Chapter XXII: Part 1: with Heywood, Dec. 1602–Jan. 1603; one payment had been made to (10)

Stoll, 57, rightly argues that Small, 115, is not justified in ignoring the evidence of the title-page and assigning the insertions, as well as the induction, to Webster rather than Marston. On the other hand, I think he himself ignores the evidence of Burbadge’s speech in the induction, when he takes the undramatic quality of the insertions as proof that Marston did not write them first in 1604, but revived them from his original text, which the boy actors had shortened. He puts this original text in 1600, because of the allusion in one of the insertions (I. iii. 20) to a ‘horn growing in the woman’s forehead twelve years since’. This horn was described in a pamphlet of 1588. I do not share his view that ‘twelve’ must be a precise and not a round number. Sly says in the induction:

‘This play hath beaten all your gallants out of the feathers:
Blackfriars hath almost spoiled Blackfriars for feathers.’

It is clear therefore that the original actors were the Blackfriars boys, and there is nothing else to suggest a connexion between Marston and these boys during Elizabeth’s reign. Small, 115, points out a reference to the Scots in V. iii. 24 which should be Jacobean. I think that this is Marston’s first play for the Queen’s Revels after the formation of the syndicate early in 1604, and that the revision followed later in the same year. It is not necessary to assume that the play was literally ‘lost’ or that Marston was not privy to the adoption of it by the King’s. Importance is attached to the date by parallels to certain plays of Shakespeare, where Stoll thinks that Shakespeare was the borrower. I do not see how it can be so. The epilogue speaks of the author’s ‘reformed Muse’ and pays a compliment to ‘another’s happier Muse’ and forthcoming ‘Thalia’, perhaps Jonson’s _Volpone_.

_The Fawn. 1604 < > 6_

_S. R._ 1606, March 12. ‘A playe called the ffaune provided that he shall not put the same in prynte before he gett alowed lawfull aucthoritie.’ _William Cotton_ (Arber, iii. 316).

1606. Parasitaster, Or The Fawne, As it hath bene diuers times presented at the blacke Friars, by the Children of the Queenes Maiesties Reuels. Written by Iohn Marston. _T. P. for W. C._ [Epistle to the Equal Reader, signed ‘Jo. Marston’, Prologue, and Epilogue.]

1606.... and since at Paules.... And now corrected of many faults, which by reason of the Author’s absence were let slip in the first edition. _T. P. for W. C._ [A further Epistle to the Reader states that the writer has ‘perused this copy’ and is about to ‘present ... to you’ the tragedy of _Sophonisba_.]

Modern edition by C. W. Dilke (1814, _O. E. P._ ii).

As a Queen’s Revels play, this must date from 1604 or 1605; presumably it was transferred to Paul’s by Edward Kirkham, when he took charge of them for the Christmas of 1605–6. Small, 116, refutes Aronstein’s suggested allusion to Jonson’s _Volpone_ of 1605 or 1606. Bolte, _Danziger Theater_, 177, prints from a seventeenth-century Dantzig MS. a German play, _Tiberius von Ferrara und Annabella von Mömpelgart_, which is in part derived from _The Fawn_ (Herz, 99). If, as the titles suggest, the performances of _Annabella, eines Hertzogen Tochter von Ferrara_ at Nördlingen in 1604, of _Annabella, eines Markgraffen Tochter von Montferrat_ at Rothenburg in 1604, and of _Herzog von Ferrara_ at Dresden in 1626 (Herz, 65, 66), indicate intermediate links, _The Fawn_ cannot be later than 1604. Yet I find it impossible not to attach some value to the argument of Stoll, _Webster_, 17, for a date later than the execution of Sir Everard Digby on 30 Jan. 1606 (Stowe, _Annales_, 881), which appears to be alluded to in IV. i. 310, ‘Nay, heed me, a woman that will thrust in crowds,--a lady, that, being with child, ventures the hope of her womb,--nay, gives two crowns for a room to behold a goodly man three parts alive, quartered, his privities hackled off, his belly lanched up’. It is true that there were also quarterings for treason on 29 Nov. 1603 (Stowe, _Annales_, ed. Howes, 831), but these were in Winchester; also that contemporary notices, such as that in Stowe and the narratives in J. Morris, _Catholics under James I_, 216, and in _Somers Tracts_ (1809), ii. 111, which describes the victims as ‘proper men, in shape’, afford no confirmation of indecent crowds in 1606, but the cumulative effect of the quadruple allusions here, in Day’s _Isle of Gulls_ (q.v.), in Sharpham’s _Fleir_ (q.v.), and in Middleton’s _Michaelmas Term_ (q.v.) is pretty strong. The passage quoted by Crawford, ii. 40, from Montaigne is hardly particular enough to explain that in the _Fawn_. I do not like explaining discrepancies by the hypothesis of a revision, but if Kirkham revived the _Fawn_ at Paul’s in 1606, he is not unlikely to have had it written up a bit. The epistle refers to ‘the factious malice and studied detractions’ of fellow-dramatists, perhaps an echo of Marston’s relations with Jonson and Chapman over _Eastward Ho!_

_The Wonder of Women_, or _Sophonisba_. _1606_

_S. R._ 1606, March 17 (Wilson). ‘A booke called the wonder of woemen, or the Tragedie of Sophonisba, &c.’ _Eleazar Edgar_ (Arber, iii. 316).

1606. The Wonder of Women Or the Tragedie of Sophonisba, as it hath beene sundry times Acted at the Blacke-Friers. Written by Iohn Marston. _John Windet._ [Epistle to the General Reader by the author, but unsigned, Argumentum, Prologue, and Epilogue.]

_S. R._ 1613, April 19. Transfer from Edgar to John Hodgettes (Arber, iii. 521).

The mention of Blackfriars without the name of a company points to a performance after Anne’s patronage had been withdrawn from the Revels boys, late in 1605 or early in 1606, not, as Fleay, ii. 79, suggests, to one by the Chapel in 1602–3. Some features of staging (cf. ch. xxi) raise a suspicion that the play may have been taken over from Paul’s. The resemblance of the title to that of _Wonder of a Woman_ produced by the Admiral’s in 1595 is probably accidental. The epistle glances at Jonson’s translations in _Sejanus_ (1603).

_The Insatiate Countess. c. 1610_

1613. The Insatiate Countesse. A Tragedie: Acted at White-Fryers. Written by Iohn Marston. _T. S. for Thomas Archer._

1616. _N. O. for Thomas Archer._

1631.... Written by William Barksteed. _For Hugh Perrie._

1631.... Written by Iohn Marston. _I. N. for Hugh Perrie._ [A reissue.]

_Dissertation_: R. A. Small, _The Authorship and Date of the Insatiate Countess_ in _Harvard Studies and Notes in Philology and Literature_, v (_Child Memorial Volume_), 277.

It is generally supposed that Marston began the play and that Barksted (q.v.) finished it. Two lines (V. ii. 244–5) appear verbatim in Barksted’s _Mirrha_ (1607). Small traces several other clear parallels with both _Mirrha_ and _Hiren_, as well as stylistic qualities pointing to Barksted rather than to Marston, and concludes that the play is Barksted’s on a plot drafted by Marston. It may be conjectured that Marston left the fragment when he got into trouble for the second time in 1608, and that the revision was more probably for the Queen’s Revels at Whitefriars in 1609–11 than for the conjoint Queen’s Revels and Lady Elizabeth’s in 1613. Hardly any of the suggestions on the play in Fleay, ii. 80, bear analysis.

_Lost Plays_

On _The King of Scots_, _vide supra_. Rogers and Ley’s list of 1656 (Greg, _Masques_, lxxii) ascribes to Marston a _Guise_, which other publishers’ lists transfer to Webster (q.v.). Collier, _Memoirs of Alleyn_, 154, assigns to Marston a _Columbus_, on the basis of a forgery.

_Doubtful Plays_

Marston doubtless had a hand in revising the anonymous _Histriomastix_ and in _Jack Drum’s Entertainment_, and attempts have been made to find him in _An Alarum for London_, _Charlemagne_, _London Prodigal_, _Puritan_ (cf. ch. xxiv), and as a collaborator in Dekker’s _Satiromastix_.

MASKS

_Ashby Entertainment. Aug. 1607_

[_MSS._] (_a_) _Bridgewater House_, with title, ‘The honorable Lorde & Lady of Huntingdons Entertainment of their right Noble Mother Alice: Countesse Dowager of Darby the first night of her honors arrivall att the house of Ashby’. [Verses to Lady Derby signed ‘John Marston’; includes a mask of Cynthia and Ariadne.]

(_b_) _B.M. Sloane_ 848, f. 9. [Speech of Enchantress only, with date Aug. 1607.]

_Extracts_ in H. J. Todd, _Works of Milton_, v. 149 (1801), and Nichols, _James_, ii. 145 (1828).

On arrival, in the park, at an ‘antique gate’ with complimentary inscriptions, were speeches by Merimna an enchantress, and Saturn; at the top of the stairs to the great chamber another speech by Merimna and a gift of a waistcoat.

Later in the great chamber was a mask by four knights and four gentlemen, in carnation and white, and vizards like stars, representing sons of Mercury, with pages in blue, and Cynthia and Ariadne as presenters. A traverse ‘slided away’, and disclosed the presenters on clouds. Later a second traverse ‘sank down’, and the maskers appeared throned at the top of a wood. They danced ‘a new measure’, then ‘presented their shields’, and took out the ladies for measures, galliards, corantos and lavoltas. ‘The night being much spent’, came their ‘departing measure’.

At departure were an eclogue by a shepherd and a nymph, and a gift of a cabinet by Niobe in the little park.

_Mountebank’s Mask. 1618_ (?)

The ascription to Marston of this Gray’s Inn mask rests on an unverifiable assertion by Collier (cf. Bullen, _Marston_, iii. 418; Brotanek, 356), and the known dates of Marston’s career render it extremely improbable.

JOHN MASON (1581–2--?).

The degree boasted on his title-page leads to the identification of Mason as a son of Richard Mason, priest, of Cavendish, Suffolk, and pupil of Bury St. Edmunds school, who matriculated from Caius College, Cambridge, as a sizar at the age of fourteen on 6 July 1596, and took the degree of B.A. in 1601 and M.A. in 1606 from St. Catharine’s Hall. He was a member of the King’s Revels syndicate in 1608, and nothing further is known of him, since the combination of names is too common to justify his identification with the schoolmaster of Camberwell, Surrey, whose school-play is described in _Princeps Rhetoricus_ (1648; cf. C. S. Northup in _E. S._ xlv. 154).

_The Turk. 1607–8_

_S. R._ 1609, March 10 (Segar). ‘A booke called The tragedy of the Turke with the death of Borgias by John Mason gent.’ _John Busby_ (Arber, iii. 403).

1610. The Turke. A Worthie Tragedie. As it hath bene diuers times acted by the Children of his Maiesties Reuels. Written by Iohn Mason Maister of Artes. _E. A. for John Busbie._ [Prologue and Epilogue.]

1632. An excellent Tragedy of Mulleasses the Turke, and Borgias Governour of Florence. Full of Interchangeable variety; beyond expectation.... _T. P. for Francis Falkner._

_Edition_ by J. Q. Adams (1913, _Materialien_, xxxvii).--_Dissertation_: G. C. Moore Smith, _John Mason and Edward Sharpham_ (1913, _M. L. R._ viii. 371).

As a King’s Revels play this may be put in 1607–8. An earlier date has been thought to be indicated by _Eastward Ho!_ (1605), II. ii. 41, ‘_Via_, the curtaine that shaddowed Borgia’, but if the reference is to a play, Borgia may well have figured in other plays. A play ‘Vom Turcken’ was taken by Spencer to Nuremberg in 1613 (Herz, 66).

CHARLES MASSEY.

For his career as an actor, cf. ch. xv.

He apparently wrote _Malcolm King of Scots_ for the Admiral’s, to which he belonged, in April 1602, and began _The Siege of Dunkirk, with Alleyn the Pirate_ in March 1603. Neither play survives.

PHILIP MASSINGER (1583–1640).

Massinger, baptized at Salisbury on 24 Nov. 1583, was son of Arthur Massinger, a confidential servant of Henry, 2nd Earl of Pembroke. He entered at St. Alban Hall, Oxford, and left without a degree in 1606. Little is known of him for some years thereafter. He is conjectured to have become a Catholic and thus to have imperilled his relations with the Herbert family, at any rate until the time of Philip, the 4th earl, who was certainly his patron. He was buried at St. Saviour’s on 18 March 1640 and left a widow. The greater part of his dramatic career, to which all his independent plays belong, falls outside the scope of this notice, but on 4 July 1615 he gave a joint bond with Daborne for £3 to Henslowe, and some undated correspondence probably of 1613 shows that he was collaborating in one or more plays with Daborne, Field, and Fletcher.

_Collections_

T. Coxeter (1759), J. M. Mason (1779), W. Gifford (1805), H. Coleridge (1840, 1848, 1851), F. Cunningham (1871, 3 vols.). [These include _The Old Law_, _The Fatal Dowry_, and _The Virgin Martyr_, but not any plays from the Beaumont and Fletcher Ff.]

_Selections_

1887–9. A. Symons, _The Best Plays of P. M._ 2 vols. (_Mermaid Series_). [Includes _The Fatal Dowry_ and _The Virgin Martyr_.]

1912. L. A. Sherman, _P. M._ (_M. E. D._).

_Dissertations_: S. R. Gardiner, _The Political Element in M._ (1876, _N. S. S. Trans._ 314); J. Phelan, _P. M._ (1879–80, _Anglia_, ii. 1, 504; iii. 361); E. Koeppel, _Quellenstudien zu den Dramen G. Chapman’s, P. M.’s und J. Ford’s_ (1897, _Q. F._ lxxxii); W. von Wurzbach, _P. M._ (1899–1900, _Jahrbuch_, xxxv. 214, xxxvi. 128); C. Beck, _P. M. The Fatal Dowry_ (1906); A. H. Cruickshank, _Philip Massinger_ (1920).

It is doubtful how far Massinger’s dramatic activity began before 1616. For ascriptions to him, s.v. Beaumont and Fletcher (_Captain_, _Cupid’s Revenge_, _Coxcomb_, _Scornful Lady_, _Honest Man’s Fortune_, _Faithful Friends_, _Thierry and Theodoret_, _T. N. K._, _Love’s Cure_), Anthony Brewer (_The Lovesick King_), and _Second Maiden’s Tragedy_ (ch. xxiv). It has also been suggested that a _Philenzo and Hypollita_ and an _Antonio and Vallia_, ascribed to him in late records, but not extant, may represent revisions of early work by Dekker (q.v.).

FRANCIS MERBURY (_c._ 1579).

At the end of the epilogue to the following play is written ‘Amen, quoth fra: Merbury’. The formula may denote only a scribe, but a precisely similar one denotes the author in the case of Preston’s _Cambyses_ (q.v.).

_A Marriage between Wit and Wisdom. c. 1579_

[_MS._] _Brit. Mus. Addl. MS._ 26782, formerly _penes_ Sir Edward Dering.

_Editions_ by J. O. Halliwell (1846, _Sh. Soc._), J. S. Farmer (1909, _T. F. T._).

The MS. has a title-page, with the date 1579, an arrangement of the parts for six actors and the title ‘The ---- of a Marige betweene wit and wisdome very frutefull and mixed full of pleasant mirth as well for The beholders as the Readers or hearers neuer before imprinted’. There are nine Scenes in two Acts, with a Prologue and Epilogus. The characters are almost wholly allegorical. Idleness is ‘the vice’. The stage-directions mention a ‘stage’. Halliwell prints the mutilated word left blank in the title above as ‘Contract’, no doubt rightly. Conceivably the play was in fact printed in 1579, as ‘Mariage of wit and wisdome’ is in Rogers and Ley’s play-list of 1656 (Greg, _Masques_, lxxxvii).

The play might be identical with the lost Paul’s moral of _The Marriage of Mind and Measure_ (cf. App. B), which also belongs to 1579. Fleay, ii. 287, 294, infers from a not very conclusive reference to a ‘King’ in sc. iv that it dates from the time of Edward VI. He also identifies it with the _Hit Nail o’ th’ Head_ named in _Sir Thomas More_ (q.v.) because that phrase is quoted in the Epilogus, curiously disregarding the fact that the _Sir Thomas More_ list names the play under its existing title as distinct from _Hit Nail o’ th’ Head_. Most of the plays in the _Sir Thomas More_ list seem to be pre-Elizabethan; cf. _Mediaeval Stage_, ii. 200.

THOMAS MIDDLETON (_c._ 1570–1627).

Thomas Middleton was a Londoner and of a gentle family. The date of his birth can only be roughly conjectured from the probability that he was one of two Thomas Middletons who entered Gray’s Inn in 1593 and 1596, and of his earlier education nothing is known. His first work was _The Wisdom of Solomon Paraphrased_ (1597), and he may be the T. M. of _The Black Book_ (1604) and other pamphlets in prose and verse. He appears as a dramatist, possibly as early as 1599 in _The Old Law_ and certainly in Henslowe’s diary during 1602, writing an unnamed play for Worcester’s men, and for the Admiral’s _Caesar’s Fall or The Two Shapes_ with Dekker (q.v), Drayton, Munday, and Webster, and by himself, _Randal Earl of Chester_, and a prologue and epilogue to Greene’s _Friar Bacon_ (q.v.). This work is all lost, but by 1604 he had also collaborated with Dekker for the Admiral’s in the extant _Honest Whore_. From 1602, if not from 1599, to the end of their career in 1606 or 1607, he was also writing diligently for the Paul’s boys. I think he is referred to with their other ‘apes and guls’, Marston and Dekker, in Marston’s _Jack Drum’s Entertainment_ (1600), IV. 40:

How like you _Musus_ fashion in his carriage?
O filthilie, he is as blunt as _Paules_.

Brabant, the speaker, represents Jonson, who told Drummond in 1619 that he was ‘not of the number of the Faithfull, i. e. _Poets_, and but a base fellow’ (Laing, 12). Occasional plays for several companies and the beginnings of employment in city pageantry occupied 1607–16, and to later periods belong a fruitful partnership with William Rowley for Prince Charles’s men, and some slight share in the heterogeneous mass of work that passes under the names of Beaumont and Fletcher. He also wrote a few independent plays, of which _A Game at Chess_ (1624) got him into political trouble. At some time before 1623 a few lines of his got interpolated into the text of _Macbeth_ (cf. _Warwick_ edition, p. 164). In 1620 he obtained a post as Chronologer to the City. He married Maria Morbeck, had a son Edward, and dwelt at Newington Butts, where he was buried on 4 July 1627.

_Collections_

1840. A Dyce, _Works of T. M._ 5 vols.

1885–6. A. H. Bullen, _Works of T. M._ 8 vols. [Omits _The Honest Whore_.]

1887–90. H. Ellis, _The Best Plays of T. M._ 2 vols. (Mermaid Series). [Includes _Trick to Catch the Old One_, _Chaste Maid in Cheapside_, _Widow_, _Roaring Girl_, _Mayor of Queenborough_, and later plays.]

_Dissertations_: J. Arnheim, _T. M._ (1887, _Archiv_, lxxviii. 1, 129, 369); P. G. Wiggin, _An Inquiry into the Authorship of the Middleton-Rowley Plays_ (1897, _Radcliffe College Monographs_, ix); H. Jung, _Das Verhältniss T. M.’s zu Shakspere_ (1904, _Münchener Beiträge_, xxix).

PLAYS

_The Old Law. 1599_

1656. The Excellent Comedy, called The Old Law; Or A new way to please you. By Phil. Massenger. Tho. Middleton. William Rowley. Acted before the King and Queene at Salisbury House, and at severall other places, with great Applause. Together with an exact and perfect Catalogue of all the Playes, with the Authors Names, and what are Comedies, Tragedies, Histories, Pastoralls, Masks, Interludes, more exactly Printed than ever before. _For Edward Archer._

_Editions_ with Massinger’s _Works_ (q.v.).--_Dissertation_: E. E. Morris, _On the Date and Composition of T. O. L._ (_M. L. A._ xvii. 1).

It is generally supposed that in some form the play dates from 1599, as in III. i. 34 a woman was ‘born in an. 1540, and now ’tis 99’. Of the three authors only Middleton can then have been writing. Morris, after elaborate study of the early work and the versification of all three, concludes that Rowley (_c._ 1615) and Massinger (_c._ 1625) successively revised an original by Middleton. The Paul’s plays began in 1599, but it cannot be assumed that this was one of them. Stork, 48, doubts the 1599 date and is inclined to assume collaboration between the three writers _c._ 1615.

_Blurt Master Constable. 1601–2_

_S. R._ 1602, June 7. ‘A Booke called Blurt Master Constable. _Edward Aldee_ (Arber, iii. 207).

1602. Blurt Master Constable. Or The Spaniards Night-walke. As it hath bin sundry times priuately acted by the Children of Paules. _For Henry Rocket._

_Edition_ [by W. R. Chetwood] in _A Select Collection of Old Plays_ (1750).

Bullen suggests that V. iii. 179, ‘There be many of your countrymen in Ireland, signior’, said to a Spaniard, reflects the raid of Spaniards in Sept. 1601. They were taken at Kinsale in June 1602. A parallel in III. i. 104 with _Macbeth_, II. ii. 3, cannot be taken with Fleay, ii. 90, as proof of posteriority.

_The Phoenix. 1603–4_

_S. R._ 1607, May 9 (Buck). ‘A Booke called The Phenix.’ _Arthur Johnson_ (Arber, iii. 348).

1607. The Phoenix, As It hath beene sundry times Acted by the Children of Paules. And presented before his Maiestie. _E. A. for A. I._

1630. _T. H. for R. Meighen._

The only available performance before James was on 20 Feb. 1604, and the imitation of _Volpone_ (1605) suggested by Fleay, ii. 92, is not clear enough to cause any difficulty. Knights are satirized in I. vi. 150, II. iii. 4, and there is an allusion to the unsettled state of Ireland in I. v. 6.

_A Trick to Catch the Old One. 1604 < > 6_ (?)

_S. R._ 1607, Oct. 7 (Buck). ‘Twoo plaies ... thother A trick to catche the old one.’ _George Eld_ (Arber, iii. 360).

1608. A Trick to Catch the Old One. As it hath beene lately Acted, by the Children of Paules. _George Eld._

1608.... As it hath beene often in Action, both at Paules, and the Black Fryers. Presented before his Maiestie on New yeares night last. Composed by T. M. _G. E. sold by Henry Rockett._ [Another issue.]

1616.... By T. Middleton. _George Eld for Thomas Langley._

_Editions_ in _O. E. D._ (1830, iii) and by C. W. Dilke (1814, _O. E. P._ v) and W. A. Neilson (1911, _C. E. D._).

The date of Q_{1} is doubtless 1608/9 and the Court performance that by the Children of Blackfriars on 1 Jan. 1609. They must have taken the play over from Paul’s when these went under in 1606 or 1607. The title is probably proverbial, and therefore the phrase ‘We are in the way to catch the old one’ in _Isle of Gulls_, II. v, hardly enables us to date the play with Fleay, ii. 92, before Day’s, which was in Feb. 1606.

_A Mad World, my Masters. 1604 < > 6_ (?)

_S. R._ 1608, Oct. 4. ‘A Booke called A Mad World (my Maysters).’ _Walter Burre and Eleazar Edgar_ (Arber, iii. 391). [The licenser is Segar, ‘Deputy of Sir George Bucke’.]

1608. A Mad World, My Masters. As it hath bin lately in Action by the Children of Paules. Composed by T. M. _H. B. for Walter Burre._

_S. R._ 1613, April 19. Transfer to John Hodgettes of Edgar’s share (Arber, iii. 520).

1640.... A Comedy. As it hath bin often Acted at the Private House in Salisbury Court, by her Majesties Servants.... _For J. S., sold by James Becket._ [Epistle to Reader, signed ‘J. S.’]

_Edition_ by W. Scott (1810, _A. B. D._ ii).

The epistle says ‘it is full twenty years since it was written’, which is absurd. A pamphlet of the same title by Breton in 1603, hits at the Jacobean knightings in I. i. 64, II. v. 41, and the Family of Love in I. ii. 73, and the disappearance of Paul’s in 1606 or 1607 are the only indications of date. In Acts IV and V the duplicate names Once-Ill-Brothel, Hargrave-Harebrain, Shortrod-Harebrain suggest revision.

_Michaelmas Term. 1606_ (?)

_S. R._ 1607, May 15 (Buck). ‘A Comedy called Mychaelmas terme.’ _Arthur Johnson_ (Arber, iii. 349).

1607. Michaelmas Terme. As it hath been sundry times acted by the Children of Paules. _For A. I._ [Induction.]

1630.... Newly corrected. _T. H. for R. Meighen._

Allusions in II. iii. 226, 376 to the presence of women at a quartering for treason may suggest, as in the case of Marston’s _Fawn_ (q.v.), a date after that of 30 Jan. 1606. There is no reference in II. i. 63 to the leap-year of 1604, as suggested by Fleay, ii. 91. Knightings are satirized in I. i. 191; III. i. 46.

_Your Five Gallants. 1607_

_S. R._ 1608, March 22 (Buck). ‘A Plaie called the ffyve Wittie Gallantes as it hath ben acted by the Children of the Chappell.’ _Richard Bonyon_ (Arber, iii. 372).

N.D. Your fiue Gallants. As it hath beene often in Action at the Blacke-friers. Written by T. Middleton. _For Richard Bonian._ [Induction with ‘Presenter or Prologue’ in dumb-show.]

This may have been in preparation for Paul’s when they ceased playing and taken over by Blackfriars. In any case a reference to closure for plague in IV. ii. 29 and to fighting with a windmill (like Don Quixote) in IV. viii. 7 fit in with a date in 1607.

_The Family of Love. 1604 < > 7_ (?)

_S. R._ 1607, Oct. 12 (Buck). ‘A playe called the family of Loue as yt hath bene Lately acted by the Children of his Maiesties Reuelles.’ _John Browne and John Helme_ (Arber, iii. 360).

1608. The Famelie of Love. Acted by the Children of his Maiesties Reuells. _For John Helmes._ [Epistle to Reader, Prologue, Epilogue.]

The prologue apologizes that ‘expectation’ hath not ‘filled the general round’. The King’s Revels can hardly have existed before 1607. Fleay, ii. 94, thinks that they inherited the play from Paul’s and assigns it to 1604 ‘when the Family of Love were such objects of public attention’. His chief reason is that the epistle regrets that the play was ‘not published when the general voice of the people had sealed it for good, and the newness of it made it much more desired than at this time’. It had ‘passed the censure of the stage with a general applause’. This epistle is clearly by the author, who says ‘it was in the press before I had notice of it, by which means some faults may escape in the printing’. I agree that there must have been some interval between production and publication. But there is no special virtue in the date 1604. References to the Family of Love are to be found in _Sir Giles Goosecap_ (_1601–3_), II. i. 263; _Dutch Courtesan_ (_1603–4_), I. i. 156, I. ii. 18; _Mad World, My Masters_ (_1604–6_), I. ii. 73; _Isle of Gulls_ (_1606_), p. 26; _Every Woman in Her Humour_ (?), p. 316. The sect was well known in England as early as 1574–81, when an act was passed for its suppression. It petitioned James _c._ 1604 and was answered in _A Supplication of the Family of Love_, printed at Cambridge in 1606. On its history, cf. Fuller, _Church History_ (1868), iii. 239; F. Nippold, _Heinrich Niclaes und das Haus der Liebe_ (1862, _Z. f. Hist. Theol._); R. Barclay, _Inner Life of the Religious Societies of the Commonwealth_ (1876), 25; A. C. Thomas, _The Family of Love_ (1893); R. M. Jones, _Studies in Mystical Religion_ (1909), 428; E. B. Daw, _Love Feigned and Unfeigned_ (1917, _M. L. A._ xxxii. 267).

_The Roaring Girl. c. 1610._

_With_ Dekker (q.v.).

_A Chaste Maid in Cheapside. 1611._

_S. R._ 1630, April 8 (Herbert). ‘A play called The Chast Mayd of Chepeside.’ _Constable_ (Arber, iv. 232).

1630. A Chast Mayd in Cheape-side. A Pleasant conceited Comedy neuer before printed. As it hath beene often acted at the Swan on the Banke-side by the Lady Elizabeth her Seruants By Thomas Midelton Gent. _For Francis Constable._

It is not known where the Lady Elizabeth’s played during 1611–13, and it may very well have been at the Swan. Nor is there anything improbable in the suggestion of Fleay, 186, that this is the _Proud Maid’s Tragedy_ acted by them at Court on 25 Feb. 1612 (App. B).

_No Wit, no Help, like a Woman’s. 1613_ (?)

_S. R._ 1653, Sept. 9. ‘No witt, no helpe like a Woman. Mr. Tho. Midleton.’ _H. Moseley._ (Eyre, i. 428).

{ Wit }
1657. No { Help } like a Womans. A Comedy. By Tho. Middleton,
Gent. _For Humphrey Moseley._ [Prologue and Epilogue.]

The text represents a revival by Shirley in 1638, but Fleay, ii. 96, refers the original to 1613 as in III. i. 286 a character, after referring to the almanac for 1638, says he has ‘proceeded in five and twenty such books of astronomy’. Bullen accepts the date, but I feel no confidence in the argument. Stork, 47, attempts to trace Rowley’s hand.

_The Widow_ (?)

_S. R._ 1652, Apr. 12 (Brent). ‘A play called The Widdow, written by John Fletcher & Tho: Middleton gent.’ _Moseley_ (Eyre, i. 394).

1652. The Widdow A Comedie. As it was Acted at the private House in Black Fryers, with great Applause, by His late Majesties Servants. Written by Ben: Jonson John Fletcher. Tho: Middleton. Gent. Printed by the Originall Copy. _For Humphrey Moseley._ [Epistle to Reader by Alexander Gough. Prologue and Epilogue.]

Bullen places this ‘from internal evidence’ _c._ 1608–9, but thinks it revised at a later date, not improbably by Fletcher, although he cannot discover either Jonson’s hand or, ‘unless the songs be his’, Fletcher’s. Allusions to ‘a scornful woman’ (I. ii. 104) and to ‘yellow bands’ as ‘hateful’ (V. i. 52) are consistent with a date _c._ 1615–16.

_The Mayor of Quinborough_ (?)

[_MS._] A copy of the play, said to be ‘of no great antiquity’, is described in an appendix to _Wit and Wisdom_ (_Sh. Soc._), 85.

_S. R._ 1646, Sept. 4 (Langley). ‘Maior of Quinborough.’ _Robinson and Moseley_ (Eyre, i. 244).

1661, Feb. 13. ‘A Comedie called the Maior of Quinborough, By Tho: Middleton. _Henry Herringham_ (Eyre, ii. 288).

1661. The Mayor of Quinborough: A Comedy. As it hath been often Acted with much Applause at Black Fryars, By His Majesties Servants. Written by Tho. Middleton. _For Henry Herringham._ [Epistle to Gentlemen.]

There is a mention (V. i. 112) of Fletcher’s _Wild-Goose Chase_ (1621), and the introduction of a ‘rebel Oliver’ suggests a much later date. But Bullen thinks this an old play revised, and Fleay, ii. 104, attempts to identify it with an anonymous play called both _Vortigern_ and _Hengist_ (Greg, _Henslowe_, ii. 181) which was produced by the Admiral’s on 4 Dec. 1596 and bought by the same company from Alleyn in 1601. There is not, however, much to support a theory that Middleton was writing for the stage so early as 1596. Stork, 46, thinks that Middleton and Rowley revised the older play _c._ 1606, ‘at a time when plays of ancient Britain were in vogue’.

_Doubtful Plays_

Middleton’s hand has been sought in _Birth of Merlin_, _Puritan_, and _Second Maiden’s Tragedy_ (cf. ch. xxiv) and in _Wit at Several Weapons_ of the Beaumont (q.v.) and Fletcher series.

_Lost Mask_

_Mask of Cupid. 4 Jan. 1614_

Writing to Carleton on 5 Jan. 1614 of the festivities at the Earl of Somerset’s wedding (Birch, i. 288; cf. s.v. Campion, _Mask of Squires_), Chamberlain notes that the King had called on the City to entertain the bridal pair, which they had done, though reluctantly, on 4 Jan. in Merchant Taylors’ hall, with a supper, a play and a mask, and a banquet. Howes in Stowe, _Annales_, 1005, says there were ‘2 seuerall pleasant maskes & a play’. Bullen, _Middleton_, i. xxxix, gives from the City _Repertory_, xxxi. 2, f. 239^v, an order of 18 Jan. 1614 for payment to Thomas Middleton in respect of the ‘late solemnities at Merchant Tailors’ Hall’ for ‘the last Mask of Cupid and other shows lately made’ by him.

ENTERTAINMENTS

_Running Stream Entertainment. 29 Sept. 1613_

1613. The Manner of his Lordships [Sir Thomas Middleton’s] Entertainment on Michaelmas day last, being the day of his Honorable Election, together with the worthy Sir Iohn Swinarton, Knight, then Lord Maior, the Learned and Iuditious, Sir Henry Montague, Maister Recorder, and many of the Right Worshipfull the Aldermen of the Citty of London. At that most Famous and Admired Worke of the Running Streame from Amwell Head, into the Cesterne neere Islington, being the sole Inuention, Cost, and Industry of that Worthy Maister Hugh Middleton, of London Goldsmith, for the generall good of the Citty. By T. M. _Nicholas Okes._ [Appended to reissue of _The Triumphs of Truth_.]

_The Triumphs of Truth. 29 Oct. 1613_

_S. R._ 1613, Nov. 3. ‘A booke called the tryumphs of truth of all the showes pagiantes Chariots &c. on the Lord Maiours Day octobris 29, 1613.’ _Nicholas Okes_ (Arber, iii. 536).

1613. The Triumphs of Truth. A Solemnity vnparalleld for Cost, Art, and Magnificence, at the Confirmation and Establishment of that Worthy and true Nobly-minded Gentleman, Sir Thomas Middleton, Knight; in the Honorable Office of his Maiesties Lieuetenant, the Lord Maior of the thrice Famous Citty of London. Taking Beginning at his Lordships going, and proceeding after his Returne from receiuing the Oath of Maioralty at Westminster, on the Morrow next after Simon and Iudes day, October 29. 1613. All the Showes, Pageants, Chariots; Morning, Noone, and Night-Triumphes. Directed, Written, and redeem’d into Forme, from the Ignorance of some former times, and their Common Writer, by Thomas Middleton. _Nicholas Okes._

1613.... Shewing also his Lordships Entertainment on Michaelmas day last, ... [etc.]. _Nicholas Okes._ [Reissue, with _Running Stream Entertainment_ added.]

_Edition_ in Nichols, _James_ (1828), ii. 679, with _Running Stream_.

_Civitatis Amor. 4 Nov. 1616_

1616. Ciuitatis Amor. The Cities Loue. An entertainement by water, at Chelsey, and Whitehall. At the ioyfull receiuing of that Illustrious Hope of Great Britaine, the High and Mighty Charles, To bee created Prince of Wales, Duke of Cornewall, Earle of Chester, &c. Together with the Ample Order and Solemnity of his Highnesse creation, as it was celebrated in his Maiesties Palace of Whitehall on Monday, the fourth of Nouember, 1616. As also the Ceremonies of that Ancient and Honourable Order of the Knights of the Bath; And all the Triumphs showne in honour of his Royall Creation. _Nicholas Okes for Thomas Archer._ [Middleton’s name follows the account of the ‘entertainment’.]

ALEXANDER MONTGOMERY (_c._ 1556–_c._ 1610).

A Scottish poet (cf. _D. N. B._) who has been suggested as the author of _Philotus_ (cf. ch. xxiv).

ROGER MORRELL (_c._ 1597).

Possibly the author of the academic _Hispanus_ (cf. App. K).

RICHARD MULCASTER (_c._ 1530–1611).

A contributor to the Kenilworth entertainment (cf. ch. xxiv, C). For his successive masterships of Merchant Taylors and St. Paul’s, see ch. xii.

ANTHONY MUNDAY (_c._ 1553–1633).

Anthony was son of Christopher Munday, a London Draper. He ‘first was a stage player’ (_A True Report of ... M. Campion_, 1582), but in Oct. 1576 was apprenticed for eight years to John Allde, stationer. Allde went out of business about 1582, and Munday never completed his apprenticeship, probably because his ready pen found better profit in the purveyance of copy for the trade. He began by a journey to Rome in 1578–9, and brought back material for a series of attacks upon the Jesuits, to one of which _A True Report of ... M. Campion_ is an answer. According to the anonymous author, Munday on his return to England ‘did play extempore, those gentlemen and others whiche were present, can best giue witnes of his dexterity, who being wery of his folly, hissed him from his stage. Then being thereby discouraged, he set forth a balet against playes, but yet (o constant youth) he now beginnes againe to ruffle upon the stage’. For the ballad there is some corroborative evidence in a S. R. entry of 10 Nov. 1580 (cf. App. C, No. xxvi), which, however, does not name Munday, and it is a possible conjecture that he also wrote the _Third Blast of Retrait from Plaies_ issued in the same year (cf. App. C, No. xxvii). If so, he was already, before 1580, doing work as a playwright; but of this, with the doubtful exception of the anonymous _Two Italian Gentlemen_ (q.v.), there is no other evidence for another fifteen years. His experiences as an actor may have been with the company of the Earl of Oxford, whose ‘servant’ he calls himself in his _View of Sundry Examples_ (1580). From 1581 he was employed by Topcliffe and others against recusants, and as a result became, possibly by 1584 and certainly by 1588, a Messenger of the Chamber. He still held this post in 1593, and was employed as a pursuivant to execute the Archbishop of Canterbury’s warrants against Martin Marprelate in 1588. J. D. Wilson (_M. L. R._ iv. 489) suggests that he may also have taken a hand in the literary and dramatic controversy, as ‘Mar-Martin, John a Cant: his hobbie-horse’, who ‘was to his reproche, newly put out of the morris, take it how he will; with a flat discharge for euer shaking his shins about a maypole againe while he liued’ (_Protestation of Martin Marprelate_, _c._ Aug. 1589). Certainly Munday’s official duties did not interfere with his literary productiveness, as translator of romances, maker of ballads, lyrist, and miscellaneous writer generally. He is traceable, chiefly in Henslowe’s diary, as a busy dramatist for the Admiral’s men during various periods between 1594 and 1602, and there is no reason to suppose that his activities were limited to these years. Meres in 1598 includes him amongst ‘the best for comedy’, with the additional compliment of ‘our best plotter’. But he was evidently a favourite mark for the satire of more literary writers, who depreciated his style and jested at his functions as a messenger. Small, 172, has disposed of attempts to identify him with the Deliro or the Puntarvolo of _E. M. O._, the Amorphus of _Cynthia’s Revels_, the In-and-In Medley of the _Tale of a Tub_, and the Timothy Tweedle of the anonymous _Jack Drum’s Entertainment_. But he may reasonably be taken for the Poet Nuntius of _E. M. I._ and the Antonio Balladino of _The Case is Altered_ (q.v.); and long before Jonson took up the game, an earlier writer had introduced him as the Posthaste of the anonymous _Histriomastix_ (c. 1589). Posthaste suggests the formation of Sir Oliver Owlet’s men, and acts as their poet (i. 124). He writes a _Prodigal Child_ at 1_s._ a sheet (ii. 94). He will teach the actors to play ‘true Politicians’ (i. 128) and ‘should be employd in matters of state’ (ii. 130). He is always ready to drink (i. 162; ii. 103, 115, 319; vi. 222), and claims to be a gentleman, because ‘he hath a clean shirt on, with some learning’ (ii. 214). He has written ballads (v. 91; vi. 235). The players jeer at ‘your extempore’ (i. 127), and he offers to do a prologue extempore (ii. 121), and does extemporize on a theme (ii. 293). He writes with

no new luxury or blandishment
But plenty of Old Englands mothers words (ii. 128).

The players call him, when he is late for rehearsal, a ‘peaking pageanter’, and say ‘It is as dangerous to read his name at a play door, as a printed bill on a plague door’ (iv. 165). The whole portrait seems to be by the earlier author; Marston only adds a characteristic epithet in ‘goosequillian Posthast’ (iii. 187). But it agrees closely with the later portraits by Jonson, and with the facts of Munday’s career. I do not think that ‘pageanter’ means anything more than play-maker. But from 1605 onwards Munday was often employed by city companies to devise Lord Mayor’s pageants, and it has been supposed that he had been similarly engaged since 1592 on the strength of a claim in the 1618 edition of John Stowe’s _Survey of London_, which he edited, that he had been ‘six and twenty years in sundry employments for the City’s service’. But there were other civic employments, and it is doubtful (cf. ch. iv) how far there were pageants during the last decade of Elizabeth’s reign for Munday to devise. On the title-pages of his pageants he describes himself as a ‘Cittizen and Draper of London’. The Corporation’s welcome at the creation of Henry as Prince of Wales in 1610 (cf. ch. iv) also fell to him to devise. How long he continued to write plays is unknown. He had several children in St. Giles’s, Cripplegate, between 1584 and 1589, and was buried on 10 Aug. 1633 at St. Stephen’s, Coleman Street.

_Dissertations_: J. D. Wilson, _A. M., Pamphleteer and Pursuivant_ (1909, _M. L. R._ iv. 484); W. W. Greg, _Autograph Plays by A. M._ (1913, _M. L. R._ viii. 89); M. St. C. Byrne, _The Date of A. M.’s Journey to Rome_ (1918, _3 Library_, ix. 106), _The Shepherd Tony--a Recapitulation_ (1920, _M. L. R._ xv. 364), _A. M. and his Books_ (1921, _4 Library_, i. 225); E. M. Thompson, _The Autograph MSS. of A. M._ (1919, _Bibl. Soc. Trans._ xiv. 325).

PLAYS

_John a Kent and John a Cumber. 1594_

[_MS._] Autograph MS. in possession of Lord Mostyn, with title ‘The Booke of John a Kent and John a Cumber’, and at end the signature ‘Anthony Mundy’, and in another hand the date ‘---- Decembris 1596’. A mutilation of the paper has removed the day of the month and possibly some memorandum to which the date was appended. The wrapper is in part formed of a vellum leaf of which another part was used for _Sir Thomas More_ (cf. ch. xxiv).

_Editions_ by J. P. Collier (1851, _Sh. Soc._) and J. S. Farmer (1912, _T. F. T._).

The date has been misread ‘1595’. Greg (_Henslowe_, ii. 172) agrees with Fleay, ii. 114, that the play, of which the scene is at West Chester, must be _The Wise Man of West Chester_, produced by the Admiral’s on 3 Dec. 1594 and played to 18 July 1597. Their inventory of 1598 (_Henslowe Papers_, 117) includes ‘Kentes woden leage’. This is not required by the extant text, but two or three leaves of the MS. appear to be missing. If the identification is correct, it is not easy to see how the MS. can be earlier than 1594, although Sir E. M. Thompson’s warning that the date of 1596 may be a later addition is justified. On 19 Sept. 1601 the Admiral’s bought the book from Alleyn. Greg further suggests that _Randal Earl of Chester_, written by Middleton for the same company in Oct. and Nov. 1602, may have been a ‘refashioning’ of the earlier play, in which Randal is a character.

_The Downfall of Robert Earl of Huntingdon. 1598_

_S. R._ 1600, Dec. 1. ‘The Downe falle of Robert Erle of Huntingdone after Called Robin Hood.’ _Leake_ (Arber, iii. 176).

1601. The Downfall of Robert, Earle of Huntington, Afterward called Robin Hood of merrie Sherwodde: with his loue to chaste Matilda, the Lord Fitzwaters daughter, afterwardes his faire Maide Marian. Acted by the Right Honourable, the Earle of Notingham, Lord high Admirall of England, his seruants. _For William Leake._ [Induction.]

_Editions_ by J. P. Collier (1833, _Five Old Plays_), in Dodsley^4 viii (1874), and by J. S. Farmer (1913, _S. F. T._).--_Dissertation_: A. Ruckdeschel, _Die Quellen des Dramas ‘The Downfall and Death of Robert, Earle of Huntington, otherwise called Robin Hood’_ (1897).

Henslowe paid Munday £5 on behalf of the Admiral’s for ‘the firste parte of Robyne Hoode’ on 15 Feb. 1598. From 20 Feb. to 8 March he paid Munday and Chettle sums amounting to £5 in all for a ‘seconde parte’, called in the fullest entry ‘seconde parte of the downefall of earlle Huntyngton surnamed Roben Hoode’. The books and apparel and properties are in the Admiral’s inventories of March 1598 (_Henslowe Papers_, 114, 115, 120, 121). Both parts were licensed for performance on 28 March. On 18 Nov. he paid Chettle 10_s._ for ‘the mendynge of’ the first part, and on 25 Nov., apparently, another 10_s._ ‘for mendinge of Roben Hood for the corte’. Greg (_Henslowe_, ii. 190) suggests that the last payment was for the second part, and that the two Court performances by the Admiral’s at Christmas 1598 are of these plays. However this may be, Henslowe’s _1, 2 Robin Hood_ are doubtless the extant _Downfall_ and _Death_. There is an allusion in _The Downfall_, IV. ii, to the ‘merry jests’ of an earlier play, which may be _The Pastoral Comedy of Robin Hood and Little John_, entered in S. R. on 14 May 1594, but not now known. Fleay, ii. 114, thinks that Chettle, besides revising some of Munday’s scenes, added the Induction and the Skeltonic rhymes.

_The Death of Robert Earl of Huntingdon. 1598_

_With_ Chettle.

_S. R._ 1600, Dec. 1. ‘The Death of Robert Earle of Huntingdon with the lamentable trogidye of Chaste Mathilda.’ _Leake_ (Arber, iii. 176).

1601. The Death of Robert, Earle of Huntington. Otherwise called Robin Hood of merrie Sherwodde: with the lamentable Tragedie of chaste Matilda, his faire maid Marian, poysoned at Dunmowe by King Iohn. Acted by the Right Honourable, the Earle of Notingham, Lord high Admirall of England, his seruants. _For William Leake._ [_Epilogue._]

_Editions_ and _Dissertation_ with _The Downfall_ (q.v.).

This is a sequel to _The Downfall_ (q.v.). Fleay, ii. 115, gives Munday the scenes dealing with Robin Hood’s death and Chettle those dealing with Maid Marian’s. The play contains discrepancies, but Henslowe’s entries afford no evidence that Munday revised Chettle’s work, as Fleay thinks. Greg (_Henslowe_, ii. 191) points out that Davenport borrowed much of his _King John and Matilda_ (1655) from _The Death_.

_1 Sir John Oldcastle. 1599_

_With_ Drayton (q.v.), Hathway, and Wilson.

_Lost Plays_

The following is a complete list of the plays in which Henslowe’s diary shows Munday to have written between 1597 and 1602. All were for the Admiral’s:

(i) _Mother Redcap._

With Drayton, Dec. 1597–Jan. 1598.

(ii), (iii) _1, 2 Robin Hood._

_Vide supra._

(iv) _The Funeral of Richard Cœur-de-Lion._

With Chettle, Drayton, and Wilson, June 1598, probably as a sequel to _Robin Hood_ (cf. Greg, _Henslowe_, ii. 190).

(v) _Valentine and Orson._

With Hathway (q.v.), July 1598.

(vi) A ‘comodey for the corte’, for the completion of which Drayton was surety, Aug. 1598, but the entry is cancelled, and presumably the play was not finished, unless it is identical with (vii).

(vii) _Chance Medley._

With Chettle or Dekker, Drayton, and Wilson, Aug. 1598.

(viii), (ix) _1, 2 Sir John Oldcastle._

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

(x) _Owen Tudor._

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

(xi) _1 Fair Constance of Rome._

With Dekker, Drayton, Hathway, and Wilson, June 1600.

(xii) _1 Cardinal Wolsey._

With Chettle, Drayton, and Smith, Aug.–Nov. 1601.

(xiii) _Jephthah._

With Dekker, May 1602.

(xiv) _Caesar’s Fall, or The Two Shapes._

With Dekker, Drayton, Middleton, and Webster, May 1602.

(xv) _The Set at Tennis._

Dec. 1602. The payment, though in full, was only £3; it was probably, therefore, a short play, and conceivably identical with the ‘[sec]ond part of fortun[es Tenn?]is’ of which a ‘plot’ exists (cf. ch. xxiv) and intended to piece out to the length of a normal performance the original _Fortune’s Tennis_ written by Dekker (q.v.) as a ‘curtain-raiser’ for the Fortune on its opening in 1600. [This is highly conjectural.]

Munday must clearly have had a hand in _Sir Thomas More_, which is in his writing, and has been suggested as the author of _Fedele and Fortunio_ and _The Weakest Goeth to the Wall_ (cf. ch. xxiv).

ENTERTAINMENTS

_The Triumphs of Reunited Britannia. 29 Oct. 1605_

N.D. The Triumphes of re-vnited Britania. Performed at the cost and charges of the Right Worship: Company of the Merchant Taylors, in honor of Sir Leonard Holliday kni: to solemnize his entrance as Lorde Mayor of the Citty of London, on Tuesday the 29. of October. 1605. Deuised and Written by A. Mundy, Cittizen and Draper of London. _W. Jaggard._

_Edition_ in Nichols, _James_ (1828), i. 564.

_London’s Love to Prince Henry. 31 May 1610_

See ch. xxiv.

_Chryso-Thriambos. 29 Oct. 1611_

1611. Chruso-thriambos. The Triumphes of Golde. At the Inauguration of Sir Iames Pemberton, Knight, in the Dignity of Lord Maior of London: On Tuesday, the 29. of October. 1611. Performed in the harty loue, and at the charges of the Right Worshipfull, Worthy, and Ancient Company of Gold-Smithes. Deuised and Written by A. M. Cittizen and Draper of London. _William Jaggard._

_Himatia Poleos. 29 Oct. 1614_

1614. Himatia-Poleos. The Triumphs of olde Draperie, or the rich Cloathing of England. Performed in affection, and at the charges of the right Worthie and first honoured Companie of Drapers: at the enstalment of Sr. Thomas Hayes Knight, in the high office of Lord Maior of London, on Satturday, being the 29. day of October. 1614. Deuised and written by A. M. Citizen and Draper of London. _Edward Allde._

_Metropolis Coronata. 30 Oct. 1615_

1615. Metropolis Coronata, The Triumphes of Ancient Drapery: or, Rich Cloathing of England, in a second Yeeres performance. In Honour of the aduancement of Sir Iohn Iolles, Knight, to the high Office of Lord Maior of London, and taking his Oath for the same Authoritie, on Monday, being the 30. day of October. 1615. Performed in heartie affection to him, and at the bountifull charges of his worthy Brethren the truely Honourable Society of Drapers, the first that receiued such Dignitie in this Citie. Deuised, and written, by A. M. Citizen, and Draper of London. _George Purslowe._

_Edition_ in Nichols, _James_, iii. 107.

_Chrysanaleia. 29 Oct. 1616_

_S. R._ 1616, Oct. 29. ‘A booke called the golden Fishing of the showes of Sir John Leman Lord Maiour.’ _George Purslowe_ (Arber iii. 597).

1616. Chrysanaleia: The Golden Fishing: Or, Honour of Fishmongers. Applauding the aduancement of Mr. Iohn Leman, Alderman, to the dignitie of Lord Maior of London. Taking his Oath in the same authority at Westminster, on Tuesday, being the 29. day of October. 1616. Performed in hearty loue to him, and at the charges of his worthy Brethren, the ancient, and right Worshipfull Company of Fishmongers. Deuised and written by A. M. Citizen and Draper of London. _George Purslowe._

_Editions_ in Nichols, iii. 195, and by J. G. Nichols (1844, 1869) with reproductions of drawings for the pageant in the possession of the Fishmongers.

_Doubtful Entertainment_

The _Campbell_ mayoral pageant of 1609 (q.v.) has been ascribed to Munday.

ROBERT NAILE (_c._ 1613).

Probable describer of the Bristol entertainment of Queen Anne in 1613 (cf. ch. xxiv, C).

THOMAS NASHE (1507–>1601).

Nashe was baptized at Lowestoft, Suffolk, in Nov. 1567, the son of William Nashe, minister, of a Herefordshire family. He matriculated from St. John’s, Cambridge, on 13 Oct. 1582, took his B.A. in 1586, and left the University probably in 1588. According to the _Trimming_ (Harvey, iii. 67), he ‘had a hand in a Show called Terminus & non terminus, for which his partener in it was expelled the Colledge: but this foresaid Nashe played in it (as I suppose) the Varlet of Clubs; which he acted with such naturall affection, that all the spectators tooke him to be the verie same’. He went to London, and his first book, _The Anatomie of Absurditie_, was entered in S. R. on 19 Sept. 1588. In actual publication it was anticipated by an epistle ‘To the Gentlemen Students of Both Universities’, which he prefixed to the _Menaphon_ (1589) of Robert Greene (cf. App. C, No. xlii). This contains some pungent criticism of actors, with incidental depreciation of certain illiterate dramatists, among whom is apparently included Kyd, coupled with praise of Peele, and of other ‘sweete gentlemen’, who have ‘tricked vp a company of taffata fooles with their feathers’. Evidently Nashe had joined the London circle of University wits, and henceforth lived, partly by his pen, as dramatist and pamphleteer, and partly by services rendered to various patrons, amongst whom were Lord Strange, Sir George Carey, afterwards Lord Hunsdon, and Archbishop Whitgift. His connexion with this last was either the cause or the result of his employment, with other literary men, notably Lyly, in opposition to the anti-episcopalian tracts of Martin Marprelate and his fellows. His precise share in the controversy is uncertain. He has been credited with _An Almond for a Parrot_, with a series of writings under the name of Pasquil, and with other contributions, but in all cases the careful analysis of McKerrow, v. 49, finds the evidence quite inconclusive.