Chapter XXV: Appendix: K

ACADEMIC PLAYS

[The academic drama only lies on the fringe of my subject, but
I have included notes on extant English plays in chapters xxiii
and xxiv, and give below, for the sake of convenience, a list
of these, and another of those Latin plays which there is any
positive evidence for assigning to the period 1558–1616 and to
English authorship. Fuller treatment will be found in G. B.
Churchill and W. Keller, _Die lateinischen Universitäts-Dramen
in der Zeit der Königin Elisabeth_ (1898, _Jahrbuch_, xxxiv.
220); G. C. Moore Smith, _Notes on Some English University
Plays_ (1908, _M. L. R._ iii. 141), and _Plays performed in
Cambridge Colleges before 1583_ (1909, _Fasciculus J. W. Clark
dicatus_, 265); L. B. Morgan, _The Latin University Drama_
(1911, _Jahrbuch_, xlvii. 69); and F. S. Boas, _University
Plays_ (1910, _C. H._ vi. 293, with full bibliography), and
_University Drama in the Tudor Age_ (1914). Further material
from Cambridge archives is in preparation by G. C. Moore
Smith. In addition to the plays given in this list, some are
incorporated in the description of _The Christmas Prince_ (cf.
ch. xxiv, s.a. 1607–8.]

ENGLISH PLAYS

_Albumazar._
By T. Tomkis.

_Antipoe._
By F. Verney.

_Birth of Hercules._
Anon.

_Caesar’s Revenge._
Anon.

_Claudius Tiberius Nero._
Anon.

_Club Law._
Anon.

_Lingua._
By T. Tomkis.

_Narcissus._
Anon.

_1, 2, 3 Parnassus._
Anon.

_Queen’s Arcadia._
By S. Daniel.

_Ruff, Cuff and Band._
Anon.

_Sicelides._
By P. Fletcher.

_Timon_
Anon.

_Work for Cutlers._
Anon.

LATIN PLAYS

_Adelphe._
By S. Brooke (q.v.).

_Atalanta._
_Harl. MS._ 6924, with dedication to Laud, President of St.
John’s, Oxford, 1611–21, signed by Philip Parsons, of St.
John’s, B.A. 1614, M.A. 1618.

_Bellum Grammaticale._
_S. R._ 1634, April 17. ‘A booke called Bellum grammaticale
&c by Master Spense’, authorized by Herbert. _John Spenser_
(Arber, iv. 317).

1635. Bellum Grammaticale sive Nominum Verborumque discordia civilis Tragico-Comoedia. Summo cum applausu olim apud Oxonienses in Scaenam producta et nunc in omnium illorum qui ad Grammaticam animos appellant oblectamentum edita. _B. A. and T. Fawcet, impensis Joh. Spenceri._

_Editions_ of 1658, 1698, 1718, 1726, 1729, and in J. Bolte (1908, _Andrea Guarnas B. G. und seine Nachahmungen_, 106).

A performance was given before Elizabeth at Ch. Ch., Oxford, on 24 Sept. 1592, with a prologue and epilogue by Gager, which are printed with his _Meleager_. But the play was not new, for Sir John Harington, who records the 1592 performance in his _Metamorphosis of Ajax_ (1596), 127, had already named ‘the Oxford Bellum Grammaticale’ as ‘full of harmeles myrth’ in his _Apologie of Poetrie_ (1591). The ‘Master Spense’ of the S. R. entry may be a confusion with the publisher’s name. Wood, _Ath. Oxon._ ii. 533, was told by Richard Gardiner of Ch. Ch. that the author was Leonard Hutten, who took his B.A. from Ch. Ch. in 1578, and his M.A. in 1582. He was known as a dramatist by 26 Sept. 1583, when Gager wrote of him (Boas, 256),

Seu scribenda siet Comoedia, seu sit agenda,
Primum Huttone potes sumere iure locum.

The source was the Latin prose narrative _Bellum Grammaticale_ (1511) of Andrea Guarna. Ralph Radclif (_c._ 1538) seems to have also treated the theme, but not necessarily in dramatic form (_Mediaeval Stage_, ii. 197).

_Britanniae Primitiae, sive S. Albanus Protomartyr_ (_c._ 1600).

_Bodl. Rawl. Poet. MS._ 215. The Bodleian Catalogue dates
the MS. _c._ 1600. The play, described in _Jahrbuch_,
xlvii. 75, is a fragment only, probably written in some Jesuit
seminary on the Continent, but with an English interest. There
seems to be nothing specifically English in the theme of
_Sanguis Sanguinem sive Constans Fratricida Tragoedia_,
which is in the same MS.

_Caesar Interfectus_ (_c._ March 1582).

Epilogue of a play by Richard Edes (q.v.) at Ch. Ch., Oxford.

_Dido_ (12 June 1583).

By W. Gager (q.v.).

_Euribates Pseudomagus._

_Camb. Emmanuel MS._ 3. 1. 17. ‘Authore M^r Cruso Caii
Colle: Cantabr.’

Aquila Cruso entered Gonville and Caius in 1610.

_Fatum Vortigerni._

_Lansd. MS._ 723, f. 1. ‘Fatum Vortigerni seu miserabilis
vita et exitus Vortigerni regis Britanniae vna complectens
aduentum Saxonum siue Anglorum in Britanniam.’

Keller puts the play at the end of the sixteenth century, and
thinks it influenced by _Richard III_.

_Fortunia_ (March 1615).

See s.v. _Susenbrotus_.

_Herodes._

_Camb. Univ. MS._ Mm. I. 24, with dedication by William
Goldingham, B.A. 1567 and Fellow of Trinity Hall 1571, to ‘D.
Thomae Sackuilo, Equiti aurato, Domino de Buckhurst.’ Sackville
became Lord Buckhurst 1567 and K.G. 1588.

_Hispanus_ (March 1597).

_Bodl. Douce MS._ 234, f. 15^v. This was ‘in diem
comitialem anno domini 1596’, and the actor-list is composed
of members of St. John’s, Cambridge (Boas, 398). The MS. has
the note ‘Summus histrio-didascalus Mr. Pratt’ and a possible
indication of authorship in the mutilated name ‘orrell’, which
may stand for Roger Morrell, Fellow of St. John’s.

_Hymenaeus_ (March 1579).

_St. John’s Cambridge MS._ S. 45; _Caius Cambridge
MS._ 62.

_Edition_ by G. C. Moore Smith (1908).

The actor-list agrees closely with that of Legge’s _Ricardus
III_, and points to St. John’s, Cambridge, in 1579 (Boas,
393). The source is Boccaccio’s _Decamerone_, which suggests
the possible authorship of A. Fraunce (q.v.), who used the
_Decamerone_ for his contemporary _Victoria_.

_Ignoramus_ (8 March 1615).

By G. Ruggle (q.v.).

_Labyrinthus_ (March 1603?).

By W. Hawkesworth (q.v.).

_Laelia_ (1 March 1595).

_Lambeth MS._ 838.

_Edition_ by G. C. Moore Smith (1910).--_Dissertation_: G. C.
Moore Smith, _The Cambridge Play ‘Laelia_’ (1911, _M. L. R._ vi.
382).

The production is assigned by Fuller, _Hist. of Cambridge_
(ed. Nichols), 217, to a visit by the Earl of Essex to Cambridge
as Chancellor of the University in 1597–8. Moore Smith has,
however, shown that it almost certainly belongs to an earlier
visit, and took place at Queens’ College on 1 March 1595. The
chief evidence is the reference in Rowland Whyte’s account of
the _Device_ by Essex or Bacon (q.v.) for 17 Nov. 1595 to
‘Giraldy’ and ‘Pedantiq’, as played at Cambridge. These may
fairly be taken to be the Gerardus and the pedant Petrus of
_Laelia_. The actors of these two parts are identified with
George Meriton and George Mountaine, Fellows of Queens’, by John
Weever, _Epigrammes_ (1599), iv. 19.

Your entertaine (nor can I passe away)
Of Essex with farre-famed Laelia;
Nor fore the Queen your service on Queens day.

Conceivably this may also attribute authorship of the play
and the device. The play is an adaptation of the Italian _Gl’
Ingannati_ (_c._ 1531) through _Les Abusez_ (1543) of Charles
Estienne. It is possible that, directly or indirectly, it
influenced _Twelfth Night_.

_Leander_ (March 1598).

By W. Hawkesworth (q.v.).

_Machiavellus_ (1597).

_Bodl. Douce MS._ 234, f. 40^v, dated ‘Anno Dmni 1597, Decemb.
9’.

A note in Douce’s hand assigns the authorship to [Nathaniel]
Wiburne, who, like the other actors, was of St. John’s,
Cambridge, in 1597 (Boas, 398).

_Melanthe_ (1615).

By S. Brooke (q.v.).

_Meleager_ (Feb. 1582)

By W. Gager (q.v.).

_Nero_ (1603).

By M. Gwynne (q.v.).

_Oedipus._

By W. Gager (q.v.).

_Panniculus Hippolyto Assutus_ (8 Feb. 1592).

By W. Gager (q.v.).

_Parthenia._

_Emmanuel, Cambridge, MS._ 1. 3. 16. Greg, _Pastoral Poetry and
Pastoral Drama_, 368, thinks the handwriting later than 1600.

_Pastor Fidus_ (> 1605).

_Cambridge Univ. Libr. MS._ Ff. ii. 9. ‘Il pastor fido, di
signor Guarini ... recitata in Collegio Regali Cantabrigiae’,
with _Prologus_ and _Argumentum_. _T. C. C. MS._
R. 3. 37.

Greg, _Pastoral_, 247, points out that this must be the
‘Fidus Pastor, which was sometimes acted by King’s College men
in Cambridge’, out of which a contemporary observer thought
that Daniel’s _Queen’s Arcadia_ (q.v.) was drawn. It is a
translation of Guarini’s _Il Pastor Fido_ (1590).

_Pedantius_ (1581).

_Caius College, Cambridge, MS._ 62. ‘Paedantius comoedia
acta in collegio Sanctae et individuae Trinitatis authore M^{ro}
Forcet.’

_T. C. C. MS._ R. 17 (9).

_S. R._ 1631, Feb. 9. ‘A Comedy in Lattyn called
Pedantius’, authorized by Austen. _Milborne_ (Arber, iv.
248).

1631. Pedantius Comoedia, Olim Cantabrig. Acta in Coll. Trin.
Nunquam antehac Typis evulgata. _W. S. Impensis Roberti
Mylbourne._

[Engravings of Dromodotus and Pedantius. Introductory lines,
‘Pedantius de Se’. The title-page has an engraved border
dated 1583, already used for W. Alexander’s _Monarchicke
Tragedies_ (1616).]

_Edition_ by G. C. Moore Smith (1905, _Materialien_,
viii).

The introductory line, ‘Ante quater denos vixi Pedantius
annos’, suggests production in 1591, but the play cannot
have been very recent when Sir John Harington, in a note to
his translation of _Orlando Furioso_ (1591), Bk. xiv, cited
a ‘pretie conceit’ of ‘our Cambridge Comedie Pedantius (at
whiche I remember the noble Earle of Essex that now is, was
present)’. In his _Apologie of Poetrie_, prefixed to the
translation, Harington also says (G. Smith, _Elizabethan
Critical Essays_, ii. 210), ‘How full of harmeles myrth is our
Cambridge _Pedantius_? and the Oxford _Bellum Grammaticale_?’
Harington, who again cites ‘our _Pedantius_ of Cambridge’ in his
_Metamorphosis of Ajax_ (1596), 126, was with Essex at Cambridge
during 1578–81, and Moore Smith has shown that the production
at Trinity was probably on 6 Feb. 1581, shortly before the
defeat of Gabriel Harvey by Anthony Wingfield of Trinity for
the Public Oratorship of Cambridge. There can be little doubt
that Harvey was the butt of _Pedantius_, and hardly more that
Wingfield was concerned in this satire. Nashe has two allusions
to the matter. In _Strange News_ (1593) he says that Harvey’s
verses were ‘miserably flouted at in M. _Winkfields_ Comoedie of
_Pedantius_ in Trinitie Colledge’ (_Works_, i. 303). In _Have
With You to Saffron-Walden_ (1596) he says, ‘Ile fetch him aloft
in Pedantius, that exquisite Comedie in Trinitie Colledge;
where, vnder the cheife part, from which it tooke his name, as
namely the concise and firking finicaldo fine School-master,
hee was full drawen & delineated from the soale of the foote to
the crowne of his head’, and goes on to enumerate the principal
traits of Harvey touched off by the actors, who ‘borrowed his
gowne to playe the Part in, the more to flout him’ (_Works_,
iii. 80). So far, we are left a little uncertain whether the
main authorship is to be ascribed, with Nashe in _Strange News_,
to Anthony Wingfield, or, with the _Caius MS._, to Edward
Forsett, both of whom were Fellows of Trinity in 1581. Moore
Smith has, however, shown in _T. L. S._ (10 Oct. 1918) that
Forsett refers to ‘Pedantio meo’ in the epistle to an unprinted
_Concio_ of his among the MSS. of St. John’s, Cambridge. For an
absurd attempt to assign the authorship to Bacon, largely on the
ground of some non-existent pigs in the title-page border, cf.
E. A. [E. G. Harman], _The Shakespeare Problem_ (1909), and _T.
L. S._ (27 March, 17 April, 1 May, 1919). Modern ascriptions
to Thomas Beard and to Walter Hawkesworth seem to rest on
misunderstandings.

_Perfidus Hetruscus._

_Bodl. Rawlinson MS._ C. 787.

_Physiponomachia_ (1609–11).

_Bodl. MS._ 27639.

Dedicated to John Buckeridge, President of St. John’s, Oxford,
1605–11, by Christopher Wren, father of the architect, who took
his B.A. from St. John’s in 1609.

_Psyche et Filii Ejus._

_Bodl. Rawl. Poet. MS._ 171, f. 60.

This is a Jesuit play, on the heresy of England.

Lugentis Angliae faciem dum Poeta pingeret.

Moore Smith (_M. L. R._ iii. 143), who is responsible
for the title, thinks that it was written at the seminary of
Valladolid, perhaps in Elizabeth’s reign.

_Richardus Tertius_ (March 1580).

By T. Legge (q.v.).

_Romeus et Julietta_ (c. 1615).

_Sloane MS._ 1775, f. 242.

According to H. de W. Fuller in _M. P._ iv (1906), 41, this is
a fragment based on A. Brooke’s _Romeus and Juliet_, probably a
student’s exercise, with corrections. It is datable by two poems
in the same hand on the royal visit to Cambridge in 1615.

_Roxana_ (_c._ 1592).

By W. Alabaster (q.v.).

_Sapientia Solomonis_ (1565–6).

_Addl. MS._ 20061. ‘Sapientia Solomonis: Drama Comicotragicum.’

This is an expanded version of the _Sapientia Solomonis_ of Sixt
Birck (1555). A performance is recorded at Trinity, Cambridge,
in 1559–60 (Boas, 21, 387), but the prologue and epilogue to
this version make it clear that it was acted before Elizabeth
and the _inclita princeps Cecilia_, i. e. Cecilia of Sweden, who
was in England during 1565–6 (cf. ch. i), by a

puellorum cohors
Nutrita magnificis tuis e sumptibus.

These were the Westminster boys, who gave the play in 1565–6
(cf. ch. xii). The elaborately bound and decorated MS. bears
Elizabeth’s initials in several places, and was evidently the
‘book’ officially provided for her.

_Scyros_ (3 March 1613).

By S. Brooke (q.v.).

_Silvanus_ (13 Jan. 1597).

_Bodl. Douce MS._ 234. ‘Acta haec fabula 13º Januarii an.
dmi. 1596.’

The actor-list belongs to St. John’s, Cambridge, and is headed
by the name of [Francis] Rollinson, whose authorship has been
unjustifiably assumed.

_Solymannidae_ (5 March 1582).

_Lansd. MS._ 723. ‘Solymannidae, Tragoedia ... 1581 Martii
5º.’

_Susenbrotus_ or _Fortunia_ (March 1615).

_Bodl. Rawl. Poet. MS._ 195, f. 79. ‘Susenbrotus Comoedia.
Acta Cantabrigiae in Collegio Trin. coram Rege Jacobo & Carolo
principe Anno 1615.’

_Bridgewater MS._ ‘Fortunia.’

The accounts of the royal visit of 7–11 March 1615 do not
mention the play, and the date of this visit would be ‘1614’.
It may be the unnamed play given by Cambridge men, not at
Cambridge, but at Royston in March 1616; the actors are ‘extra
Lyceum’, cf. ch. iv.

_Tomumbeius_ (> 1603).

_Bodl. Rawl. Poet. MS._ 75. ‘Tomumbeius siue Sultanici in
Aegypto Imperii Euersio. Tragoedia noua auctore Georgio Salterno
Bristoënsi.’

Nothing is known of George Salterne, and a dedication to
Elizabeth is hardly sufficient to indicate a production before
her at Bristol during the progress of 1574.

_Ulysses Redux_ (5 Feb. 1592).

By W. Gager (q.v.).

_Vertumnus_ (29 Aug. 1605).

By M. Gwynne (q.v.).

_Victoria_ (_c._ 1580–3).

By A. Fraunce (q.v.).

_Zelotypus_ (1606).

_Emmanuel, Cambridge, MS._ 3. 1. 17; _T. C. C. MS._ R.
3, 9.

The actor-list points to St. John’s, Cambridge, in 1606.