Part ii

represent the same original text, in the first case shortened for representation, in the second altered by a press-corrector.

_Fortune by Land and Sea. c. 1607_ (?)

_With_ W. Rowley.

_S. R._ 1655, June 20. ‘Fortune by Land & sea, a tragicomedie, written by Tho: Heywood & Wm. Rowley.’ _John Sweeting_ (Eyre, i. 486).

1655. Fortune by Land and Sea. A Tragi-Comedy. As it was Acted with great Applause by the Queens Servants. Written by Tho. Haywood and William Rowly. _For John Sweeting and Robert Pollard._

_Edition_ by B. Field (1846, _Sh. Soc._).--_Dissertation_: Oxoniensis, _Illustration of Fortune by Land and Sea_ (1847, _Sh. Soc. Papers_, iii. 7).

The action is placed in the reign of Elizabeth (cf. ed. Pearson, vi, pp. 409, 431), but this may be due merely to the fact that the source is a pamphlet (S. R. 15 Aug. 1586) dealing with Elizabethan piracy. Rowley’s co-operation suggests the date 1607–9 when he was writing for Queen Anne’s men, and other trifling evidence (Aronstein, 237) makes such a date plausible.

_The Rape of Lucrece. 1603 < > 8_

_S. R._ 1608, June 3 (Buck). ‘A Booke called A Romane tragedie called The Rape of Lucrece.’ _John Busby and Nathanael Butter_ (Arber, iii. 380).

1608. The Rape of Lucrece. A True Roman Tragedie. With the seuerall Songes in their apt places, by Valerius, the merrie Lord amongst the Roman Peeres. Acted by her Maiesties Seruants at the Red Bull, neare Clarkenwell. Written by Thomas Heywood. _For I. B._ [Epistle to the Reader, signed ‘T. H.’]

1609. _For I. B._

1630.... The fourth Impression.... _For Nathaniel Butter._

1638.... The copy revised, and sundry Songs before omitted, now inserted in their right places.... _John Raworth for Nathaniel Butter._ [Note to the Reader at end.]

_Edition_ in 1825 (_O. E. D._ i).

Fleay, i. 292, notes the mention of ‘the King’s head’ as a tavern sign for ‘the Gentry’, which suggests a Jacobean date. The play was given at Court, apparently by the King’s and Queen’s men together, on 13 Jan. 1612. The Epistle says that it has not been Heywood’s custom ‘to commit my Playes to the Presse’, like others who ‘have used a double sale of their labours, first to the Stage, and after to the Presse’. He now does so because ‘some of my Playes have (unknowne to me, and without any of my direction) accidentally come into the Printers hands (and therefore so corrupt and mangled, copied only by the eare) that I have beene as unable to knowe them, as ashamed to challenge them’. A play on the subject seems to have been on tour in Germany in 1619 (Herz, 98). _The Rape of Lucrece_ was on the Cockpit stage in 1628, according to a newsletter in _Athenaeum_ (1879), ii. 497, and to the 1638 edition are appended songs ‘added by the stranger that lately acted Valerius his part’. It is in the Cockpit list of plays in 1639 (_Variorum_, iii. 159).

_The Golden Age > 1611_

_S. R._ 1611, Oct. 14 (Buck). William Barrenger, ‘A booke called, The golden age with the liues of Jupiter and Saturne.’ _William Barrenger_ (Arber, iii. 470).

1611. The Golden Age. Or The liues of Iupiter and Saturne, with the defining of the Heathen Gods. As it hath beene sundry times acted at the Red Bull, by the Queenes Maiesties Seruants. Written by Thomas Heywood. _For William Barrenger._ [Epistle to the Reader, signed ‘T. H.’ Some copies have ‘defining’ corrected to ‘deifying’ in the title.]

_Edition_ by J. P. Collier (1851, _Sh. Soc._).

The Epistle describes the play as ‘the eldest brother of three Ages, that haue aduentured the Stage, but the onely yet, that hath beene iudged to the presse’, and promises the others. It came to the press ‘accidentally’, but Heywood, ‘at length hauing notice thereof’, prefaced it, as it had ‘already past the approbation of auditors’. Fleay, i. 283, followed hesitatingly by Greg (_Henslowe_, ii. 175), thinks it a revision of the _Olympo_ or _Seleo & Olempo_, which he interprets _Coelo et Olympo_, produced by the Admiral’s on 5 March 1595. The Admiral’s inventories show that they had a play with Neptune in it, but it is only at the very end of _The Golden Age_ that the sons of Saturn draw lots and Jupiter wins Heaven or Olympus. Fleay’s assumption that the play was revised _c._ 1610, because of Dekker, _If it be not Good_, i. 1, ‘The Golden Age is moulding new again’, is equally hazardous.

_The Silver Age > 1612_

1613. The Silver Age, Including. The loue of Iupiter to Alcmena: The birth of Hercules. And the Rape of Proserpine. Concluding, With the Arraignement of the Moone. Written by Thomas Heywood. _Nicholas Okes, sold by Beniamin Lightfoote._ [Epistle to the Reader, signed ‘T. H,’; Prologue and Epilogue.]

_Edition_ by J. P. Collier (1851, _Sh. Soc._).

The Epistle says, ‘Wee begunne with _Gold_, follow with _Siluer_, proceede with _Brasse_, and purpose by Gods grace, to end with _Iron_’. Fleay, i. 283, and Greg (_Henslowe_, ii. 175) take this and _The Brazen Age_ to be the two parts of the anonymous _Hercules_, produced by the Admiral’s men on 7 and 23 May 1595 respectively. It may be so. But the text presumably represents the play as given at Court, apparently by the King’s and Queen’s men together, on 12 Jan. 1612. An Anglo-German _Amphitryo_ traceable in 1626 and 1678 may be based on Heywood’s work (Herz, 66; _Jahrbuch_, xli. 201).

_The Brazen Age > 1613_

1613. The Brazen Age, The first Act containing, The death of the Centaure Nessus, The Second, The Tragedy of Meleager: The Third The Tragedy of Iason and Medea. The Fourth. Vulcans Net. The Fifth. The Labours and death of Hercules: Written by Thomas Heywood. _Nicholas Okes for Samuel Rand._ [Epistle to the Reader; Prologue and Epilogue.]

Cf. s.v. _The Silver Age_.

_The Iron Age. c. 1613_ (?)

1632. [_Part i_] The Iron Age: Contayning the Rape of Hellen: The siege of Troy: The Combate betwixt Hector and Aiax: Hector and Troilus slayne by Achilles: Achilles slaine by Paris: Aiax and Vlesses contend for the Armour of Achilles: The Death of Aiax, &c. Written by Thomas Heywood. _Nicholas Okes._ [Epistles to Thomas Hammon and to the Reader, signed ‘Thomas Heywood’.]

1632. [_Part ii_] The Second Part of the Iron Age. Which contayneth the death of Penthesilea, Paris, Priam, and Hecuba: The burning of Troy: The deaths of Agamemnon, Menelaus, Clitemnestra, Hellena, Orestes, Egistus, Pillades, King Diomed, Pyrhus, Cethus, Synon, Thersites, &c. Written by Thomas Heywood. _Nicholas Okes._ [Epistles to the Reader and to Thomas Mannering, signed ‘Thomas Heywood’.]

_Dissertation_: R. G. Martin, _A New Specimen of the Revenge Play_ (1918, _M. P._ xvi. 1).

The Epistles tell us that ‘these were the playes often (and not with the least applause,) Publickely Acted by two Companies, vppon one Stage at once, and haue at sundry times thronged three seuerall Theaters, with numerous and mighty Auditories’; also that they ‘haue beene long since Writ’. This, however, was in 1632, and I can only read the Epistles to the earlier _Ages_ as indicating that the _Iron Age_ was contemplated, but not yet in existence, up to 1613. I should therefore put the play _c._ 1613, and take the three theatres at which it was given to be the Curtain, Red Bull, and Cockpit. Fleay, i. 285, thinks that