Chapter XXV: Part 1: with Heywood, Dec. 1602–Jan. 1603; one payment had been made to (13)

The known work of this miscellaneous writer belongs to 1646–52, and although it includes a political tract in dramatic form, it is only his vague claim of a share, possibly as amanuensis, in Jonson’s _Sejanus_ (q.v.), which suggests that he might be the unknown S. S. whose initials are on the title-page of _The Honest Lawyer_ (1616).

SIR PHILIP SIDNEY (1554–86).

Both his entertainments were printed for the first time with the third (1598) edition of the _Arcadia_.

_The Lady of May. 1579_ (?)

1598. The Countesse of Pembrokes Arcadia. Written by Sir Philip Sidney Knight. Now the third time published, with sundry new additions of the same Author. _For William Ponsonby._ [The description of the entertainment follows _Astrophel and Stella_ among the ‘new additions’, beginning at the head of sig. 3 B3^v, without title or date.]

Reprints in 1599, 1605, 1613, 1621, 1622, 1623, 1627, 1629, 1633, 1638, 1655, 1662, 1674 editions of the _Arcadia_.

_Editions_ in Nichols, _Elizabeth^{1, 2}_, ii. 94 (1788–1823), and Collections of Sidney’s _Works_.

The entertainment was in the Garden. As the Queen entered the grove, An Honest Man’s Wife of the Country delivered a speech and a written supplication in verse, for decision of the case of her daughter. Then came the daughter, chosen May Lady, and haled this way by six Shepherds on behalf of her lover Espilus and six Foresters on behalf of her lover Therion. The case was put to the Queen by Laius an old Shepherd, Rombus a Schoolmaster, and finally the May Lady herself. Espilus, accompanied by the Shepherds with recorders, and Therion, accompanied by the Foresters with cornets, sang in rivalry. A ‘contention’ followed between Dorcas, an old Shepherd, and Rixus, a young Forester, ‘whether of their fellows had sung better, and whether the estate of shepherds or foresters were the more worshipful’. Rombus tried to intervene. The May Lady appealed to the Queen, who decided for Espilus. Shepherds and Foresters made a consort together, Espilus sang a song, and the May Lady took her leave.

Nichols assigns the entertainment to Elizabeth’s Wanstead visit of 1578. But it might also belong to that of 1579, and possibly to that of 1582. In 1579, but not in 1578, the visit covered May Day. The references in the text are, however, to the month of May, rather than to May Day.

_Pastoral Dialogue, c. 1580_

1598. A Dialogue between two Shepherds, Vttered in a Pastorall Show at Wilton. [Appended to _Arcadia_; cf. _supra_.]

_Edition_ in A. B. Grosart, _Poems of Sidney_ (1877), ii. 50.

This dialogue between Dick and Will appears to belong to the series of poems motived by Sidney’s love for Penelope Devereux. It must therefore date between August 1577, when Sidney first visited his sister, Lady Pembroke, at Wilton, and his own marriage on 20 Sept. 1583. There is no indication that the Queen was present; not improbably the ‘Show’ took place while Sidney was out of favour at Court, and was living at Wilton from March to August 1580.

JOHN SINGER (?-1603 <).

On Singer’s career as an actor, see ch. xv.

On 13 Jan. 1603, about which date he apparently retired from the Admiral’s, Henslowe paid him £5 ‘for his playe called Syngers vallentarey’ (Greg, _Henslowe_, i. 173; ii. 226). I think the term ‘vallentarey’ must be used by Henslowe, rightly or wrongly, in the sense of ‘valedictory’. _Quips on Questions_ (1600), a book of ‘themes’, is not his, but Armin’s (q.v.).

WILLIAM SLY (?-1608).

On Sly’s career as an actor, see ch. xv.

He has been guessed at as the author of _Thomas Lord Cromwell_ (cf. ch. xxiv).

W. SMITH.

There are traceable (_a_) Wentworth Smith, who wrote plays for Henslowe’s companies, the Admiral’s, and Worcester’s during 1601–3 (_vide infra_) and witnessed the will of W. Haughton in 1605; (_b_) a W. Smith, who wrote _Hector of Germany_ and _The Freeman’s Honour_ (_vide infra_); (_c_) a ‘Smith’, whose _Fair Foul One_ Herbert licensed on 28 Nov. 1623 (Chalmers, _S. A._ 216; Herbert, 26); (_d_) if Warburton can be trusted, a ‘Will. Smithe’, whose _S^t George for England_ his cook burnt (_3 Library_, ii. 231). It is possible that (_a_) and (_b_) may be identical. A long space of time separates (_b_) and (_c_), and if (_d_) is to be identified with any other, it may most plausibly be with (_c_). There is nothing to connect any one of them with the William Smith who published sonnets under the title of _Chloris_ (1596), or with any other member of this infernal family, and the ‘W. S.’ of the anonymous _Locrine_ (1595), _Thomas Lord Cromwell_ (1602), _The Puritan_ (1607) is more probably, in each case, aimed at Shakespeare.

_The Hector of Germany, c. 1615_

_S. R._ 1615, April 24 (Buck). ‘A play called The Hector of Germany, or the Palsgraue is a harmeles thinge.’ _Josias Harrison_ (Arber, iii. 566). [The four last words of the title are scored through.]

1615. The Hector of Germaine, or the Palsgrave, Prime Elector. A New Play, an Honourable Hystorie. As it hath beene publikely Acted at the Red Bull, and at the Curtaine, by a Companie of Young Men of this Citie. Made by W. Smith, with new Additions. _Thomas Creede for Josias Harrison._ [Epistle to Sir John Swinnerton, signed ‘W. Smith’; Prologue; after text, ‘Finis. W. Smyth.’ Some copies have a variant t.p.]

_Edition_ by L. W. Payne (1906, _Pennsylvania Univ. Publ._).

The epistle says ‘I have begun in a former Play, called the Freemans Honour, acted by the Now-Seruants of the Kings Maiestie, to dignifie the worthy Companie of the Marchantaylors’. If the phrase ‘Now-Seruants’ implies production before 1603, the identification of W. Smith and Wentworth Smith becomes very probable. The prologue explains that the Palsgrave is not Frederick, since ‘Authorities sterne brow’ would not permit ‘To bring him while he lives upon the stage’, and apologizes for the performance by ‘men of trade’.

_Lost Plays_

Henslowe assigns to Wentworth Smith a share in the following plays:

_Plays for the Admiral’s, 1601–2_

(i) _The Conquest of the West Indies._

With Day and Haughton, Apr.–Sept. 1601.

(ii) _1 Cardinal Wolsey._

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

(iii), (iv) _1, 2 The Six Clothiers._

With Hathway and Haughton, Oct.–Nov. 1601. Apparently Part 2 was not finished.

(v) _Too Good to be True._

With Chettle and Hathway, Nov. 1601–Jan. 1602.

(vi) _Love Parts Friendship._

With Chettle, May 1602, conjectured to be the anonymous _Trial of Chivalry_ (q.v.).

(vii) _Merry as May be._

With Day and Hathway, Nov. 1602.

_Plays for Worcester’s, 1602–3_

(viii) _Albere Galles._

With Heywood, Sept. 1602, possibly identical with the anonymous _Nobody and Somebody_ (q.v.).

(ix) _Marshal Osric._

With Heywood, Sept. 1602, conceivably identical with _The Royal King and the Loyal Subject_, printed (1637) as by Heywood (q.v.).

(x) _The Three_ (or _Two_) _Brothers_.

Oct. 1602.

(xi) _1 Lady Jane._

With Chettle, Dekker, Heywood, and Webster, Oct. 1602. It is not certain that Smith, or any one but Dekker, had a hand in Part 2, which was apparently not finished. Part 1 is doubtless represented by the extant _Sir Thomas Wyatt_ of Dekker (q.v.) and Webster, in which nothing is at all obviously traceable to Smith.

(xii), (xiii) _1, 2 The Black Dog of Newgate._

With Day, Hathway, and another, Nov. 1602–Feb. 1603.

(xiv) _The Unfortunate General._

With Day and Hathway, Jan. 1602.

(xv) _The Italian Tragedy._

March 1603.

EDMUND SPENSER (1552–99).

The only record of Spenser’s dramatic experiments, unless they are buried amongst the anonymous plays of the Revels Accounts, is to be found in his correspondence of April 1580 with Gabriel Harvey, who wrote, ‘I imagine your Magnificenza will hold us in suspense ... for your nine English Commedies’, and again, ‘I am void of all judgment if your Nine Comedies, whereunto in imitation of Herodotus, you give the names of the Nine Muses (and in one mans fancy not unworthily) come not nearer Ariosto’s Comedies, either for the fineness of plausible elocution, or the rareness of Poetical Invention, than that Elvish Queen doth to his Orlando Furioso’ (_Two other Very Commendable Letters_, in Harvey’s _Works_, i. 67, 95). I can hardly suppose that the manuscript play of ‘Farry Queen’ in Warburton’s list (_3 Library_, ii. 232) had any connexion with Spenser’s comedies.

ROD. STAFFORD.

Probably the ‘Rod. Staff.’ who collaborated with Robert Wilmot (q.v.) in the Inner Temple play of _Gismond of Salerne_.

WILLIAM STANLEY, EARL OF DERBY (1561–1642).

Derby seems to have had players from 1594 to 1618, who presumably acted the comedies which he was said to be ‘penning’ in June 1599 (cf. ch. xiii), but none of these can be identified, although the company’s anonymous _Trial of Chivalry_ (1605) needs an author. A fantastic theory that his plays were for the Chamberlain’s, and that he wrote them under the name of William Shakespeare, was promulgated by J. Greenstreet in _The Genealogist_, n.s. vii. 205; viii. 8, 137, and has been elaborately developed by A. Lefranc in _Sous le Masque de ‘William Shakespeare’_ (1919) and later papers in _Le Flambeau_ and elsewhere. _A Midsummer Night’s Dream_ was not impossibly written for his wedding on 26 Jan. 1595 (cf. App. A and _Shakespeare Homage_, 154).

JOHN STEPHENS (> 1611–1617 <).

A Gloucester man, who entered Lincoln’s Inn in 1611, but is only known by his slight literary performances, of which the most important are his _Essayes_ of 1615 (cf. App. C, No. lx).

_Cynthia’s Revenge > 1613_

1613. Cinthias Revenge: or Maenanders Extasie. Written by John Stephens, Gent. _For Roger Barnes._ [There are two variant t.ps. of which one omits the author’s name. Epistle to Io. Dickinson, signed ‘I. S.’; Epistle to the Reader; Argument; Commendatory Verses, signed ‘F. C.’, ‘B. I.’, ‘G. Rogers’, ‘Tho. Danet’.]

_Dissertation_: P. Simpson, _The Authorship and Original Issue of C. R._ (1907, _M. L. R._ ii. 348).

The epistle to the reader says that the author’s name is ‘purposly concealed ... from the impression’, which accounts for the change of title-page. Stephens claims the authorship in the second edition of his _Essayes_ (1615). Kirkman (Greg, _Masques_, lxii) was misled into assigning it to ‘John Swallow’, by a too literal interpretation of F. C.’s lines:

One Swallow makes no Summer, most men say,
But who disproues that Prouerbe, made this Play.

JOHN STUDLEY (_c._ 1545–_c._ 1590).

Translator of Seneca (q.v.).

ROBERT TAILOR (_c._ 1613).

Tailor also published settings to _Sacred Hymns_ (1615) and wrote commendatory verses to John Taylor’s _The Nipping or Snipping of Abuses_ (1614).

_Hog Hath Lost His Pearl. 1613_

_S. R._ 1614, May 23, 1614 (Taverner and Buck). ‘A play booke called Hogge hath lost his pearle.’ _Richard Redmer_ (Arber, iii. 547).

1614. The Hogge hath lost his Pearle. A Comedy. Divers times Publikely acted, by certaine London Prentices. By Robert Tailor. _For Richard Redmer._ [Prologue and Epilogue.]

_Editions_ in Dodsley^{1–4} (1744–1875) and by W. Scott (1810, _A. B. D._ iii).

Sir H. Wotton wrote to Sir Edmund Bacon (Wotton, ii. 13): ‘On Sunday last at night, and no longer, some sixteen apprentices (of what sort you shall guess by the rest of the story) having secretly learnt a new play without book, intituled _The Hog hath lost his Pearl_, took up the White-Fryers for their theatre: and having invited thither (as it should seem) rather their mistresses than their masters; who were all to enter _per bullettini_ for a note of distinction from ordinary comedians, towards the end of the play the sheriffs (who by chance had heard of it) came in (as they say) and carried some six or seven of them to perform the last act at Bridewel; the rest are fled. Now it is strange to hear how sharp-witted the City is, for they will needs have Sir John Swinerton, the Lord Mayor, be meant by the Hog, and the late Lord Treasurer [Lord Salisbury] by the Pearl.’ Swinnerton was Lord Mayor in 1612–13. The letter is only dated ‘Tuesday’, but refers to the departure of the King, which was 22 Feb. 1613, as on the previous day. This would give the first Sunday in Lent (21 Feb.) for the date of production. The phrase (I. i) ‘Shrove-Tuesday is at hand’ suggests 14 Feb., but the date originally intended was very likely altered. The Prologue refers to the difficulties of the producers. The play had been ‘toss’d from one house to another’. It does not grunt at ‘state-affairs’ or ‘city vices’. There had been attempts to ‘prevent’ it, but it ‘hath a Knight’s license’, doubtless Sir George Buck’s. In I. i is some chaff, apparently directed at Garlic and the Fortune, and an interview between a player and one Haddit, who writes a jig called _Who Buys my Four Ropes of Hard Onions_ for four angels, and a promise of a box for a new play. Fleay, ii. 256, identifies Haddit with Dekker, but his reasons do not bear analysis, and Haddit is no professional playwright, but a gallant who has run through his fortune. A passage in Act III (Dodsley, p. 465) bears out the suggestion of satire on the house of Cecil.

RICHARD TARLTON (?-1588).

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

_The Seven Deadly Sins. 1585_

[_MS._] _Dulwich MS._ xix, ‘The platt of The secound parte of the Seuen Deadlie sinns.’ [This was found pasted inside the boards forming the cover to a manuscript play of the seventeenth century, _The Tell Tale_ (_Dulwich MS._ xx).]

The text is given by Malone, _Supplement_ (1780), i. 60; Steevens, _Variorum_ (1803), iii. 404; Boswell, _Variorum_ (1821), iii. 348; Collier, iii. 197; Greg, _Henslowe Papers_, 129; and a photographic facsimile by W. Young, _History of Dulwich_ (1889), ii. 5.

The ‘platt’ names a number of actors and may thereby be assigned to a revival by the Admiral’s or Strange’s men about 1590 (cf. ch. xiii). The play consisted of three episodes illustrating Envy, Sloth, and Lechery, together with an Induction. This renders plausible the conjecture of Fleay, 83, supported by Greg, _Henslowe_, ii. 153, that it is the _Four Plays in One_ revived by Strange’s for Henslowe on 6 March 1592. And if so, the original two parts may be traceable in the _Five Plays in One_ and the _Three Plays in One_ of the Queen’s men in 1585. Tarlton was of course a Queen’s man, and evidence of his authorship is furnished by Gabriel Harvey, who in his _Four Letters_ (1592, _Works_, i. 194) attacks Nashe’s _Pierce Penilesse_ (1592) as ‘not Dunsically botched-vp, but right-formally conueied, according to the stile, and tenour of Tarletons president, his famous play of the seauen Deadly sinnes; which most deadly, but most liuely playe, I might haue seene in London; and was verie gently inuited thereunto at Oxford by Tarleton himselfe’. Nashe defends himself against the charge of plagiarism in his _Strange News_ (1592, _Works_, i. 304, 318), and confirms the indication of authorship.

_Doubtful Play_

Tarlton has been suggested as the author of the anonymous _Famous Victories of Henry V_ (cf. ch. xxiv).

JOHN TAYLOR (1580–1653).

Known as the Water Poet. His description of the festivities at the wedding of Princess Elizabeth in 1613 (cf. ch. xxiv, C) is only one of innumerable pamphlets in verse and prose, several of which throw light on stage history. Many of these were collected in his folio _Workes_ of 1630, reprinted with others of his writings by the Spenser Society during 1868–78. There is also a collection by C. Hindley (1872).

CHARLES TILNEY (_ob._ 1586).

Said, on manuscript authority alleged by Collier, to be the author of _Locrine_ (cf. ch. xxiv).

THOMAS TOMKIS (> 1597–1614 <).

Tomkis entered Trinity College, Cambridge, in 1597, took his B.A. in 1600 and his M.A. in 1604, and became Fellow of Trinity in the same year. He has been confused by Fleay, ii. 260, and others with various members of a musical family of Tomkins.

_Lingua. 1602 < > 7_

_S. R._ 1607, Feb. 23 (Wilson). ‘A Commedie called Lingua.’ _Simon Waterson_ (Arber, iii. 340).

1607. Lingua: Or The Combat of the Tongue, And the fiue Senses. For Superiority. _G. Eld for Simon Waterson._ [Prologue.]

1617; 1622; n.d.; 1632; 1657.

_Editions_ in Dodsley^{1–4} (1744–1874) and by W. Scott (1810, _A. B. D._ ii) and J. S. Farmer (1913, _S. F. T._).--_Dissertation_: F. S. Boas, _Macbeth and L._ (1909, _M. L. R._ iv. 517).

Winstanley (1687) assigned the play to Antony Brewer, but Sir J. Harington, in a memorandum printed by F. J. Furnivall from _Addl. MS._ 27632 in _7 N. Q._ ix. 382, notes ‘The combat of Lingua made by Thom. Tomkis of Trinity colledge in Cambridge’, and this is rendered plausible by the resemblance of the play to _Albumazar_. It is clearly of an academic type. As to the date there is less certainty. G. C. Moore Smith (_M. L. R._ iii. 146) supports 1602 by a theory that a compliment (IV. vii) to Queen Psyche is really meant for Elizabeth, and contains allusions to notable events of her reign. I do not find his interpretations very convincing, although I should not like to say that they are impossible. Fleay, ii. 261, starting from a tradition handed down by the publisher of 1657 that Oliver Cromwell acted in the play, conjectures that the play formed part of Sir Oliver Cromwell’s entertainment of James at Hinchinbrook on 27–9 April 1603, and that his four-year-old nephew took the four-line part of Small Beer (_IV._ v). Either date would fit in with the remark in _III._ v, ‘About the year 1602 many used this skew kind of language’. Boas, however, prefers a date near that of publication, on account of similarities to passages in _Macbeth_. The play was translated as _Speculum Aestheticum_ for Maurice of Hesse-Cassel in 1613 by Johannes Rhenanus, who probably accompanied Prince Otto to England in 1611; cf. P. Losch, _Johannes Rhenanus_ (1895).

_Albumazar. 1615_

_S. R._ 1615, April 28 (Nidd). ‘Albumazar a comedie acted before his Maiestie at Cambridg 10^o Martii 1614.’ _Nicholas Okes_ (Arber, iii. 566).

1615. Albumazar. A Comedy presented before the Kings Maiestie at Cambridge, the ninth of March, 1614. By the Gentlemen of Trinitie Colledge. _Nicholas Okes for Walter Burre._ [Prologue.]

1615. _Nicholas Okes for Walter Burre._ [Another edition with the same t.p.]

1634.... Newly revised and corrected by a speciall Hand. _Nicholas Okes._

1634. _Nicholas Okes._

1668.... As it is now Acted at His Highness the Duke of York’s Theatre. _For Thomas Dring._ [Prologue by Dryden.]

_Editions_ in Dodsley^{1–4} (1744–1875) and by W. Scott (1810, _A. B. D._ ii).

The play is assigned to ‘M^r Tomkis, Trinit.’ in an account of the royal visit given by S. Pegge from Sir Edward Dering’s MS. in _Gent. Mag._ xxvi. 224, and a bursar’s account-book for 1615 has the entry, ‘Given M^r. Tomkis for his paines in penning and ordering the Englishe Commedie at our Masters appoyntment, xx^{ll}’ (_3 N. Q._ xii. 155). Chamberlain wrote to Carleton (Birch, i. 304) that ‘there was no great matter in it more than one good clown’s part’. It is an adaptation of Giambattista Porta’s _L’Astrologo_ (1606). No importance is to be attached to the suggestion of H. I. in _3 N. Q._ ix. 178, 259, 302, that Shakespeare was the author and wrote manuscript notes in a copy possessed by H. I. Dryden regards the play as the model of Jonson’s _Alchemist_ (1610):

Subtle was got by our Albumazar,
That Alchymist by our Astrologer.

Unless Dryden was mistaken, the performance in 1615 was only a revival, but the payment for ‘penning’ makes this improbable.

_Doubtful Later Play_

G. C. Moore Smith (_M. L. R._ iii. 149) supports the attribution by Winstanley to Tomkis of _Pathomachia or the Battle of Affections_ (1630), also called in a running title and in _Bodl. MS. Eng. Misc._ e. 5 _Love’s Load-stone_, a University play of _c._ 1616, in which there are two references to ‘Madame Lingua’.

CYRIL TOURNEUR (?-1626).

Tourneur, or Turnor, first appears as the author of a satire, _The Transformed Metamorphosis_ (1600), but his history and relationships to the Cecils and to Sir Francis Vere suggest that he was connected with a Richard Turnor who served in the Low Countries as water-bailiff and afterwards Lieutenant of Brill during 1585–96. His career as a dramatist was over by 1613, and from December of that year to his death on 28 Feb. 1626 he seems himself to have been employed on foreign service, mainly in the Low Countries but finally at Cadiz, where he was secretary to the council of war under Sir Edward Cecil in 1625. He died in Ireland and left a widow Mary.

_Collections_

1878. J. C. Collins, _The Plays and Poems of C. T._ 2 vols.

1888. J. A. Symonds, _Webster and Tourneur_ (_Mermaid Series_).

_Dissertations_: G. Goodwin in _Academy_ (9 May 1891); T. Seccombe in _D. N. B._ (1899).

_The Atheist’s Tragedy. 1607 < > 11_

_S. R._ 1611, Sept. 14 (Buck). ‘A booke called, The tragedy of the Atheist.’ _John Stepneth_ (Arber, iii. 467).

1611. The Atheist’s Tragedie: Or The honest Man’s Reuenge, As in diuers places it hath often beene Acted. Written by Cyril Tourneur. _For John Stepneth and Richard Redmer._

1612. _For John Stepneth and Richard Redmer._ [Another issue.]

Fleay, ii. 263, attempts to date the play before the close of the siege of Ostend in 1604, but, as E. E. Stoll, _John Webster_, 210, points out, this merely dates the historic action and proves nothing as to composition. Stoll himself finds some plausible reminiscences of _King Lear_ (1606) and suggests a date near that of publication.

LOST PLAYS

_The Nobleman. c. 1612_

_S. R._ 1612, Feb. 15 (Buck). ‘A play booke beinge a Trage-comedye called, The Noble man written by Cyril Tourneur.’ _Edward Blount_ (Arber, iii. 478).

1653, Sept. 9. ‘The Nobleman, or Great Man, by Cyrill Tourneur.’ _Humphrey Moseley_ (Eyre, i. 428).

The play was acted by the King’s at Court on 23 Feb. 1612 and again during the winter of 1612–13. Warburton’s list of plays burnt by his cook (_3 Library_, ii. 232) contains distinct entries of ‘The Great Man T.’ and ‘The Nobleman T. C. Cyrill Turñuer’. Hazlitt, _Manual_, 167, says (1892): ‘Dr. Furnivall told me many years ago that the MS. was in the hands of a gentleman at Oxford, who was editing Tourneur’s Works; but I have heard nothing further of it. Music to a piece called The Nobleman is in _Addl. MS. B.M._ 10444.’

For _The Arraignment of London_ (1613) v.s. Daborne.

_Doubtful Plays_

Tourneur’s hand has been sought in the _Honest Man’s Fortune_ of the Beaumont (q.v.) and Fletcher series, and in _Charlemagne_, _Revenger’s Tragedy_, and _Second Maiden’s Tragedy_ (cf. ch. xxiv).

NICHOLAS TROTTE (_c._ 1588).

A Gray’s Inn lawyer, who wrote an ‘Introduction’ for the _Misfortunes of Arthur_ of Thomas Hughes (q.v.) in 1588.

RICHARD VENNAR (_c._ 1555–1615?).

Vennar (Vennard), who has often been confused with William Fennor, a popular rhymer, was of Balliol and Lincoln’s Inn, and lived a shifty life, which ended about 1615 in a debtor’s prison. Its outstanding feature was the affair of _England’s Joy_, but in 1606 he is said (_D. N. B._) to have been in trouble for an attempt to defraud Sir John Spencer of £500 towards the preparation of an imaginary mask under the patronage of Sir John Watts, the Lord Mayor.

_England’s Joy. 1602_

[_Broadsheet_] The Plot of the Play, called England’s Joy. To be Played at the Swan this 6 of Nouember, 1602. [No. 98 in collection of Society of Antiquaries.]

_Reprints_ by W. Park in _Harleian Miscellany_ (1813), x. 198; S. Lee (1887, _vide infra_); W. Martin (1913, _vide infra_); W. J. Lawrence (1913, _vide infra_).--_Dissertations_: S. Lee, _The Topical Side of the Elizabethan Drama_ (_N. S. S. Trans._ 1887–92, 1); T. S. Graves, _A Note on the Swan Theatre_ (1912, _M. P._ ix. 431), _Tricks of Elizabethan Showmen_ (_South Atlantic Quarterly_, April 1915); W. Martin, _An Elizabethan Theatre Programme_ (1913, _Selborne Magazine_, xxiv. 16); W. J. Lawrence (ii. 57), _The Origin of the Theatre Programme_.

The document appears to be a ‘bill’. It is 12¾ by 7¾ inches, and contains a synopsis under nine heads, beginning with the civil wars from Edward III to Mary ‘induct by shew and in Action’, and continuing with episodes from the reign of Elizabeth, who is England’s Joy. In sc. viii ‘a great triumph is made with fighting of twelue Gentlemen at Barriers’, and in sc. ix Elizabeth ‘is taken vp into Heauen, when presently appeares, a Throne of blessed Soules, and beneath vnder the Stage set forth with strange fireworkes, diuers blacke and damned Soules, wonderfully discribed in their seuerall torments’. Apart from the bill, Vennar must have given it out that the performers were to be amateurs. Chamberlain, 163, writes to Carleton on 19 Nov. 1602:

‘And, now we are in mirth, I must not forget to tell you of
a cousening prancke of one Venner, of Lincolns Inne, that
gave out bills of a famous play on Satterday was sevenight
on the Banckeside, to be acted only by certain gentlemen
and gentlewomen of account. The price at cumming in was two
shillings or eighteen pence at least; and when he had gotten
most part of the mony into his hands, he wold have shewed them
a faire paire of heeles, but he was not so nimble to get up on
horse-backe, but that he was faine to forsake that course, and
betake himselfe to the water, where he was pursued and taken,
and brought before the Lord Chiefe Justice, who wold make
nothing of it but a jest and a merriment, and bounde him over
in five pound to appeare at the sessions. In the meane time
the common people, when they saw themselves deluded, revenged
themselves upon the hangings, curtains, chairs, stooles, walles,
and whatsoever came in theire way, very outragiously, and made
great spoile; there was great store of good companie, and many
noblemen.’

Similarly John Manningham in his _Diary_, 82, 93, notes in Nov. 1602, how

‘Vennar, a gent. of Lincolnes, who had lately playd a notable
cunni-catching tricke, and gulled many under couller of a play
to be of gent. and reuerens, comming to the court since in a
blacke suit, bootes and golden spurres without a rapier, one
told him he was not well suited; the golden spurres and his
brazen face uns[uited].’

On 27 Nov. he adds, ‘When one said that Vennar the graund connicatcher had golden spurres and a brazen face, “It seemes”, said R. R. “he hath some mettall in him.”’ Vennar’s own account of ‘my publique default of the Swan, where not a collier but cals his deere 12 pense to witnesse the disaster of the day’ was given many years later in ‘_An Apology_: Written by Richard Vennar, of Lincolnes Inne, abusively called Englands Joy. 1614’, printed by Collier in _Illustrations_ (1866), iii. It vies in impudence with the original offence. He had been in prison and was in debt, and ‘saw daily offering to the God of pleasure, resident at the Globe on the Banke-side’. This suggested his show, ‘for which they should give double payment, to the intent onely, men of ability might make the purchase without repentance’. He continues:

‘My devise was all sorts of musique, beginning with chambers,
the harpe of war, and ending with hounds, the cry of peace, of
which I was doubly provided for Fox and Hare. The report of
gentlemen and gentlewomens actions, being indeed the flagge
to our theater, was not meerely falcification, for I had
divers Chorus to bee spoken by men of good birth, schollers by
profession, protesting that the businesse was meerely abused
by the comming of some beagles upon mee that were none of the
intended kennell: I meane baylifes, who, siezing mee before the
first entrance, spoke an Epilogue instead of a Prologue. This
changed the play into the hunting of the fox, which, that the
world may know for a verity, I heere promise the next tearme,
with the true history of my life, to bee publiquely presented,
to insert, in place of musicke for the actes, all those
intendments prepared for that daies enterteinment.’

Later on he says, ‘I presented you with a dumbe show’, and jests on getting ‘so much mony for six verses’, which, I suppose, means that the performance was intended to be a spoken one, but was broken off during the prologue. Apparently the new entertainment contemplated by Vennar in 1614 was in fact given, not by him but by William Fennor, to whom John Taylor writes in his _A Cast Over Water_ (1615):

Thou brag’st what fame thou got’st upon the stage.
Indeed, thou set’st the people in a rage
In playing England’s Joy, that every man
Did judge it worse than that was done at Swan.

* * * * *

Upon S. George’s day last, sir, you gave
To eight Knights of the Garter (like a knave),
Eight manuscripts (or Books) all fairelie writ,
Informing them, they were your mother wit:
And you compil’d them; then were you regarded,
And for another’s wit was well rewarded.
All this is true, and this I dare maintaine,
The matter came from out a learned braine:
And poor old _Vennor_ that plaine dealing man,
Who acted England’s Joy first at the Swan,
Paid eight crowns for the writing of these things.
Besides the covers, and the silken strings.

Robin Goodfellow, in Jonson’s _Love Restored_ (_1612_), calls the absence of a mask ‘a fine trick, a piece of England’s Joy’, and three characters in the _Masque of Augurs_ (_1622_) are said to be ‘three of those gentlewomen that should have acted in that famous matter of England’s Joy in six hundred and three’--apparently a slip of Jonson’s as to the exact date. Other allusions to the ‘gullery’ are in Saville, _Entertainment of King James at Theobalds_ (1603); R. Brathwaite, _The Poet’s Palfrey_ (_Strappado for the Devil_, ed. J. W. Ebsworth, 160); J. Suckling, _The Goblins_ (ed. Hazlitt, ii. 52); W. Davenant, _Siege of Rhodes_, Pt. ii, prol. It may be added that Vennar’s cozenage was perhaps suggested by traditional stories of similar tricks. One is ascribed to one Qualitees in _Merry Tales, Wittie Questions and Quick Answeres_, cxxxiii (1567, Hazlitt, _Jest Books_, i. 145). In this bills were set up ‘vpon postes aboute London’ for ‘an antycke plaie’ at Northumberland Place and ‘all they that shoulde playe therin were gentilmen’. Another is the subject of one of the _Jests_ of George Peele (Bullen, ii. 389). W. Fennor, _The Compters Commonwealth_ (1617), 64, tells of an adventure of ‘one M^r. Venard (that went by the name of Englands Joy)’ in jail, where he afterwards died.

EDWARD DE VERE, EARL OF OXFORD (1550–1604).

Meres (1598) includes the earl in his list of ‘the best for Comedy amongst vs’ but although Oxford had theatrical servants at intervals from 1580 to 1602 (cf. ch. xiii), little is known of their plays, and none can be assigned to him, although the anonymous _The Weakest Goeth to the Wall_ (1600) calls for an author. J. T. Looney, _Shakespeare Identified_ (1920), gives him Shakespeare’s plays, many of which were written after his death.

FRANCIS VERNEY (1584–1615).

Francis, the eldest son of Sir Edmund Verney of Penley, Herts., and Claydon, Bucks., entered Trinity College, Oxford, in 1600, and was knighted on 14 March 1604. As a result of family disputes, he left England about 1608, and became a pirate in the Mediterranean, dying at Messina on 6 Sept. 1615 (_Verney Memoirs^2_, i. 47). G. C. Moore Smith (_M. L. R._ iii. 151) gives him the following play.

_Antipoe. 1603 < > 8_

[_MS._] _Bodl. MS._ 31041, ‘The tragedye of Antipoe with other poetical verses written by mee Nic^o. Leatt Jun. in Allicant In June 1622’, with Epistles to James and the Reader by ‘Francis Verney’. Presumably Verney was the author, and Nicolas only a scribe.

ANTONY WADESON (_c._ 1601).

Henslowe made payments to him on behalf of the Admiral’s in June and July 1601 for a play called _The Honourable Life of the Humorous Earl of Gloucester, with his Conquest of Portugal_, but these only amounted to 30_s._, so that possibly the play was not finished.

_Doubtful Play_

The anonymous _Look About You_ (cf. ch. xxiv) has been ascribed to Wadeson.

LEWIS WAGER (_c._ 1560).

Wager became Rector of St. James Garlickhithe on 28 March 1560. Some resemblance of his style to that of W. Wager has led to an assumption that they were related. He was a corrector of books.

_The Life and Repentance of Mary Magdalene > 1566_

_S. R._ 1566–7. ‘An interlude of the Repentaunce of Mary Magdalen.’ _John Charlwood_ (Arber, i. 335).

1566. A new Enterlude, neuer before this tyme imprinted, entreating of the Life and Repentaunce of Marie Magdalene: not only godlie, learned and fruitefull, but also well furnished with pleasaunt myrth and pastime, very delectable for those which shall heare or reade the same. Made by the learned clarke Lewis Wager. _John Charlwood._ [Prologue.]

1567. _John Charlwood._ [Probably a reissue. Two manuscript copies in the Dyce collection seem to be made from this edition.]

_Editions_ by F. I. Carpenter (1902, 1904, _Chicago Decennial Publications_, ii. 1) and J. S. Farmer (1908, _T. F. T._).

A play of Protestant tone, with biblical and allegorical characters, including ‘Infidelitie the Vice’, intended for four [five] actors. There is a Prologue, intended for actors who have ‘vsed this feate at the vniuersitie’ and will take ‘half-pence or pence’ from the audience. Carpenter dates the play _c._ 1550; but his chief argument that the prologue recommends obedience ‘to the kyng’ is not very convincing.

See also W. Wager, s.v. _The Cruel Debtor._

W. WAGER (_c._ 1559).

Nothing is known of him beyond his plays and the similarity of his name to that of Lewis Wager (q.v.). Joseph Hunter, _Chorus Vatum_, v. 90, attempts to identify him with William Gager (q.v.), but this is not plausible. On the illegitimate extension of W. into William and other bibliographical confusions about the two Wagers, _vide_ W. W. Greg, _Notes on Dramatic Bibliographers_ (_M. S. C._ i. 324).

_The Longer Thou Livest, the More Fool Thou Art. c. 1559_

_S. R._ 1568–9. ‘A ballett the lenger thou leveste the more ffoole thow.’ _Richard Jones_ (Arber, i. 386).

N.D. A very mery and Pythie Commedie, called The longer thou liuest, the more foole thou art. A Myrrour very necessarie for youth, and specially for such as are like to come to dignitie and promotion: As it maye well appeare in the Matter folowynge. Newly compiled by W. Wager. _William Howe for Richard Jones._ [Prologue.]

_Editions_ by Brandl (1900, _Jahrbuch_ xxxvi. 1) and J. S. Farmer (1910, _S. F. T._).

A Protestant moral of 1,977 lines, with allegorical characters, arranged for four actors. Moros enters ‘synging the foote of many Songes, as fooles were wont’. Elizabeth is prayed for as queen, but the Catholic domination is still recent.

_Enough is as Good as a Feast. c. 1560_

N.D. A Comedy or Enterlude intituled, Inough is as good as a feast, very fruteful, godly and ful of pleasant mirth. Compiled by W. Wager. _By John Allde._ [The t.p. has also ‘Seuen may easely play this Enterlude’, with an arrangement of parts. The play was unknown until it appeared in Lord Mostyn’s sale of 1919. The seventeenth-century publishers’ lists record the title, but without ascription to Wager (Greg, _Masques_, lxvi).]

_Edition_ by S. de Ricci (1920, _Huntingdon Reprints_, ii).

F. S. Boas (_T. L. S._ 20 Feb. 1919) describes the play as ‘a morality with a controversial Protestant flavour’; at the end Satan carries off the Vice, Covetouse, on his back. Elizabeth is prayed for.

_The Cruel Debtor. c. 1565_

_S. R._ 1565–6. ‘A ballet intituled an interlude the Cruell Detter by Wager.’ _Thomas Colwell_ (Arber, i. 307).

N.D. Fragments. C. iii in Bagford Collection (_Harl. MS._ 5919); D and D 4(?) formerly in collection of W. B. Scott, now in B.M. (C. 40, e. 48).

_Editions_ by F. J. Furnivall (1878, _N. S. S. Trans._ 1877–9, 2*) and W. W. Greg (1911, _M. S. C._ i. 314).

The speakers are Rigour, Flattery, Simulation, Ophiletis, Basileus, and Proniticus.

R. Imelmann in _Herrig’s Archiv_, cxi. 209, would assign these fragments to Lewis Wager, rather than W. Wager, but the stylistic evidence is hardly conclusive either way, and there is no other.

_Lost Play_

Warburton’s list of manuscripts burnt by his cook (_3 Library_, ii. 232) includes ’Tis Good Sleeping in A Whole Skin W. Wager’.

GEORGE WAPULL (_c._ 1576).

A George Wapull was clerk of the Stationers’ Company from 29 Sept. 1571 to 30 May 1575. In 1584–5 the company assisted him with 10_s._ ‘towards his voyage unto Norembegue’ in America (Arber, i. xliv, 509).

_The Tide Tarrieth No Man > 1576_

_S. R._ 1576, Oct. 22. ‘An Enterlude intituled The tide tariethe noe man.’ _Hugh Jackson_ (Arber, ii. 303).

1576. The Tyde taryeth no Man. A Moste Pleasant and merry Commody, right pythie and full of delight. Compiled by George Wapull. _Hugh Jackson._ [Prologue.]

_Editions_ by J. P. Collier (1864, _Illustrations of Early English Literature_, ii), E. Ruhl (1907, _Jahrbuch_, xliii. 1), J. S. Farmer (1910, _T. F. T._).

A non-controversial moral, with allegorical and typical characters, including ‘Courage, the vice’, arranged for four actors.

WILLIAM WARNER (_c._ 1558–1609).

Warner was educated at Magdalen Hall, Oxford, and became an attorney. His chief work, _Albion’s England_ (1586), was dedicated to Henry Lord Hunsdon, and his _Syrinx_ (1585) to Sir George Carey, afterwards Lord Hunsdon.

_Menaechmi > c. 1592_

_S. R._ 1594, June 10. ‘A booke entituled Menachmi beinge A pleasant and fine Conceyted Comedye taken out of the moste excellent wittie Poett Plautus chosen purposely from out the reste as leaste harmefull and yet moste delightfull.’ _Thomas Creede_ (Arber, ii. 653).

1595. Menaecmi, A pleasant and fine Conceited Comædie, taken out of the most excellent wittie Poet Plautus: Chosen purposely from out the rest, as least harmefull, and yet most delightfull. Written in English, by W. W. _Thomas Creede, sold by William Barley._ [Epistle by the Printer to the Readers; Argument.]

_Editions_ by J. Nichols (1779, _Six Old Plays_, i), W. C. Hazlitt (1875, _Sh. L._ ii. 1), and W. H. D. Rouse (1912, _Sh. Classics_).

This translation is generally supposed to have influenced the _Comedy of Errors_. If so, Shakespeare must have had access to it in manuscript, and it must have been available before _c._ 1592. The epistle speaks of Warner as ‘having diverse of this Poetes Comedies Englished, for the use and delight of his private friends, who in Plautus owne words are not able to understand them’. No others are known.

THOMAS WATSON (_c._ 1557–92).

An Oxford man, who took no degree, and a lawyer, who did not practise, Watson became an elegant writer of English and Latin verse. He won the patronage of Walsingham at Paris in 1581, and became a member of the literary circle of Lyly and Peele. His most important volume of verse is the _Hekatompathia_ (1582) dedicated to the Earl of Oxford. At the time of his death in Sept. 1592 he was in the service of William Cornwallis, who afterwards wrote to Heneage that he ‘could devise twenty fictions and knaveryes in a play which was his daily practyse and his living’ (_Athenaeum_, 23 Aug. 1890). This suggests that the poet, and not the episcopal author of _Absalon_ (_Mediaeval Stage_, ii. 458), is the Watson included by Meres in 1598 amongst our ‘best for Tragedie’. But his plays, other than translations, must, if they exist, be sought amongst the anonymous work of 1581–92, where it would be an interesting task to reconstruct his individuality. In _Ulysses upon Ajax_ (1596) Harington’s anonymous critic says of his etymologies of Ajax, ‘Faith, they are trivial, the froth of witty Tom Watson’s jests, I heard them in Paris fourteen years ago: besides what balductum [trashy] play is not full of them’. In the meantime Oliphant (_M. P._ viii. 437) has suggested that he may be the author of _Thorny Abbey, or, The London Maid_, printed by one R. D. with Haughton’s _Grim, the Collier of Croydon_ in _Gratiae Theatrales_ (1662) and there assigned to T. W. Oliphant regards _Thorny Abbey_ as clearly a late revision of an Elizabethan play.

TRANSLATION

_Antigone > 1581_

_S. R._ 1581, July 31 (Bp. of London). ‘Aphoclis Antigone, Thoma Watsono interprete.’ _John Wolfe_ (Arber, ii. 398).

1581. Sophoclis Antigone. Interprete Thoma Watsono I. V. studioso. Huic adduntur pompae quaedam, ex singulis Tragoediae actis deriuatae; & post eas, totidem themata sententiis refertissima; eodem Thoma Watsono Authore. _John Wolf._ [Latin translation. Verses to Philip Earl of Arundel, signed ‘Thomas Watsonus’. Commendatory Verses by Stephanus Broelmannus, Ἰωαννης Κωκος, Philip Harrison, Francis Yomans, Christopher Atkinson, C. Downhale, G. Camden.]

JOHN WEBSTER (?-> 1634).

There is little clue to the personal history of John Webster beyond the description of him on the title-page of his mayoral pageant _Monuments of Honour_ (1624) as ‘Merchant Taylor’, and his claim in the epistle to have been born free of the company. The records of the Merchant Taylors show that freemen of this name were admitted in 1571, 1576, and 1617, and that one of them was assessed towards the coronation expenses in 1604. A John Webster, Merchant Taylor, also received an acknowledgement of a 15_s._ debt from John and Edward Alleyn on 25 July 1591 (Collier, _Alleyn Papers_, 14). A John Webster married Isabel Sutton at St. Leonard’s Shoreditch on 25 July 1590, and had a daughter Alice baptized there on 9 May 1606. It has been taken for granted that none of the sixteenth-century records can relate to the dramatist, although they may to his father. This presumably rests on the assumption that he must have been a young man when he began to write for Henslowe in 1602. It should, however, be pointed out that a John Webster, as well as a George Webster, appears amongst the Anglo-German actors of Browne’s group in 1596 (cf. ch. xiv) and that the financial record in the _Alleyn Papers_ probably belongs to a series of transactions concerning the winding up of a theatrical company in which Browne and the Alleyns had been interested (cf. ch. xiii, s.v. Admiral’s). It is conceivable therefore that Webster was an older man than has been suspected and had had a career as a player before he became a playwright.

Gildon, _Lives of the Poets_ (1698), reports that Webster was parish clerk of St Andrew’s, Holborn. This cannot be confirmed from parish books, but may be true.

As a dramatist, Webster generally appears in collaboration, chiefly with Dekker, and at rather infrequent intervals from 1602 up to 1624 or later. In 1602 he wrote commendatory verses for a translation by Munday, and in 1612 for Heywood’s _Apology for Actors_. In 1613 he published his elegy _A Monumental Column_ on the death of Prince Henry, and recorded his friendship with Chapman. His marked tendency to borrow phrases from other writers helps to date his work. He can hardly be identified with the illiterate clothworker of the same name, who acknowledged his will with a mark on 5 Aug. 1625. But he is referred to in the past in Heywood’s _Hierarchie of the Angels_ (1635), Bk. iv, p. 206, ‘Fletcher and Webster ... neither was but Iacke’, and was probably therefore dead.

_Collections_

1830. A. Dyce. 4 vols. 1857, 1 vol. [Includes _Malcontent_, _Appius and Virginia_, and _Thracian Wonder_.]

1857. W. C. Hazlitt. 4 vols. (_Library of Old Authors_). [Includes _Appius and Virginia_, _Thracian Wonder_, and _The Weakest Goeth to the Wall_.]

1888. J. A. Symonds, _W. and Tourneur_ (_Mermaid Series_). [_The White Devil_ and _Duchess of Malfi_.]

1912. A. H. Thorndike, _Webster and Tourneur_. (_N. E. D._) [_White Devil_, _Duchess of Malfi_, _Appius and Virginia_.]

_Dissertations_: E. Gosse, _J. W._ (1883, _Seventeenth-Century Studies_); A. C. Swinburne, _J. W._ (1886, _Studies in Prose and Poetry_, 1894); C. Vopel, _J. W._ (1888, _Bremen diss._); M. Meiners, _Metrische Untersuchungen über den Dramatiker J. W._ (1893, _Halle diss._); W. Archer, _Webster, Lamb, and Swinburne_ (1893, _New Review_, viii. 96); W. von Wurzbach, _J. W._ (1898, _Jahrbuch_, xxxi. 9); J. Morris, _J. W._ (_Fortnightly Review_, June 1902); E. E. Stoll, _J. W._ (1905); L. J. Sturge, _W. and the Law; a Parallel_ (1906, _Jahrbuch_, xlii, 148); C. Crawford, _J. W. and Sir Philip Sidney_ (1906, _Collectanea_, i. 20), _Montaigne, W., and Marston: Donne and W._ (1907, _Collectanea_, ii. 1); F. E. Pierce, _The Collaboration of W. and Dekker_ (1909, _Yale Studies_, xxxvii); H. D. Sykes, _W. and Sir Thomas Overbury_ (1613, _11 N. Q._ viii. 221, 244, 263, 282, 304); A. F. Bourgeois, _W. and the N. E. D._ (1914, _11 N. Q._ ix. 302, 324, 343); R. Brooke, _J. W. and the Elizabethan Drama_ (1916).

_Sir Thomas Wyatt. 1602_

_With_ Chettle, Dekker (q.v.), Heywood, and Smith, for Worcester’s.

_The Malcontent. 1604_

Additions to the play of Marston (q.v.) for the King’s.

_Westward Ho! 1604_

_With_ Dekker (q.v.) for Paul’s.

_Northward Ho! 1605_

_With_ Dekker (q.v.) for Paul’s.

_Appius and Virginia. c. 1608._

_S. R._ 1654, May 13. ‘A play called Appeus and Virginia Tragedy written by John Webster.’ _Richard Marriott_ (Eyre, i. 448).

1654. Appius and Virginia. A Tragedy. By Iohn Webster. [_No imprint._]

1659. _For Humphrey Moseley._ [A reissue.]

1679.

_Edition_ by C. W. Dilke (1814–15, _O. E. P._ v).--_Dissertations_: J. Lauschke, _John Webster’s Tragödie A. und V. Eine Quellenstudie_ (1899, _Leipzig diss._); H. D. Sykes, _An Attempt to determine the Date of Webster’s A. and V._ (1913, _11 N. Q._ vii. 401, 422, 466; viii. 63); R. Brooke, _The Authorship of the Later A. and V._ (1913, _M. L. R._ viii. 433), more fully in _John Webster_ (1916); A. M. Clark, _A. and V._ (1921, _M. L. R._ xvi. 1).

The play is in Beeston’s list of Cockpit plays in 1639 (_Var._ iii. 159), Webster’s authorship has generally been accepted, but Stoll, 197, who put the play 1623–39, because of resemblances to _Julius Caesar_ and _Coriolanus_ which he thought implied a knowledge of F_{1}, traced a dependence upon the comic manner of Heywood. Similarly, Sykes is puzzled by words which he thinks borrowed from Heywood and first used by Heywood in works written after Webster’s death. He comes to the conclusion that Heywood may have revised a late work by Webster. There is much to be said for the view taken by Brooke and Clark, after a thorough-going analysis of the problem, that the play is Heywood’s own, possibly with a few touches from Webster’s hand, and may have been written, at any date not long after the production of _Coriolanus_ on the stage (_c._ 1608), for Queen Anne’s men, from whom it would naturally pass into the Cockpit repertory.

_The White Devil. 1609 < > 12_

1612. The White Divel; Or, The Tragedy of Paulo Giordano Ursini, Duke of Brachiano, With The Life and Death of Vittoria Corombona the famous Venetian Curtizan. Acted by the Queenes Maiesties Seruants. Written by Iohn Webster. _N. O. for Thomas Archer._ (Epistle to the Reader; after text, a note.)

1631.... Acted, by the Queenes Maiesties seruants, at the Phœnix, in Drury Lane. _I. N. for Hugh Perry._

1665; 1672.

_Editions_ in Dodsley^{1–3} (1744–1825) and by W. Scott (1810, _A. B. D._ iii) and M. W. Sampson (1904, _B. L._).--_Dissertations_: B. Nicholson, _Thomas Adams’ Sermon on The W. D._ (1881, _6 N. Q._ iii. 166); W. W. Greg, _W.’s W. D._ (1900, _M. L. Q._ iii. 112); M. Landau, _Vittoria Accorambona in der Dichtung im Verhältniss zu ihrer wahren Geschichte_ (1902, _Euphorion_, ix. 310); E. M. Cesaresco, _Vittoria Accoramboni_ (1902, _Lombard Studies_, 131); P. Simpson, _An Allusion in W._ (1907, _M. L. R._ ii. 162); L. MacCracken, _A Page of Forgotten History_ (1911); H. D. Sykes, _The Date of W.’s Play, the W. D._ (1913, _11 N. Q._ vii. 342).

The epistle apologizes for the ill success of the play, on the ground that ‘it was acted in so dull a time of winter, presented in so open and blacke a theater, that it wanted ... a full and understanding auditory’, and complains that the spectators at ‘that play-house’ care more for new plays than for good plays. Fleay, ii. 271, dates the production in the winter of 1607–8, taking the French ambassador described in III. i. 73 as a performer ‘at last tilting’ to be M. Goterant who tilted on 24 March 1607, since ‘no other Frenchman’s name occurs in the tilt-lists. It is nothing to Fleay that Goterant was not an ambassador, or that the lists of Jacobean tilters are fragmentary, or that the scene of the play is not England but Italy. Simpson found an inferior limit in a borrowing from Jonson’s _Mask of Queens_ on 2 Feb. 1609. I do not find much conviction in the other indications of a date in 1610 cited by Sampson, xl, or in the parallel with Jonson’s epistle to _Catiline_ (1611), with which Stoll, 21, supports a date in 1612. The Irish notes which Stoll regards as taken from B. Rich, _A New Description of Ireland_ (1610), in fact go back to Stanyhurst’s account of 1577, and though there is a pretty clear borrowing from Tourneur’s _Atheist’s Tragedy_, that may have been produced some time before its publication in 1611. Nor was Dekker necessarily referring to Webster, when he wrote to the Queen’s men in his epistle before _If this be not a Good Play_ (1612): ‘I wish a _Faire_ and _Fortunate Day_ to your _Next New-Play_ for the _Makers-sake_ and your _Owne_, because such _Brave Triumphes_ of _Poesie_ and _Elaborate Industry_, which my _Worthy Friends Muse_ hath there set forth, deserue a _Theater_ full of very _Muses_ themselves to be _Spectators_. To that _Faire Day_ I wish a _Full_, _Free_ and _Knowing Auditor_.’

Webster’s own epistle contains his appreciation ‘of other mens worthy labours; especially of that full and haightned stile of Maister _Chapman_, the labor’d and understanding workes of Maister _Johnson_, the no lesse worthy composures of the both worthily excellent Maister _Beamont_, & Maister _Fletcher_, and lastly (without wrong last to be named) the right happy and copious industry of M. _Shakespeare_, M. _Decker_, & M. _Heywood_’. In the final note he commends the actors, and in particular ‘the well approved industry of my friend Maister Perkins’.

_The Duchess of Malfi. 1613–14_

1623. The Tragedy of the Dutchesse of Malfy. As it was Presented priuately, at the Black-Friers; and publiquely at the Globe, By the Kings Maiesties Seruants. The perfect and exact Coppy, with diuerse things Printed, that the length of the Play would not beare in the Presentment. Written by John Webster. _Nicholas Okes for Iohn Waterson._ [Epistle to George Lord Berkeley, signed ‘John Webster’; Commendatory Verses, signed ‘Thomas Middletonus Poëta et Chron: Londinensis’, ‘Wil: Rowley’, ‘John Ford’; ‘The Actors Names. Bosola, _J. Lowin_. Ferdinand, _1 R. Burbidge_, _2 J. Taylor_. Cardinall, _1 H. Cundaile_, _2 R. Robinson_. Antonio, _1 W. Ostler_, _2 R. Benfeild_. Delio, _J. Underwood_. Forobosco, _N. Towley_. Pescara, _J. Rice_. Silvio, _T. Pollard_. Mad-men, _N. Towley_, _J. Underwood_, _etc._ Cardinals M^{is}, _J. Tomson_. The Doctor, etc., _R. Pallant_. Duchess, _R. Sharpe_.’]

1640; 1678; N.D.

_Editions_ by C. E. Vaughan (1896, _T. D._), M. W. Sampson (1904, _B. L._), and W. A. Neilson (1911, _C. E. D._).--_Dissertations_: K. Kiesow, _Die verschiedenen Bearbeitungen der Novelle von der Herzogin von Amalfi des Bandello in den Literaturen des xvi. und xvii. Jahrhunderts_ (1895, _Anglia_, xvii. 199); J. T. Murray, _The D. of M. List of the King’s Company_ (1910, _E. D. C._ ii. 146); W. J. Lawrence, _The Date of the D. of M._ (_Athenaeum_ for 21 Nov. 1919); W. Archer, _The D. of M._ (_Nineteenth Century_ for Jan. 1920).

The actor-list records two distinct casts, one before Ostler’s death on 16 Dec. 1614, the other after Burbadge’s death on 13 March 1619, and before that of Tooley in June 1623. Stoll, 29, quotes the _Anglopotrida_ of Orazio Busino (cf. the abstract in _V. P._ xv. 134), which appears to show that the play was on the stage at some date not very long before Busino wrote on 7 Feb. 1618:

Prendono giuoco gli Inglesi della nostra religione come di
cosa detestabile, et superstitiosa, ne mai rappresentano
qualsivoglia attione pubblica, sia pura Tragisatiricomica,
che non inserischino dentro uitij, et scelleragini di qualche
religioso catolico, facendone risate, et molti scherni, con lor
gusto, et ramarico de’ buoni, fu appunto veduto dai nostri, in
una Commedia introdur’un frate franciscano, astuto, et ripieno
di varie impietà, cosi d’avaritia come di libidine: et il tutto
poi ruiscì in una Tragedia, facendoli mozzar la vista in scena.
Un altra volta rappresentarono la grandezza d’un cardinale,
con li habiti formali, et proprij molti belli, et ricchi, con
la sua Corte, facendo in scena erger un Altare, dove finse di
far oratione, ordinando una processione: et poi lo ridussero in
pubblico con una Meretrice in seno. Dimostrò di dar il Velleno
ad una sua sorella, per interesse d’honore: et d’ andar in
oltre alla guerra, con depponer prima l’habito cardinalitio
sopra l’altare col mezzo de’ suoi Cappellani, con gravità, et
finalmente si fece cingere la spada, metter la serpa, con tanto
garbo, che niente più: et tutto ciò fanno in sprezzo, delle
grandezze ecclesiastice vilipese, et odiate a morte in questo
Regno.
Di Londra a’ 7 febaio 1618.