Volume 3 / Book 5 — BOOK V PLAYS AND PLAYWRIGHTS (continued 10)

Doubtful Play

Preston has been suggested as the author of Sir Clyomon and Clamydes (cf. ch. xxiv).

DANIEL PRICE (1581–1631).

A student of Exeter College, Oxford, who became chaplain to Prince Henry (D. N. B.), and described his Creation in 1610 (cf. ch. xxiv, C).

RICHARD (?) PUTTENHAM (c. 1520–1601).

The author of The Arte of English Poesie (1589; cf. App. C, No. xli) claims to have written three plays, no one of which is extant. He analyses at length the plot of his ‘Comedie entituled Ginecocratia’ (Arber, 146), in which were a King, Polemon, Polemon’s daughter, and Philino. He twice cites his ‘enterlude’, Lustie London (Arber, 183, 208), in which were a Serjeant, his Yeoman, a Carrier, and a Buffoon. And he twice cites his ‘enterlude’, The Woer (Arber, 212, 233), in which were a Country Clown, a Young Maid of the City, and a Nurse.

The author of The Arte is referred to by Camden in 1614 (cf. Gregory Smith, ii. 444) as ‘Maister Puttenham’, and by E. Bolton, Hypercritica (c. 1618), with the qualification ‘as the Fame is’, as ‘one of her Gentlemen Pensioners, Puttenham’. H. Crofts, in his edition (1880) of Sir Thomas Elyot’s The Governour, has shown that this is more likely to have been Richard, the elder, than George, the younger, son of Robert Puttenham and nephew of Sir Thomas Elyot. Neither brother, however, can be shown to have been a Gentleman Pensioner, and Collier gives no authority for his statement that Richard was a Yeoman of the Guard. Richard was writing as far back as the reign of Henry VIII, and the dates of his plays are unknown.

WILLIAM RANKINS (> 1587–1601 <).

The moralist who published A Mirrour of Monsters (1587), The English Ape (1588), and Seven Satires (1598) is, in spite of the attack on plays (cf. App. C, No. xxxviii) in the first of these, probably identical with the dramatist who received payment from Henslowe on behalf of the Admiral’s for the following plays during 1598–1601:

(i) Mulmutius Dunwallow.

Oct. 1598, £3, ‘to by a boocke’, probably an old one.

(ii) Hannibal and Scipio.

With Hathway, Jan. 1601.

(iii) Scogan and Skelton.

With Hathway, Jan.–Mar. 1601.

(iv) The Conquest of Spain by John of Gaunt.

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

Rankins has also been suggested as the author of Leire (cf. ch. xxiv).

THOMAS RICHARDS (c. 1577).

A possible author of Misogonus (cf. ch. xxiv).

HENRY ROBERTS (c. 1606).

A miscellaneous writer (D. N. B.) who described the visit of the King of Denmark to England (cf. ch. xxiv, C). The stationer of the same name, who printed the descriptions, may be either the author or his son (McKerrow, 229).

JOHN ROBERTS (c. 1574).

A contributor to the Bristol Entertainment of Elizabeth (cf. ch. xxiv, C).

ROBINSON.

Henslowe paid £3 on behalf of the Admiral’s men on 9 Sept. 1602 ‘vnto M^r. Robensone for a tragedie called Felmelanco’. Later in the month he paid two sums amounting to another £3 to Chettle, for ‘his tragedie’ of the same name. The natural interpretation is that Chettle and Robinson co-operated, but Fleay, i. 70, rather wantonly says, ‘Robinson was, I think, to Chettle what Mrs. Harris was to Mrs. Gamp’, and Greg, Henslowe, ii. 224, while not agreeing with Fleay, ‘It is, however, unlikely that he had any hand in the play. Probably Chettle had again pawned his MS.’

Dates make it improbable that this Robinson was the poet Richard Robinson whose lost ‘tragedy’ Hemidos and Thelay is not likely to have been a play (cf. App. M).

SAMUEL ROWLEY (?-1624).

For Rowley’s career as an Admiral’s and Prince’s man, cf. ch. xv.

Dr. Faustus

For the additions by Rowley and Bird in 1602, cf. s.v. Marlowe.

When You See Me, You Know Me. 1603 < > 5

S. R. 1605, Feb. 12, ‘Yf he gett good alowance for the enterlude of King Henry the 8th before he begyn to print it. And then procure the wardens handes to yt for the entrance of yt: He is to haue the same for his copy.’ Nathanaell Butter (Arber, iii. 283). [No fee recorded.]

1605. When you see me, You know me. Or the famous Chronicle Historie of King Henry the eight, with the birth and vertuous life of Edward Prince of Wales. As it was playd by the high and mightie Prince of Wales his seruants. By Samuell Rowly, seruant to the Prince. For Nathaniel Butter.

1613; 1621; 1632.

Editions by K. Elze (1874) and J. S. Farmer (1912, S. F. T.).—Dissertation: W. Zeitlin, Shakespeare’s King Henry the Eighth and R.’s When You See Me (1881, Anglia, iv. 73).

The Noble Soldier

Probably with Day and Dekker (q.v.).

Lost Plays

(a) Plays for the Admiral’s, noted in Henslowe’s diary.

Judas. With W. Bird, Dec. 1601, possibly a completion of the play of the same name left unfinished by Haughton (q.v.) in 1600.

Joshua. Sept. 1602.

(b) Plays for the Palsgrave’s, licensed by Sir Henry Herbert

(Chalmers, S. A. 214–17; Herbert, 24, 26, 27).

27 July 1623, Richard III.

29 Oct. 1623, Hardshifte for Husbands.

6 Apr. 1624, A Match or No Match.

Doubtful Plays

H. D. Sykes, The Authorship of The Taming of A Shrew, etc. (1920, Sh. Association), argues, on the basis of a comparison of phraseology with When You See Me, You Know Me and some of the additions to Dr. Faustus, for Rowley’s authorship of (a) The Famous Victories, (b) the prose scenes of A Shrew, (c) the clowning passages in Greene’s Orlando Furioso, (d) the prose scenes of Wily Beguiled. He suggests that the same collaborator, borrowing first from Marlowe and then from Kyd, may have supplied the verse scenes both of A Shrew and of Wily Beguiled. There is no external evidence to connect Rowley with the Queen’s, and he only becomes clearly traceable with the Admiral’s in 1598, but Mr. Sykes has certainly made out a stylistic case which deserves consideration.

WILLIAM ROWLEY (?-1625 <).

Of Rowley’s origin and birth nothing is known. He first appears as collaborator in a play of Queen Anne’s men in 1607, and, although he may have also acted with this company, there is no evidence of the fact. His name is in the patent of 30 March 1610 for the Duke of York’s men with that of Thomas Hobbes, to whom his pamphlet A Search for Money (1609, Percy Soc. ii.) is dedicated. He acted as their payee from 1610 to 1615, and they played his Hymen’s Holiday or Cupid’s Vagaries, now lost, in 1612. A Knave in Print and The Fool without Book, entered as his on 9 Sept. 1653 (Eyre, i. 428), might be their anonymous two-part Knaves of 1613. He contributed an epitaph on Thomas Greene of the Queen’s to Cooke’s Greene’s Tu Quoque (1614). From 1615 to March 1616 the Prince’s men seem to have been merged in the Princess Elizabeth’s. They then resumed their identity at the Hope, and with them Rowley is traceable as an actor to 1619 and as a writer, in collaboration with Thomas Middleton (q.v.), Thomas Ford, and Thomas Heywood, until 1621. In 1621 he wrote an epitaph upon one of their members, Hugh Attwell, apparently as his ‘fellow’. It was still as a Prince’s man that he received mourning for James on 17 March 1625. But in 1621 and 1622 he was writing, with Middleton and alone, for the Lady Elizabeth’s at the Cockpit, and in 1623 both writing and acting in The Maid of the Mill for the King’s men, and prefixing verses to Webster’s Duchess of Malfi, which belonged to the same company. He had definitely joined the King’s by 24 June 1625 when his name appears in their new patent, and for them his latest play-writing was done. In addition to what was published under his name, he is generally credited with some share in the miscellaneous collection of the Beaumont and Fletcher Ff. His name is not in an official list of King’s men in 1629, but the date of his death is unknown. A William Rowley married Isabel Tooley at Cripplegate in 1637, but the date hardly justifies the assumption that it was the dramatist.

Dissertations: P. G. Wiggin, An Inquiry into the Authorship of the Middleton-Rowley Plays (1897, Radcliffe College Monographs, ix); C. W. Stork, William Rowley (1910, Pennsylvania Univ. Publ. xiii, with texts of All’s Lost for Lust and A Shoemaker a Gentleman).

A Shoemaker a Gentleman, c. 1608

S. R. 1637, Nov. 28 (Weekes). ‘A Comedie called A Shoomaker is a gentleman with the life and death of the Criple that stole the weather cocke of Pauls, by William Rowley.’ John Okes (Arber, iv. 400).

1638. A Merrie and Pleasant Comedy: Never before Printed, called A Shoomaker a Gentleman. As it hath beene sundry Times Acted at the Red Bull and other Theatres, with a general and good Applause. Written by W. R. Gentleman. I. Okes, sold by Iohn Cooper. [Epistle by Printer to Gentlemen of the Gentle Craft.]

Edition by C. W. Stork (1910).

The epistle says that the play was still often acted, and ‘as Plaies were then, some twenty yeares agone, it was in the fashion’. This dating and the mention of the Red Bull justify us in regarding it as an early play for Queen Anne’s men.

A New Wonder, A Woman Never Vexed (?)

S. R. 1631, Nov. 24 (Herbert). ‘A booke called A new wonder or a woman neuer vext (a Comedy) by William Rowley.’ Constable (Arber, iv. 266).

1632. A new Wonder, A Woman never vext. A pleasant conceited Comedy: sundry times Acted: never before printed. Written by William Rowley, one of his Maiesties Servants. G. P. for Francis Constable.

Fleay, ii, 102, and Greg (H. ii. 177) suggest revision by Rowley of the Admiral’s Wonder of a Woman (1595), perhaps by Heywood (q.v.); Stork, 26, early work for Queen Anne’s men, under Heywood’s influence.

A Match at Midnight (?)

S. R. 1633, Jan. 15 (Herbert). ‘A Play called A Match at midnight.’ William Sheares (Arber, iv. 291).

1633. A Match at Midnight A Pleasant Comœdie: As it hath been Acted by the Children of the Revells. Written by W. R. Aug. Mathewes for William Sheares.

Fleay, 203 and ii. 95, treats the play, without discussion, as written by Middleton and Rowley for the Queen’s Revels c. 1607. Bullen, Middleton, i. lxxxix, and Stork, 17, concur as to the date, the former regarding it as Middleton’s revised c. 1622 by Rowley, the latter as practically all Rowley’s. These views are evidently influenced by the mention of the Children of the Revels on the title-page. Wiggin, 7, noting allusions to the battle of Prague in 1620 and Reynard the Fox (1621), thinks it alternatively possible that Rowley wrote it under Middletonian influence for one of the later Revels companies c. 1622. There was no doubt a company of Children of the Revels in 1622–3 (Murray, i. 198), but the name on a t.p. of 1633 would naturally refer to the still later company of 1629–37 (Murray, i. 279).

The Birth of Merlin (?)

1662. The Birth of Merlin: Or, The Childe hath found his Father. As it hath been several times Acted with great Applause. Written by William Shakespear, and William Rowley. Tho. Johnson for Francis Kirkman and Henry Marsh.

Editions by T. E. Jacob (1889), J. S. Farmer (1910, T. F. T.), and with Sh. Apocrypha.—Dissertations: F. A. Howe, The Authorship of the B. of M. (1906, M. P. iv. 193); W. Wells, The B. of M. (1921, M. L. R. xvi. 129).

Kirkman’s attribution to Shakespeare and Rowley was first made in his play-list of 1661 (Greg, Masques, liii). It is generally accepted for Rowley, but not for Shakespeare. But Fleay, Shakespeare, 289, on a hint of P. A. Daniel, gave Rowley a collaborator in Middleton, and later (ii. 105) treated the play as a revision by Rowley of the Uther Pendragon produced by the Admiral’s on 29 April 1597. This view seems to rest in part upon the analogous character of The Mayor of Quinborough. Howe thinks that Rowley worked up a sketch by Middleton later than 1621, and attempts a division of the play on this hypothesis. But Stork, Rowley, 58, thinks that Rowley revised Uther Pendragon or some other old play about 1608. F. W. Moorman (C. H. v. 249) suggests Dekker, and Wells Beaumont and Fletcher.

Doubtful Plays

The ascription to Rowley on the t.p. of The Thracian Wonder is not generally accepted. His hand has been sought in The Captain, The Coxcomb, and Wit at Several Weapons (cf. s.v. Beaumont) and in Troublesome Reign of King John (cf. ch. xxiv) and Pericles.

MATTHEW ROYDON (> 1580–1622 <).

The reference to his ‘comike inuentions’ in Nashe’s Menaphon epistle of 1589 (App. C, No. xlii) suggests that he wrote plays.

GEORGE RUGGLE (1575–1622).

Ruggle entered St. John’s, Cambridge, from Lavenham grammar school, Suffolk, in 1589, migrated to Trinity, where he took his B.A. in 1593 and his M.A. in 1597, and became Fellow of Clare Hall in 1598. He remained at Cambridge until 1620, shortly before his death.

Ignoramus. 8 March 1615

[MSS.] Bodl. Tanner MS. 306, with actor-list; Harl. MSS. 6869 (fragmentary); and others.

S. R. 1615, April 18 (Nidd). ‘Ignoramus Comœdia provt Cantabrigie acta coram Jacobo serenissimo potentissimo magnae Britanniae rege.’ Walter Burre (Arber, iii. 566).

1630. Ignoramus. Comœdia coram Regia Majestate Jacobi Regis Angliae, &c. Impensis I. S. [Colophon] Excudebat T. P. [Prologus Prior. Martii 8. Anno 1614; Prologus Posterior. Ad secundum Regis adventum habitus, Maii 6, 1615; Epilogus.]

1630.... Secunda editio auctior & emendatior. Typis T. H. Sumptibus G. E. & J. S. [Macaronic lines, headed ‘Dulman in laudem Ignorami’.]

1658.... Autore M^ro Ruggle, Aulae Clarensis A.M.

1659, 1668, 1707, 1731, 1736, 1737.

Edition by J. S. Hawkins (1787).

Chamberlain, describing to Carleton James’s visit to Cambridge in March 1615, wrote (Birch, i. 304): ‘The second night [8 March] was a comedy of Clare Hall, with the help of two or three good actors from other houses, wherein David Drummond, on a hobby-horse, and Brakin, the recorder of the town, under the name of Ignoramus, a common lawyer, bore great parts. The thing was full of mirth and variety, with many excellent actors; among whom the Lord Compton’s son, though least, yet was not worst, but more than half marred by extreme length.’ On 31 March he told Carleton (Birch, i. 360) of the Oxford satires on the play, and of a possible second visit by the King, unless he could persuade the actors to visit London. And on 20 May he wrote to him (Birch, i. 363): ‘On Saturday last [13 May], the King went again to Cambridge, to see the play “Ignoramus”, which has so nettled the lawyers, that they are almost out of all patience.’ He adds that rhymes and ballads had been written by the lawyers, and answered. Specimens of the ‘flytings’ to which the play gave rise are in Hawkins, xxxvii, xlii, cvii, 259. Fuller, Church History (1655), x. 70, reports a story that the irritation caused to the lawyers also led to John Selden’s demonstration of the secular origin of tithes. The authorship of Ignoramus is indicated by the entry in a notice of the royal visit printed (Hawkins, xxx) from a manuscript in the library of Sir Edward Dering:

‘On Wednesday night, 2, Ignoramus, the lawyer, Latine, and part English, composed by M^r. Ruggle, Clarensis.’

Ignoramus was largely based on the Trappolaria (1596) of Giambattista Porta, into which Ruggle introduced his satire of the Cambridge recorder, Francis Brackyn, who had already been the butt of 3 Parnassus.

Doubtful and Lost Plays

There is no justification for ascribing to Ruggle Loiola (1648), which is by John Hacket, but Hawkins, lxxii, cites from a note made in a copy of Ignoramus by John Hayward of Clare Hall, c. 1741:

‘N.B. M^r. Geo. Ruggle wrote besides two other comedies, Re vera or Verily, and Club Law, to expose the puritans, not yet printed. MS.’

Club Law (cf. ch. xxiv) has since been recovered.

THOMAS SACKVILLE (1536–1608).

Thomas Sackville became Lord Buckhurst in 1567 and Earl of Dorset in 1604. He is famous in literature for his contributions to ed. 2 (1559) of A Mirror for Magistrates, and in statesmanship as Lord Treasurer under Elizabeth and James I.

Ferrex and Porrex, or Gorboduc. 1562

With Thomas Norton (q.v.).

GEORGE SALTERNE (> 1603).

Author of the academic Tomumbeius (cf. App. K).

JOHN SAVILE (c. 1603).

Describer of the coming of James I to England (cf. ch. xxiv, C).

ROBERT SEMPILL (c. 1530–95).

A Scottish ballad writer (D. N. B.) and a suggested author of Philotus (cf. ch. xxiv).

SENECAN TRANSLATIONS (1559–81).

Troas (Jasper Heywood)

S. R. 1558–9. ‘A treates of Senaca.’ Richard Tottel (Arber, i. 96).

1559. The Sixt Tragedie of the most graue and prudent author Lucius, Anneus, Seneca, entituled Troas, with diuers and sundrye addicions to the same. Newly set forth in Englishe by Iasper Heywood studient in Oxenforde. Richard Tottel. Cum priuilegio ad imprimendum solum. [Epistle to Elizabeth by Heywood; Preface to the Readers; Preface to the Tragedy.]

1559. Richard Tottel. [Another edition (B. M. G. 9440).]

N.D. [c. 1560]. Thomas Powell for George Bucke.

Thyestes (Jasper Heywood)

1560, March 26. The seconde Tragedie of Seneca entituled Thyestes faithfully Englished by Iasper Heywood, fellow of Alsolne College in Oxforde. [Thomas Powell?] ‘in the hous late Thomas Berthelettes’. [Verse Epistle to Sir John Mason by Heywood; The Translator to the Book; Preface.]

Hercules Furens (Jasper Heywood)

1561. Lucii Annei Senecae Tragedia prima quae inscribitur Hercules furens.... The first Tragedie of Lucius Anneus Seneca, intituled Hercules furens, newly pervsed and of all faultes whereof it did before abound diligently corrected, and for the profit of young schollers so faithfully translated into English metre, that ye may se verse for verse tourned as farre as the phrase of the english permitteth By Iasper Heywood studient in Oxford. Henry Sutton. [Epistle to William, Earl of Pembroke, by Heywood; Argument; Latin and English texts.]

Oedipus (Alexander Neville)

S. R. 1562–3. ‘A boke intituled the lamentable history of the prynnce Oedypus &c.’ Thomas Colwell (Arber, i. 209).

1563, April 28. The Lamentable Tragedie of Oedipus the Sonne of Laius Kyng of Thebes out of Seneca. By Alexander Neuyle. Thomas Colwell. [Epistles to Nicholas Wotton by Neville, and to the Reader.]

Agamemnon (John Studley)

S. R. 1565–6. ‘A boke intituled the eighte Tragide of Senyca.’ Thomas Colwell (Arber, i. 304).

1566. The Eyght Tragedie of Seneca. Entituled Agamemnon. Translated out of Latin into English, by Iohn Studley, Student in Trinitie Colledge in Cambridge. Thomas Colwell. [Commendatory Verses by Thomas Nuce, William R., H. C., Thomas Delapeend, W. Parkar, T. B.; Epistle to Sir William Cecil, signed ‘Iohn Studley’; Preface to the Reader.]

Medea (John Studley)

S. R. 1565–6. ‘A boke intituled the tragedy of Seneca Media by John Studley of Trenety Colledge in Cambryge.’ Thomas Colwell (Arber, i. 312).

1566. The seuenth Tragedie of Seneca, Entituled Medea: Translated out of Latin into English, by Iohn Studley, Student in Trinitie Colledge in Cambridge. Thomas Colwell. [Epistle to Francis, Earl of Bedford, signed ‘Iohn Studley’; Preface to Reader; Commendatory Verses by W. P.; Argument.]

Octavia (Thomas Nuce)

Hercules Oetaeus (John Studley)

S. R. 1566–7. ‘A boke intituled the ix^th and x^th tragide of Lucious Anneas oute of the laten into englesshe by T. W. fellowe of Pembrek Hall, in Chambryge.’ Henry Denham (Arber, i. 327).

1570–1. ‘iij^de part of Herculus Oote.’ Thomas Colwell (Arber, i. 443).

N.D. The ninth Tragedie of Lucius Anneus Seneca called Octavia. Translated out of Latine into English, by T. N. Student in Cambridge. Henry Denham. [Epistles to Robert Earl of Leicester, signed ‘T. N.’, and to the Reader.]

This is B.M. C. 34, e. 48. C. Grabau in Sh.-Jahrbuch, xliii. 310, says that a copy in the Irish sale of 1906 was of an unknown edition, possibly of 1566.

Hippolytus (John Studley)

S. R. 1566–7. ‘The iiij^th parte Seneca Workes.’ Henry Denham (Arber, i. 336).

31 Aug. 1579. Transfer from Denham to Richard Jones and John Charlwood (Arber, ii. 359).

The Ten Tragedies. 1581

S. R. 1580–1. ‘Senecas Tragedies in Englishe.’ Thomas Marsh (Arber, ii. 396).

1581. Seneca his Tenne Tragedies, Translated into Englysh. Thomas Marsh. [Epistle to Sir Thomas Heneage by Thomas Newton. Adds Thebais, by Thomas Newton, and, if not already printed, as S. R. entries in 1566–7 and 1570–1 suggest, Hercules Oetaeus and Hippolytus, by John Studley. The Oedipus of Neville is a revised text.]

Reprint of 1581 collection (1887, Spenser Soc.), and editions of Studley’s Agamemnon and Medea, by E. M. Spearing (1913, Materialien, xxxviii), and of Heywood’s Troas, Thyestes, and Hercules Furens, by H. de Vocht (1913, Materialien, xli).—Dissertations: J. W. Cunliffe, The Influence of S. on Elizabethan Tragedy (1893); E. Jockers, Die englischen S.-Übersetzer des 16. Jahrhunderts (1909, Strassburg diss.); E. M. Spearing, The Elizabethan ‘Tenne Tragedies of S.’ (1909, M. L. R. iv. 437), The Elizabethan Translation of S.’s Tragedies (1912), A. N.’s Oedipus (1920, M. L. R. xv. 359); F. L. Lucas, S. and Elizabethan Tragedy (1922).

Of the translators, Jasper Heywood (1535–98) became Fellow of All Souls, Oxford, in 1558. He was son of John Heywood the dramatist, and uncle of John Donne. In 1562 he became a Jesuit, and left England, to return as a missionary in 1581. He was imprisoned during 1583–5 and then expelled. John Studley (c. 1547–?) entered Trinity, Cambridge, in 1563 and became Fellow in 1567. Alexander Neville (1544–1614) took his B.A. in 1560 at Cambridge. He became secretary successively to Parker, Grindal, and Whitgift, archbishops of Canterbury, and produced other literary work, chiefly in Latin. Thomas Nuce (ob. 1617) was Fellow of Pembroke Hall, Cambridge, in 1562, and became Canon of Ely in 1585. Thomas Newton (c. 1542–1607) migrated in 1562 from Trinity, Oxford, to Queens’, Cambridge, but apparently returned to his original college later. About 1583 he became Rector of Little Ilford, Essex. He produced much unimportant verse and prose, in Latin and English, and was a friend of William Hunnis (q.v.).

For a fragment of another translation of Hercules Oetaeus, cf. s.v. Elizabeth. Archer’s play-list of 1656 contains the curious entry ‘Baggs Seneca’, described as a tragedy. Of this Greg, Masques, li, can make nothing.

WILLIAM SHAKESPEARE (1564–1616).

No adequate treatment of Shakespeare’s life and plays is possible within the limits of this chapter. I have therefore contented myself with giving the main bibliographical data, in illustration of the chapters on the companies (Strange’s, Pembroke’s, Chamberlain’s, and King’s) and the theatres (Rose, Newington Butts, Theatre, Curtain, Globe, Blackfriars) with which he was or may have been concerned. I follow the conjectural chronological order adopted in my article on Shakespeare in the 11th ed. of the Encyclopaedia Britannica.

Collections

[1619]. It is probable that the 1619 editions of Merry Wives of Windsor (Q₂), Pericles (Q₄), and the apocryphal Yorkshire Tragedy were intended to form part of a collection of plays ascribed to Shakespeare, and that the ‘1600’ editions of Midsummer Night’s Dream (Q₂) and Merchant of Venice (Q₂) bearing the name of the printer Roberts, the ‘1600’ edition of the apocryphal Sir John Oldcastle bearing the initials T. P., the ‘1608’ edition of Henry V (Q₃), the ‘1608’ edition of King Lear (Q₂) lacking the name of the ‘Pide Bull’ shop, and the undated edition of The Whole Contention of York and Lancaster were all also printed in 1619 for the same purpose. The printer seems to have been William Jaggard, with whom was associated Thomas Pavier, who held the copyright of several of the plays. Presumably an intention to prefix a general title-page is the explanation of the shortened imprints characteristic of these editions. The sheets of The Whole Contention and Pericles have in fact continuous signatures; but the plan seems to have been modified, and the other plays issued separately. The bibliographical evidence bearing on this theory is discussed by W. W. Greg, W. Jaggard, A. W. Pollard, and A. H. Huth in 2 Library, ix. 113, 381; x. 208; and 3 Library, i. 36, 46; ii. 101; and summed up by A. W. Pollard, Shakespeare Folios and Quartos, 81. Confirmatory evidence is adduced by W. J. Niedig, The Shakespeare Quartos of 1619 (M. P. viii. 145) and False Dates on Shakespeare Quartos (1910, Century, 912).

S. R. 1623, Nov. 8 (Worrall). ‘Master William Shakspeers Comedyes Histories, and Tragedyes soe manie of the said Copies as are not formerly entred to other men. viz^t Comedyes The Tempest The two gentlemen of Verona Measure for Measure The Comedy of Errors As you like it All’s well that ends well Twelfe Night The winters tale Histories The thirde parte of Henry ye Sixt Henry the eight Tragedies Coriolanus Timon of Athens Julius Caesar Mackbeth Anthonie and Cleopatra Cymbeline’ Blounte and Isaak Jaggard (Arber, iv. 107). [This entry covers all the plays in F₁ not already printed, except Taming of the Shrew, King John, and 2, 3 Henry VI, which were doubtless regarded from the stationer’s point of view as identical with the Taming of A Shrew, Troublesome Reign of King John, and Contention of York and Lancaster, on which they were based. The ‘thirde parte of Henry ye Sixt’ is of course the hitherto unprinted 1 Henry VI.]

[F_{1}] 1623. M^r. William Shakespeares Comedies, Histories, & Tragedies Published according to the True Originall Copies. By Isaac Iaggard and Ed. Blount. [Colophon] Printed [by W. Jaggard] at the charges of W. Jaggard, Ed. Blount, I. Smethweeke, and W. Aspley. [Verses to the Reader, signed B[en] I[onson]; Portrait signed ‘Martin Droeshout sculpsit London’; Epistles to the Earls of Pembroke and Montgomery and to the great Variety of Readers, both signed ‘Iohn Heminge, Henry Condell’; Commendatory Verses signed ‘Ben: Ionson’, ‘Hugh Holland’, ‘L. Digges’, ‘I. M.’; ‘The Names of the Principall Actors in all these Playes’; ‘A Catalogue of the seuerall Comedies, Histories, and Tragedies contained in this Volume’.]

S. R. 1627, June 19 [on or after]. Transfer from Dorothy widow of Isaac Jaggard to Thomas and Richard Cotes of ‘her parte in Schackspheere playes’ (Arber, iv. 182).

S. R. 1630, Nov. 16. Transfer from Blount to Robert Allot by note dated 26 June 1630 of his ‘estate and right’ in the sixteen plays of the 1623 entry (Arber, iv. 243).

[F₂] 1632. Thomas Cotes, for John Smethwick, William Aspley, Richard Hawkins, Richard Meighen and Robert Allot. [So colophon: there are t.ps. with separate imprints by Cotes for each of the five booksellers.]

[F₃] 1663. For Philip Chetwinde. [For the second issue of 1664, with Pericles and six apocryphal plays added, cf. p. 203.]

[F₄] 1685. For H. Herringman (and others).

Of later editions the most valuable for literary history are those by E. Malone, revised by J. Boswell (1821, the Third Variorum Shakespeare, 21 vols.); W. A. Wright (1891–3, the Cambridge Shakespeare, 9 vols.); F. J. Furnivall and others (1885–91, the Shakespeare Quarto Facsimiles, 43 vols.); H. H. Furness (1871–1919, the New Variorum Shakespeare, 18 plays in 19 vols. issued); E. Dowden and others (1899–1922, the Arden Shakespeare); A. T. Q. Couch and J. D. Wilson (1921–2, the New Shakespeare, 5 vols. issued). Of dissertations I can only note, for biography, J. O. Halliwell-Phillipps, Outlines of the Life of Shakespeare (1890, ed. 9), and S. Lee, A Life of William Shakespeare (1922, new ed.), and for bibliography, S. Lee, Facsimile of F₁ from the Chatsworth copy (1902, with census of copies, added to in 2 Library, vii. 113), W. W. Greg, The Bibliographical History of the First Folio (1903, 2 Library, iv. 258), A. W. Pollard, Shakespeare Folios and Quartos (1909) and Shakespeare’s Fight with the Pirates (1920), A. W. Pollard and H. C. Bartlett, A Census of Shakespeare’s Plays in Quarto (1916), and H. C. Bartlett, Mr. William Shakespeare (1922).

1 Henry VI. 1592

[F₁] 1623. The first Part of Henry the Sixt.

2, 3 Henry VI. 1592 (?)

S. R. No original entry. [Probably these plays were regarded from a stationer’s point of view as identical with the anonymous Contention of York and Lancaster (q.v.), on which they were based. Pavier had acquired rights over these from Millington in 1602.]

[F₁] 1623. The Second Part of Henry the Sixt, with the death of the Good Duke Humfrey. The Third Part of Henry the Sixt, with the death of the Duke of Yorke.

S. R. 1626, Aug. 4. Transfer from Mrs. Pavier to Edward Brewster and Robert Birde of ‘Master Paviers right in Shakesperes plaies or any of them’ (Arber, iv. 164).

S. R. 1630, Nov. 8. Transfer from Bird to Richard Cotes of ‘Yorke and Lancaster’ (Arber, iv. 242).

Richard III. 1592–3 (?)

S. R. 1597, Oct. 20 (Barlowe). ‘The tragedie of Kinge Richard the Third with the death of the Duke of Clarence.’ Andrew Wise (Arber, iii. 93).

[Q₁] 1597. The Tragedy of King Richard the third. Containing, His treacherous Plots against his brother Clarence: the pittiefull murther of his iunocent nephewes: his tyrannical vsurpation: with the whole course of his detested life, and most deserued death. As it hath beene lately Acted by the Right honourable the Lord Chamberlaine his seruants. Valentine Sims for Andrew Wise.

[Q₂] 1598.... By William Shakespeare. Thomas Creede for Andrew Wise.

[Q₃] 1602.... Newly augmented.... Thomas Creede for Andrew Wise. [There is no augmentation.]

S. R. 1603, June 25. Transfer from Andrew Wise to Mathew Lawe (Arber, iii. 239).

[Q₄] 1605. Thomas Creede, sold by Mathew Lawe.

[Q₅] 1612.... As it hath beene lately Acted by the Kings Maiesties seruants.... Thomas Creede, sold by Mathew Lawe.

[Q₆] 1622. Thomas Purfoot, sold by Mathew Law.

[F₁] 1623. The Tragedy of Richard the Third: with the Landing of Earle Richmond, and the Battell at Bosworth Field. [Running Title, The Life and Death of Richard the Third. From Q₁-Q₂-Q₃-Q₄ (+ Q₃)-Q₅-Q₆, with corrections.]

[Q₇] 1629. John Norton, sold by Mathew Law.

[Q₈] 1634. John Norton.

Comedy of Errors. 1593 (?)

[F₁] 1623. The Comedie of Errors.

Titus Andronicus. 1594

S. R. 1594, Feb. 6. ‘A Noble Roman historye of Tytus Andronicus.’ John Danter (Arber, ii. 644).

[Q₁] 1594. The most Lamentable Romaine Tragedie of Titus Andronicus: As it was Plaide by the Right Honourable the Earle of Darbie, Earle of Pembrooke and Earle of Sussex their Seruants. John Danter, sold by Edward White and Thomas Millington.

[Q₂] 1600.... As it hath sundry times beene playde by the Right Honourable the Earle of Pembrooke, the Earle of Darbie, the Earle of Sussex, and the Lorde Chamberlaine theyr Seruants. I[ames] R[oberts] for Edward White.

S. R. 1602, April 19. Transfer ‘saluo iure cuiuscunque’ from Thomas Millington to Thomas Pavier (Arber, iii. 204).

[Q₃] 1611. For Edward White.

[F₁] 1623. The Lamentable Tragedy of Titus Andronicus. [From Q₁-Q₂-Q₃, with addition of III. ii.]

S. R. 1626, Aug. 4. Transfer from Mrs. Pavier of interest to Edward Brewster and Robert Bird (Arber, iv. 164).

The Taming of The Shrew. 1594

S. R. No entry. [Probably the play was regarded from the point of view of copyright as identical with the anonymous Taming of A Shrew (q.v.), on which it was based.]

[F₁] 1623. The Taming of the Shrew.

[Q₁] 1631. A wittie and pleasant comedie called The Taming of the Shrew. As it was acted by his Maiesties Seruants at the Blacke Friers and the Globe. Written by Will. Shakespeare. W. S. for Iohn Smethwicke.

Love’s Labour’s Lost. 1594 (?)

S. R. No original entry.

[Q₁] 1598. A Pleasant Conceited Comedie Called, Loues labors lost. As it was presented before her Highnes this last Christmas. Newly corrected and augmented By W. Shakespere. W[illiam] W[hite] for Cutbert Burby.

S. R. 1607. Jan. 22. Transfer from Burby to Nicholas Ling (Arber, iii. 337).

S. R. 1607, Nov. 19. Transfer from Ling to John Smethwick (Arber, iii. 365).

[F₁] 1623. Loues Labour’s lost. [From Q₁.]

[Q₂] 1631.... As it was Acted by his Maiesties Seruants at the Blacke-Friers and the Globe.... W[illiam] S[tansby] for John Smethwicke.

Romeo and Juliet. 1594–5 (?)

S. R. No original entry.

[Q₁] 1597. An Excellent conceited Tragedie of Romeo and Iuliet, As it hath been often (with great applause) plaid publiquely, by the right Honourable the L. of Hunsdon his Seruants. John Danter.

[Q₂] 1599.... Newly corrected, augmented, and amended: ... Thomas Creede for Cuthbert Burby. [Revised and enlarged text.]

S. R. 1607, Jan. 22. Transfer by direction of a court from Burby to Nicholas Ling (Arber, iii. 337).

S. R. 1607, Nov. 19. Transfer from Ling to John Smethwick (Arber, iii. 365).

[Q₃] 1609.... by the King’s Maiesties Seruants at the Globe.... For Iohn Smethwick.

[F₁] 1623. The Tragedie of Romeo and Iuliet. [From Q₂-Q₃.]

[Q₄] N.D. For Iohn Smethwicke. [Two issues.]

[Q₅] 1637. R. Young for John Smethwicke.

A Midsummer Night’s Dream. 1595

S. R. 1600, Oct. 8 (Rodes). ‘A booke called A mydsommer nightes Dreame.’ Thomas Fisher (Arber, iii. 174).

[Q₁] 1600. A Midsommer nights dreame. As it hath beene sundry times publickely acted, by the Right honourable, the Lord Chamberlaine his seruants. Written by William Shakespeare. For Thomas Fisher.

[Q₂] [1619]. ‘Printed by Iames Roberts, 1600.’ [On the evidence for printing with false date by William Jaggard, cf. Pollard, 81.]

[F₁] 1623. A Midsommer Nights Dreame. [From Q₂.]

On the possible date and occasion of performance, cf. my paper in Shakespeare Homage (1916).

The Two Gentlemen of Verona. 1595 (?)

[F₁] 1623. The Two Gentlemen of Verona.

King John. 1595 (?)

S. R. No entry. [Probably the play was regarded, from a stationer’s point of view, as identical with the anonymous Troublesome Reign of King John (q.v.), on which it was based.]

[F₁] 1623. The life and Death of King John.

Richard II. 1595–6

S. R. 1597, Aug. 29. ‘The Tragedye of Richard the Second.’ Andrew Wise (Arber, iii. 89).

[Q₁] 1597. The Tragedie of King Richard the second. As it hath beene publikely acted by the right Honourable the Lorde Chamberlaine his Seruants. Valentine Simmes for Andrew Wise.

[Q₂] 1598.... By William Shakespeare. Valentine Simmes for Andrew Wise.

[Q₃] 1598. Valentine Simmes, for Andrew Wise. [White coll.]

S. R. 1603, June 25. Transfer from Andrew Wise to Mathew Lawe (Arber, iii. 239).

[Q₄] 1608.... With new additions of the Parliament Sceane, and the deposing of King Richard. As it hath been lately acted by the Kinges Maiesties seruantes, at the Globe. W[illiam] W[hite] for Mathew Law. [Two issues with distinct t.ps., of which one only has the altered title. Both include the added passage IV. i. 154–318.]

[Q₅] 1615. For Mathew Law.

[F₁] 1623. The life and death of King Richard the Second. [From Q₁-Q₂-Q₃-Q₄-Q₅, with corrections.]

[Q₆] 1634. Iohn Norton.

The Merchant of Venice. 1596 (?)

S. R. 1598, July 22. ‘A booke of the Marchaunt of Venyce or otherwise called the Jewe of Venyce, Prouided that yt bee not prynted by the said James Robertes or anye other whatsoeuer without lycence first had from the Right honorable the lord Chamberlen.’ James Robertes (Arber, iii. 122).

S. R. 1600, Oct. 28. Transfer from Roberts to Thomas Heyes (Arber, iii. 175).

[Q₁] 1600. The most excellent Historie of the Merchant of Venice. With the extreame crueltie of Shylocke the Iewe towards the sayd Merchant, in cutting a iust pound of his flesh: and the obtayning of Portia by the choyse of three chests. As it hath been diuers times acted by the Lord Chamberlaine his Seruants. Written by William Shakespeare. I[ames] R[oberts] for Thomas Heyes.

[Q₂] [1619]. ‘Printed by J. Roberts, 1600.’ [On the evidence for printing with false date by William Jaggard, cf. Pollard, 81.]

S. R. 1619, July 8. Transfer from Thomas to Laurence Heyes (Arber, iii. 651).

[F₁] 1623. The Merchant of Venice. [From Q₁.]

[Q₃] 1637. M. P[arsons?] for Laurence Hayes.

[Q₃] 1652. For William Leake. [Reissue.]

S. R. 1657, Oct. 17. Transfer from Bridget Hayes and Jane Graisby to William Leake (Eyre, ii. 150).

1 Henry IV. 1596–7 (?)

S. R. 1598, Feb. 25 (Dix). ‘A booke intituled The historye of Henry the iiij^th with his battaile of Shrewsburye against Henry Hottspurre of the Northe with the conceipted mirthe of Sir John ffalstoff.’ Andrew Wise (Arber, iii. 105).

[Q₁] 1598. The History of Henrie the Fourth; With the battell at Shrewsburie, betweene the King and Lord Henry Percy, surnamed Henrie Hotspur of the North. With the humorous conceits of Sir Iohn Falstalffe. P[eter] S[hort] for Andrew Wise.

[Q₂] 1599.... Newly corrected by W. Shakespeare. S[imon] S[tafford] for Andrew Wise.

S. R. 1603, June 25. Transfer from Wise to Mathew Law (Arber, iii. 239).

[Q₃] 1604. Valentine Simmes for Mathew Law.

[Q₄] 1608. For Mathew Law.

[Q₅] 1613. W[illiam] W[hite] for Mathew Law.

[Q₆] 1622. T[homas] P[urfoot], sold by Mathew Law.

[F₁] 1623. The First Part of Henry the Fourth, with the Life and Death of Henry Sirnamed Hot-spurre. [From Q₁-Q₂-Q₃-Q₄-Q₅.]

[Q₇] 1632. John Norton, sold by William Sheares.

[Q₈] 1639. John Norton, sold by Hugh Perry.

2 Henry IV. 1597–8 (?)

S. R. 1600, Aug. 23. ‘The second parte of the history of Kinge Henry the iiij^th with the humours of Sir John ffalstaff; wrytten by master Shakespere.’ Andrew Wise and William Aspley (Arber, iii. 170).

[Q] 1600. The Second part of Henrie the fourth, continuing to his death, and coronation of Henrie the fift. With the humours of sir Iohn Falstaffe, and swaggering Pistoll. As it hath been sundrie times publikely acted by the right honourable, the Lord Chamberlaine his seruants. Written by William Shakespeare. V[alentine] S[immes] for Andrew Wise and William Aspley. [Two issues, the first of which omits III. i.]

[F₁] 1623. The Second Part of Henry the Fourth, Containing his Death: and the Coronation of King Henry the Fift. [Distinct text from Q.]

Much Ado About Nothing. 1598 (?)

S. R. [1600], Aug. 4. ‘The commedie of muche A doo about nothing a booke ... to be staied’ (Arber, iii. 37).

S. R. 1600, Aug. 23. ‘Muche a Doo about nothinge.’ Andrew Wise and William Aspley (Arber, iii. 170).

[Q] 1600. Much adoe about Nothing. As it hath been sundrie times publikely acted by the right honourable, the Lord Chamberlaine his seruants. Written by William Shakespeare. V[alentine] S[immes] for Andrew Wise and William Aspley.

[F₁] 1623. Much adoe about Nothing. [From Q, with corrections.]

Henry V. 1599

S. R. No original entry. [Possibly the play was regarded from a stationer’s point of view as identical with the anonymous Famous Victories of Henry V (q.v.) entered by Creede on 14 May 1594.]

S. R. [1600], Aug. 4. ‘Henry the ffift, a booke ... to be staied’ (Arber, iii. 37).

[Q₁] 1600. The Chronicle History of Henry the fift, With his battell fought at Agin Court in France. Togither with Auntient Pistoll. As it hath bene sundry times playd by the Right honorable the Lord Chamberlaine his seruants. Thomas Creede for Tho. Millington and Iohn Busby.

S. R. 1600, Aug. 14. Transfer to Thomas Pavier, with other ‘thinges formerlye printed and sett over to’ him (Arber, iii. 169).

[Q₂] 1602. Thomas Creede for Thomas Pauier.

[Q₃] [1619]. ‘Printed for T. P. 1608.’ [On the evidence for printing with false date by William Jaggard, cf. Pollard, F. and Q. 81.]

[F₁] 1623. The Life of Henry the Fift. [Distinct text from Qq.]

S. R. 1626, Aug. 4. Transfer from Mrs. Pavier to Edward Brewster and Robert Birde of interest in ‘The history of Henry the fift and the play of the same’ (Arber, iv. 164).

S. R. 1630, Nov. 8. Transfer from Bird to Richard Cotes of ‘Henrye the Fift’ and ‘Agincourt’ (Arber, iv. 242).

Julius Caesar. 1599

[F₁] 1623. The Tragedie of Iulius Cæsar.

The Merry Wives of Windsor. 1599–1600 (?)

S. R. 1602, Jan. 18 (Seton). ‘A booke called An excellent and pleasant conceited commedie of Sir John ffaulstof and the merry wyves of Windesor.’ John Busby. Transfer the same day from Busby to Arthur Johnson (Arber, iii. 199).

[Q₁] 1602. A most pleasaunt and excellent conceited Comedie, of Syr Iohn Falstaffe, and the merrie Wiues of Windsor. Entermixed with sundrie variable and pleasing humors, of Syr Hugh the Welch Knight, Iustice Shallow, and his wise Cousin M. Slender. With the swaggering vaine of Auncient Pistoll, and Corporall Nym. By William Shakespeare. As it hath bene diuers times Acted by the right Honorable my Lord Chamberlaines seruants. Both before her Maiestie, and elsewhere. T[homas] C[reede] for Arthur Iohnson.

[Q₂] 1619. [William Jaggard] for Arthur Johnson. [On its relation to other plays printed by Jaggard in 1619, cf. Pollard F. and Q. 81.]

[F₁] 1623. The Merry Wiues of Windsor. [Distinct text from Qq.]

S. R. 1630, Jan. 29. Transfer from Johnson to Meighen (Arber, iv. 227).

[Q₃] 1630. T. H[arper] for R. Meighen.

As You Like It. 1600 (?)

[F₁] 1623. As you Like it.

Hamlet. 1601 (?)

S. R. 1602, July 26 (Pasfield). ‘A booke called the Revenge of Hamlett Prince Denmarke as yt was latelie Acted by the Lord Chamberleyne his servantes.’ James Robertes (Arber, iii. 212).

[Q₁] 1603, The Tragicall Historie of Hamlet Prince of Denmarke. By William Shakespeare. As it hath beene diuerse times acted by his Highnesse seruants in the Cittie of London: as also in the two Vniuersities of Cambridge and Oxford, and elsewhere. [Valentine Simmes] for N[icholas] L[ing] and Iohn Trundell.

[Q₂] 1604.... Newly imprinted and enlarged to almost as much againe as it was, according to the true and perfect Coppie.... I[ames] R[oberts] for N[icholas] L[ing]. [Some copies are dated 1605. Distinct text from Q₁.]

S. R. 1607, Nov. 19. Transfer from Ling to John Smethwick (Arber, iii. 365).

[Q₃] 1611. For Iohn Smethwicke.

[F₁] 1623. The Tragedie of Hamlet, Prince of Denmarke. [Distinct text from Qq.]

[Q₄] N.D. [after 1611]. W[illiam] S[tansby] for Iohn Smethwicke.

[Q₅] 1637. R. Young for John Smethwicke.

Twelfth Night. 1601–2

[F₁] 1623. Twelfe Night, Or what you will.

Troilus and Cressida. 1602 (?)

S. R. 1603, Feb. 7. ‘Master Robertes, Entred for his copie in full Court holden this day to print when he hath gotten sufficient aucthority for yt, The booke of Troilus and Cresseda as yt is acted by my lord Chamberlens Men’ (Arber, iii. 226).

S. R. 1609, Jan. 28 (Segar, ‘deputye to Sir George Bucke’). ‘A booke called the history of Troylus and Cressida.’ Richard Bonion and Henry Walleys (Arber, iii. 400).

[Q] 1609. The Historie of Troylus and Cresseida. As it was acted by the Kings Maiesties seruants at the Globe. Written by William Shakespeare. G. Eld for R. Bonian and H. Walley. [In a second issue the title became ‘The Famous Historie of Troylus and Cresseid. Excellently expressing the beginning of their loues, with the conceited wooing of Pandarus Prince of Licia’; and an Epistle headed ‘A neuer writer, to an euer reader. Newes’ was inserted.]

[F₁] 1623. The Tragedie of Troylus and Cressida. [A distinct text from Q.]

All’s Well That Ends Well. 1602 (?)

[F₁] 1623. All’s Well, that Ends Well.

Measure for Measure. 1604 (?)

[F₁] 1623. Measure, For Measure.

Othello 1604 (?)

S. R. 1621, Oct. 6 (Buck). ‘The Tragedie of Othello, the moore of Venice.’ Thomas Walkley (Arber, iv. 59).

[Q₁] 1622. The Tragœdy of Othello, The Moore of Venice. As it hath beene diuerse times acted at the Globe, and at the Black-Friers, by his Maiesties Seruants. Written by William Shakespeare. N[icholas] O[kes] for Thomas Walkley. [Epistle by the Stationer to the Reader, signed ‘Thomas Walkley’.]

[F₁] 1623. The Tragedie of Othello, the Moore of Venice. [Distinct text from Q₁]

S. R. 1628, March 1. Transfer from Walkley to Richard Hawkins (Arber, iv. 194).

[Q₂] 1630. A. M[athewes] for Richard Hawkins.

[Q₃] 1655.... The fourth Edition. For William Leak.

Macbeth. 1605–6 (?)

[F₁] 1623. The Tragedie of Macbeth.

King Lear. 1605–6

S. R. 1607, Nov. 26 (Buck). ‘A booke called Master William Shakespeare his historye of Kinge Lear, as yt was played before the kinges maiestie at Whitehall vppon Sainct Stephens night at Christmas Last by his maiesties servantes playinge vsually at the Globe on the Banksyde.’ Nathanael Butter and John Busby (Arber, iii. 366).

[Q₁] 1608. M. William Shakspeare: His True Chronicle Historie of the life and death of King Lear and his three Daughters. With the vnfortunate life of Edgar, sonne and heire to the Earle of Gloster, and his sullen and assumed humour of Tom of Bedlam: As it was played before the Kings Maiestie at Whitehall vpon S. Stephans night in Christmas Hollidayes. By his Maiesties seruants playing vsually at the Gloabe on the Banckeside. [Nicholas Okes?] for Nathaniel Butter and are to be sold at ... the Pide Bull.... [Sheets freely corrected during printing.]

[Q₂] [1619]. ‘Printed for Nathaniel Butter, 1608.’ [On the evidence for printing with false date by William Jaggard, cf. Pollard, 81.]

[F₁] 1623. The Tragedie of King Lear. [From Q₁ with corrections.]

[Q₃] 1655. By Jane Bell.

Antony and Cleopatra. 1606 (?)

S. R. 1608, May 20 (Buck). ‘A booke Called Anthony and Cleopatra.’ Edward Blount (Arber, iii. 378).

S. R. 1623, Nov. 8. ‘Anthonie and Cleopatra’, with other playes for F₁ [vide supra]. Edward Blount and Isaac Jaggard (Arber, iv. 107).

[F₁] 1623. The Tragedie of Anthonie, and Cleopatra.

Coriolanus. 1606 (?)

[F₁] 1623. The Tragedy of Coriolanus.

Timon of Athens. 1607 (?)

[F₁] 1623. The Lyfe of Tymon of Athens.

Pericles. 1608 (?)

S. R. 1608, May 20 (Buck). ‘A booke called The booke of Pericles prynce of Tyre.’ Edward Blount (Arber, iii. 378).

[Q₁] 1609. The Late, And much admired Play, Called Pericles, Prince of Tyre. With the true Relation of the whole Historie, aduentures, and fortunes of the said Prince: As also, The no lesse strange, and worthy accidents, in the Birth and Life, of his Daughter Mariana. As it hath been diuers and sundry times acted by his Maiesties Seruants, at the Globe on the Banck-side. By William Shakespeare. [William White] for Henry Gosson.

[Q₂] 1609. [William White] for Henry Gosson. [‘Eneer’ for ‘Enter’ on A₂].

[Q₃] 1611. By S[imon] S[tafford].

[Q₄] ‘Printed for T[homas] P[avier] 1619.’ [The signatures are continuous with those of The Whole Contention printed n.d. in 1619. Probably the printer was William Jaggard; cf. Pollard, 81.]

[Q₅] 1630. I. N[orton]for R. B[ird]. [Two issues.]

[Q₆] 1635. By Thomas Cotes.

[F₃] 1664. Pericles Prince of Tyre. [Distinct text from Qq.]

Cymbeline. 1609 (?)

[F₁] 1623. The Tragedie of Cymbeline.

The Winter’s Tale. 1610 (?)

[F₁] 1623. The Winters Tale.

The Tempest. 1611

[F₁] 1623. The Tempest.

Henry VIII. 1613 (?)

[F₁] 1623. The Famous History of the Life of King Henry the Eight.

Doubtful Plays

Besides the seven plays printed in F₃ (vide supra) Shakespeare has been credited (cf. ch. xxiv) with the authorship of or contributions to An Alarum for London, Arden of Feversham, Fair Em, Merry Devil of Edmonton, Troublesome Reign of King John, Mucedorus, Second Maiden’s Tragedy, Taming of A Shrew, and perhaps more plausibly, Contention of York and Lancaster, Edward III, Sir Thomas More, and T. N. K. (cf. s.v. Beaumont).

Lost Plays

Meres includes ‘Loue Labours Wonne’ in his list of 1598 (App. C, No. lii).

On 9 Sept. 1653 Humphrey Mosely entered in the Stationers’ Register (Eyre, i. 428), in addition to The Merry Devil of Edmonton with an ascription to Shakespeare (cf. ch. xxiv):

‘The History of Cardenio, by M^r Fletcher & Shakespeare.’ ‘Henry y^e first, & Hen: the 2^d. by Shakespeare, & Davenport.’

On 29 June 1660 he entered (Eyre, ii. 271):

‘The History of King Stephen. Duke Humphrey, a Tragedy. Iphis & Iantha or a marriage without a man, a Comedy. by Will: Shakspeare.’

Warburton’s list of burnt plays (3 Library, ii. 230) contains:

‘Henry y^e 1^{st}. by Will. Shakespear & Rob. Davenport’,

‘Duke Humphery Will. Shakespear’,

and in a supplementary list:

‘A Play by Will. Shakespear.’

Of Henry II, Stephen, Duke Humphrey, and Iphis and Iantha nothing more is known.

Cardenio is presumably the play given as ‘Cardenno’ and ‘Cardenna’ by the King’s men at Court in 1612–13 and again on 8 June 1613 (App. B). Its theme, from Don Quixote, Part I, chh. xxiii-xxxvii, is that of Double Falsehood, or the Distressed Lovers, published in 1728 by Lewis Theobald as ‘written originally by W. Shakespeare, and now revised and adapted to the stage by M^r. Theobald’. In 1727 it had been produced at Drury Lane. Theobald claimed to have three manuscripts, no one of which is now known. One had formerly, he said, belonged to Betterton, and was in the handwriting of ‘M^r. Downes, the famous Old Prompter’ (cf. App. I). Another came from a ‘Noble Person’, with a tradition ‘that it was given by our Author, as a Present of Value, to a Natural Daughter of his, for whose Sake he wrote it, in the Time of his Retirement from the Stage’. Theobald is much under suspicion of having written Double Falsehood himself (cf. T. R. Lounsbury, The First Editors of Shakespeare, 145).

‘The Historye of Henry the First, written by Damport’ was licensed for the King’s men on 10 Apr. 1624 (Var. iii. 229, 319; Herbert, 27).

EDWARD SHARPHAM (1576–1608).

Edward was the third son of Richard Sharpham of Colehanger in East Allington, Devonshire, where he was baptized on 22 July 1576. He entered the Middle Temple on 9 Oct. 1594. He made his will on 22 Apr. 1608, and was buried on the following day at St. Margaret’s, Westminster. It may be inferred that he died of plague. Unless he is the E. S. who wrote The Discoveries of the Knights of the Post (1597), he is only known by his two plays. There is no justification for identifying him with the Ed. Sharphell who prefixed a sonnet to the Humours Heav’n on Earth (1605) of John Davies of Hereford, calling Davies his ‘beloued Master’, or, consequently, for assuming that he had been a pupil of Davies as writing-master at Magdalen, Oxford.

Dissertations: G. C. Moore Smith, E. S. (1908, 10 N. Q. x. 21), John Mason and E. S. (1913, M. L. R. viii. 371); M. W. Sampson, The Plays of E. S. (1910, Studies in Language and Literature in Celebration of the 70th Birthday of J. M. Hart, 440).

The Fleir. 1606

S. R. 1606, May 13. ‘A Comedie called The fleare. Provided that they are not to printe yt tell they bringe good aucthoritie and licence for the Doinge thereof.’ John Trundell and John Busby (Arber, iii. 321).

1606, Nov. 21. Transfer from Trundell to Busby and Arthur Johnson, with note ‘This booke is aucthorised by Sir George Bucke Master Hartwell and the wardens’ (Arber, iii. 333).

1607. The Fleire. As it hath beene often played in the Blacke-Fryers by the Children of the Reuells. Written by Edward Sharpham of the Middle Temple, Gentleman. F. B. [Epistle to the Reader, by the printer.]

1610; 1615; 1631.

Edition by H. Nibbe (1912, Materialien, xxxvi).

The epistle says that the book has been ‘long lookt for’, that the author is ‘ith’ Country’ and that further ‘Comicall discourses’ from him are forthcoming. A date after the executions for treason on 30 Jan. 1606 is suggested, as in the case of Marston’s Fawn, by ii. 364, ‘I have heard say, they will rise sooner, and goe with more deuotion to see an extraordinarie execution, then to heare a Sermon’, and with this indication allusions to the Union (ii. 258) and Northward Ho! (ii. 397) and resemblances to the Fawn are consistent.

Cupid’s Whirligig. 1607

S. R. 1607, June 29 (Tylney). ‘A Comedie called Cupids Whirley-gigge.’ John Busby and Arthur Johnson (Arber, iii. 354).

1607. Cupid’s Whirligig, As it hath bene sundry times Acted by the Children of the Kings Majesties Reuels. E. Allde, sold by A. Johnson. [Epistle to Robert Hayman, signed ‘E. S.’]

1611; 1616; 1630.

Baker, Biographia Dramatica, ii. 146, cites Coxeter as authority for a false ascription of the play to Shakespeare. But nobody could well have supposed Shakespeare to be indicated by the initials E. S., for which there is really no other candidate than Sharpham. The play must be the further ‘Comicall discourses’ promised by the same publishers in the epistle to The Fleir, and it may be added that Hayman (cf. D. N. B.), like Sharpham, was a Devonshire man. The date may be taken to be 1607, as the King’s Revels are not traceable earlier.

SAMUEL SHEPPARD (> 1606–1652 <).

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:

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):

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):

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 Memoirs², 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 30s., 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 10s. ‘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 15s. 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.]