entered on the Stationers’ Register on 8 April 1654 (Eyre, i. 445) by Moseley as ‘A comedie called The Maidens Holiday by Christopher Marlow & John Day’, and included in Warburton’s list of burnt plays (_3 Library_, ii. 231) as ‘The Mayden Holaday by Chri[~s]. Marlowe’.

_Doubtful Plays_

Marlowe’s hand has been sought in _An Alarum for London_, _Contention of York and Lancaster_, _Edward III_, _Locrine_, _Selimus_, _Taming of A Shrew_, and _Troublesome Reign of King John_ (cf. ch. xxiv), and in Shakespeare’s _Titus Andronicus_, _Henry VI_, and _Richard III_.

JOHN MARSTON (_c._ 1575–1634).

Marston was son of John Marston, a lawyer of Shropshire origin, who had settled at Coventry, and his Italian wife Maria Guarsi. He matriculated at Brasenose College, Oxford, aged 16, on 4 Feb. 1592, and took his degree on 6 Feb. 1594. He joined the Middle Temple, and in 1599 his father left law-books to him, ‘whom I hoped would have profited by them in the study of the law but man proposeth and God disposeth’. He had already begun his literary career, as a satirist with _The Metamorphosis of Pygmalion’s Image and Certain Satires_ (1598) and _The Scourge of Villainy_ (1598). For these he took the pseudonym of W. Kinsayder. Small, 64, has refuted the attempts to find in them attacks on Jonson, and H. C. Hart (_9 N. Q._ xi. 282, 342) has made it plausible that by ‘Torquatus’ was meant, not Jonson, but Gabriel Harvey. This view is now accepted by Penniman (_Poetaster_, xxiii). On 28 Sept. 1599 Henslowe paid £2, on behalf of the Admiral’s, for ‘M^r Maxton the new poete’. The interlineated correction ‘M^r Mastone’ is a forgery (Greg, _Henslowe_, i. xlii; ii. 206), but probably Marston was the poet. The title of the play was left blank, and there was no further payment. It seems clearer to me than it does to Dr. Greg that the £2 was meant to make up a complete sum of £6 10_s._ for _The King of Scots_, and that Marston was the ‘other Jentellman’ who collaborated with Chettle, Dekker, and Jonson on that lost play. The setting up of the Paul’s boys in 1599 saved Marston from Henslowe. For them he successively revised the anonymous _Histriomastix_ (q.v.), wrote the two parts of _Antonio and Mellida_ and _Jack Drum’s Entertainment_, helped Dekker with _Satiromastix_, and finally wrote _What You Will_. This probably accounts for all his dramatic work during Elizabeth’s reign. In the course of it he came into conflict with Jonson, who told Drummond in 1619 (according to the revision of the text of Laing, 20, suggested by Penniman, _War_, 40, and Small, 3) that ‘He had many quarrells with Marston, beat him, and took his pistol from him, wrote his Poetaster on him; the beginning of them were, that Marston represented him in the stage’. Marston’s representation of Jonson as Chrysoganus in _Histriomastix_ was complimentary, that as Brabant senior in _Jack Drum’s Entertainment_ offensive; and it was doubtless the latter that stirred Jonson to retaliate on Marston, perhaps as Hedon in _Cynthia’s Revels_, certainly as Crispinus in _The Poetaster_. Marston’s final blow was with Lampatho Doria in _What You Will_. When the theatres reopened in 1604 Marston seems to have left the Paul’s boys and taken a share in the syndicate formed to exploit the Queen’s Revels, for whom the rest of his plays were written. He was now on friendly terms with Jonson, to whom he dedicated his _Malcontent_ and for whose _Sejanus_ he wrote congratulatory verses. Possibly further friction arose over the unfortunate collaboration of Jonson, Marston, and Chapman in _Eastward Ho!_, for the chief indiscretion in which Marston seems to have been responsible, and may have stimulated a sarcasm on Jonson in the Epistle to _Sophonisba_. In 1608 Marston’s career as a dramatist abruptly terminated. An abstract of the Privy Council Register has the brief note on 8 June, ‘John Marston committed to Newgate’ (F. P. Wilson from _Addl. MS._ 11402, f. 141, in _M. L. R._ ix. 99). I conjecture that he was the author of the Blackfriars play (cf. ch. xii, s.v. Chapel) which hit at James’s explorations after Scottish silver. He disappeared, selling his interest in the Blackfriars company, then or in 1605, to Robert Keysar, and leaving _The Insatiate Countess_ unfinished. He had taken orders by 10 Oct. 1616 when he obtained the living of Christchurch, Hampshire. This he resigned on 13 Sept. 1631. In 1633 he was distant from London, but died on 25 June 1634 in Aldermanbury parish. He had married Mary, probably the daughter of William Wilkes, one of James’s chaplains, of whom Jonson said in 1619 (Laing, 16) that ‘Marston wrott his Father-in-lawes preachings, and his Father-in-law his Commedies’. If we trust the portrait of Crispinus in _The Poetaster_, he had red hair and little legs. A letter from Marston to Sir Gervase Clifton, endorsed ‘Poet Marston’, is calendared in _Hist. MSS. Various Coll._ vii. 389; it is undated, but must, from the names used, be of 1603–8.

_Collections_

1633. Tragedies and Comedies collected into one volume. Viz. 1. Antonio and Mellida. 2. Antonio’s Revenge. 3. The Tragedie of Sophonisba. 4. What You Will. 5. The Fawne. 6. The Dutch Courtezan. _A. M. for William Sheares._ [Epistle to Viscountess Falkland, signed ‘William Sheares’.]

1633. The Workes of Mr. Iohn Marston, Being Tragedies and Comedies, Collected into one Volume. _For William Sheares._ [Another issue.]

1856. J. O. Halliwell, _The Works of John Marston_. 3 vols. [Contains all the works, except _Jack Drum’s Entertainment_.]

1879. A. B. Grosart, _The Poems of John Marston_. [Contains _Pygmalion’s Image_ and the satires.]

1887. A. H. Bullen, _The Works of John Marston_. 3 vols. [Contains all the works, except _Jack Drum’s Entertainment_.]

_Dissertations_: W. von Scholten, _Metrische Untersuchungen zu Marston’s Trauerspielen_ (1886, _Halle diss._); P. Aronstein, _John Marston als Dramatiker_ (_E. S._ xx. 377; xxi. 28); W. v. Wurzbach, _John Marston_ (1897, _Jahrbuch_, xxxiii. 85); C. Winckler, _John Marston’s litterarische Anfänge_ (1903, _Breslau diss._) and _Marston’s Erstlingswerke und ihre Beziehungen zu Shakespeare_ (1904, _E. S._ xxxiii. 216).

PLAYS

_Antonio and Mellida. 1599_

_S. R._ 1601, Oct. 24. ‘A booke called The ffyrst and second partes of the play called Anthonio and Melida provided that he gett laufull licence for yt.’ _Matthew Lownes and Thomas Fisher_ (Arber, iii. 193).

1602. The History of Antonio and Mellida. The first part. As it hath beene sundry times acted, by the Children of Paules. Written by I. M. _For Mathew Lownes and Thomas Fisher._ [Epistle to Nobody, signed ‘J. M.’, Induction, Prologue, and Epilogue.]

1602. Antonio’s Reuenge. The second part. As it hath beene sundry times acted, by the children of Paules. Written by I. M. _For Thomas Fisher._ [Prologue.]

_Editions_ by C. W. Dilke (1814, _O. E. P._ ii) and W. W. Greg (1921, _M. S. R._).

In V. i of Part i a painter brings in two pictures, one dated ‘Anno Domini, 1599’, the other ‘Aetatis suae 24’. I agree with Small, 92, that these are probably real dates and that the second indicates Marston’s own age. As he must have completed his twenty-fourth year by 3 Feb. 1600 at latest, Part i was probably produced in 1599. The prologue of Part ii speaks of winter as replacing summer, and probably therefore Part i is to be dated in the summer, and Part ii in the early winter of 1599. Clearly the painter scene cannot, as Fleay, ii. 75, suggests, be motived by a casual allusion to a painter in _Cynthia’s Revels_ (F_{1}) 2673 or the painter scene added on revision to Kyd’s _Spanish Tragedy_, since both are later. The ‘armed Epilogue’ of Part i seems to me clearly a criticism of the armed prologue of Jonson’s _Poetaster_ (1601); it may have been an addition of 1601. Part ii, prol. 13, 23, calls the theatre ‘round’ and ‘ring’.

_What You Will. 1601_

_S. R._ 1607, Aug. 6 (Buck). ‘A commedie called What you will.’ _Thomas Thorp_ (Arber, iii. 358).

1607. What You Will. By Iohn Marston. _G. Eld for Thomas Thorpe._ [Induction and Prologue.]

_Edition_ by C. W. Dilke (1814, _O. E. P._ ii).--_Dissertation_: F. Holthausen, _Die Quelle von Marston’s W. Y. W._ (1905, _Jahrbuch_, xli. 186).

Bullen, Fleay, ii. 76, Small, 101, and Aronstein agree in regarding the play as written in 1601 by way of answer to _Cynthia’s Revels_, and they are probably right. Small shows that, in spite of the fact that Quadratus calls Lampatho Doria a ‘Don Kynsader’ (II. i. 134), Lampatho must stand for Jonson, and Quadratus to some extent for Marston himself. Perhaps Simplicius Faber is the unidentified Asinius Bubo of _Satiromastix_. Both Fleay and Small think that the play has been revised before publication, partly because of confusion in the names of the characters, and partly because of the absence of the kind of Marstonian language which Jonson satirized. Small goes so far as to suggest that the seventeen untraceable words vomited by Crispinus in _The Poetaster_ came from _What You Will_, and that Marston rewrote the play and eliminated them. The rest of Fleay’s conjectures about the play seem to me irresponsible. If the play dates from 1601, it may reasonably be assigned to the Paul’s boys. The induction, with its allusions to the small size of the stage and the use of candles, excludes the possibility of an adult theatre.

_The Dutch Courtesan. 1603–4_

_S. R._ 1605, June 26. ‘A booke called the Dutche Curtizan, as yt was latelie presented at the Blackeffryers Provyded that he gett sufficient Aucthoritie before yt be prynted.’ _John Hodgettes_ (Arber, iii. 293). [A further note, ‘This is alowed to be printed by Aucthoritie from Master Hartwell’.]

1605. The Dutch Courtezan. As it was played in the Blacke-Friars. by the Children of her Maiesties Reuels. Written by Iohn Marston, _T. P. for John Hodgets_. [Prologue.]

_S. R._ 1613, April 19. Transfer to Hodgettes of Eleazer Edgar’s interest in the play (Arber, iii. 520).

As a Queen’s Revels play, this must have been on the stage at least as late as 1603, and the clear proof of Crawford, ii. 1, that several passages are verbal imitations of Florio’s translation of Montaigne, published in that year, make it difficult to put it earlier, although Wallace, ii. 75, says that he has evidence, which he does not give, for production in 1602. On the other hand, C. R. Baskervill (_M. L. A._ xxiv. 718) argues that the plot influenced that of _The Fair Maid of Bristow_, which was performed at Court during the winter of 1603–4. The play is referred to with _Eastward Ho!_ (q.v.) as bringing trouble on Marston by A. Nixon, _The Black Year_ (1606). It was revived for the Court by the Lady Elizabeth’s on 25 Feb. 1613, under the name of _Cockle de Moye_ from one of the characters, and repeated on 12 Dec. 1613 (cf. App. B).

_The Malcontent. 1604_

_S. R._ 1604, July 5 (Pasfield). ‘An Enterlude called the Malecontent, Tragicomoedia.’ _William Aspley and Thomas Thorpe_ (Arber, iii. 266, 268). [Entry made on the wrong page and re-entered.]

1604. The Malcontent. By Iohn Marston. _V. S. for William Aspley._ [Two editions. Inscription ‘Beniamino Jonsonio, poetae elegantissimo, gravissimo, amico suo, candido et cordato, Iohannes Marston, Musarum alumnus, asperam hanc suam Thaliam D.D.’ and Epistle to Reader.]

1604. The Malcontent. Augmented by Marston. With the Additions played by the Kings Maiesties servants. Written by Ihon Webster. _V. S. for William Aspley._ [A third edition, with the Induction, which is headed ‘The Induction to the Malcontent, and the additions acted by the Kings Maiesties servants. Written by Iohn Webster’, and the insertions I. i. 146–88, 195–212, 256–303; I. iii; II. ii. 34, 57–71; III. i. 33–156; IV. ii. 123–37; V. i; V. ii. 10–39, 164–94, 212–26; V. iii. 180–202.]

_Editions_ by W. Scott (1810, _A. B. D._ ii) and W. A. Neilson (1911, _C. E. D._); and with _Works_ of Webster (q.v.).--_Dissertation_: E. E. Stoll, _John Webster_ (1905), 55, and _Shakspere, Marston, and the Malcontent Type_ (1906, _M. P._ iii. 281).

The induction, in which parts are taken by Sly, Sinklo, Burbadge, Condell, and Lowin, explains the genesis of the enlarged edition.

_Sly._ ... I would know how you came by this play?

_Condell._ Faith, sir, the book was lost; and because ’twas
pity so good a play should be lost, we found it and play it.

_Sly._ I wonder you would play it, another company having
interest in it.

_Condell._ Why not Malevole in folio with us, as Jeronimo
in decimosexto with them? They taught us a name for our play; we
call it _One for Another_.

_Sly._ What are your additions?

_Burbadge._ Sooth, not greatly needful; only as your salad
to your great feast, to entertain a little more time, and to
abridge the not-received custom of music in our theatre.