Part i

by W. A. Neilson (1911, _C. E. D._).--_Dissertations_: C. H. Herford, _The Sources of M.’s T._ (_Academy_, 20 Oct. 1883); L. Frankel, _Zum Stoffe von M.’s T._ (1892, _E. S._ xvi. 459); E. Köppel in _Englische Studien_, xvi. 357; E. Hübner, _Der Einfluss von M.’s Tamburlaine auf die zeitgenössischen und folgenden Dramatiker_ (_Halle diss._ 1901); F. G. Hubbard, _Possible Evidence for the Date of T._ (1918, _M. L. A._ xxxiii. 436).

There is no real doubt as to Marlowe’s authorship of _Tamburlaine_, but the direct evidence is very slight, consisting chiefly of Greene’s (q.v.) _Perimedes_ coupling of ‘that atheist Tamburlan’ with ‘spirits as bred of Merlin’s race’, and Harvey’s allusion to its author as dying in 1593. Thomas Heywood, in his prologue to _The Jew of Malta_, speaks of Alleyn’s performance in the play. The entry printed by Collier in Henslowe’s _Diary_ of a payment to Dekker in 1597 ‘for a prolog to Marloes tambelan’ is a forgery (Warner, 159; Greg, _Henslowe_, i. xxxix). The Admiral’s produced ‘Tamberlan’ on 30 Aug. 1594. Henslowe marks the entry ‘j’, which has been taken as equivalent to ‘n. e.’, Henslowe’s symbol for a new play, and as pointing to a revision of the play. I feel sure, however (cf. _M. L. R._ iv. 408), that ‘j’ only means ‘First Part’. ‘Tamberlen’ was given fifteen times from 30 Aug. 1594 to 12 Nov. 1595, and the ‘2 pt. of tamberlen’ seven times from 19 Dec. 1594 to 13 Nov. 1595 (Henslowe, ii. 167). Tamburlaine’s cage, bridle, coat, and breeches are included in the inventories of the Admiral’s men in 1598 (_Henslowe Papers_, 116).

Greene’s _Perimedes_ reference suggests 1587 or early 1588 as the probable date of _Tamburlaine_. In his preface to the 1590 edition Richard Jones says that he has omitted ‘some fond and frivolous gestures’, but does not say whether these were by the author of the tragic stuff. The numerous references to the play in contemporary literature often indicate its boisterous character; e.g. T. M. _The Black Book_ (Bullen, _Middleton_, viii. 25), ‘The spindle-shank spiders ... went stalking over his head as if they had been conning of Tamburlaine’; T. M. _Father Hubburd’s Tales_ (ibid. viii. 93), ‘The ordnance playing like so many Tamburlaines’.

_Dr. Faustus, c. 1588_

_S. R._ 1592, Dec. 18. Herbert-Ames, _Typographical Antiquities_, ii. 1160, records the following decision of the Stationers’ Company not printed by Arber, ‘If the book of D^r. Faustus shall not be found in the Hall Book entered to R^d. Oliff before Abell Jeffes claymed the same, which was about May last, That then the said copie shall remayne to the said Abell his proper copie from the tyme of his first clayme’. [This can hardly refer to the prose _History of Faustus_, of which the earliest extant, but probably not the first, edition was printed by T. Orwin for Edward White in 1592.]

1601, Jan. 7 (Barlowe). ‘A booke called the plaie of Doctor Faustus.’ _Thomas Bushell_ (Arber, iii. 178).

1610, Sept. 13. Transfer from Bushell to John Wright of ‘The tragicall history of the horrible life and Death of Doctor Faustus, written by C. M.’ (Arber, iii. 442).

1604. The tragicall History of D. Faustus. As it hath bene Acted by the Right Honorable the Earle of Nottingham his seruants. Written by Ch. Marl. _V. S. for Thomas Bushell._

1609. _G. E. for John Wright._

1616. _For John Wright._ [An enlarged and altered text.]

1619.... With new Additions. _For John Wright._

1620; 1624; 1631.

1663.... Printed with New Additions as it is now Acted. With several New Scenes, together with the Actors names. _For W. Gilbertson._ [A corrupt text.]

Breymann mentions an edition of 1611 not now known, and Heinemann quotes from foreign writers mentions of editions of 1622, 1626, 1636, 1651, 1690 (1884, _Bibliographer_).

_Editions_ by C. W. Dilke (1814, _O. E. P._ i), A. Reidl (N.D. [1874]), W. Wagner (1877), A. W. Ward (1878, 1887, 1891, 1901), Anon. (1881, Zurich), H. Morley (1883), H. Breymann (1889), I. Gollancz (1897, _T. D._), W. A. Neilson (1911, _C. E. D._), J. S. Farmer (1914, _S. F. T._).--_Dissertations_: G. Herzfeld, _Zu M.’s Dr. F._ (1905, _Jahrbuch_, xli. 206); H. R. O. De Vries, _Die Überlieferung und Entstehungsgeschichte von M.’s Dr. F._ (1909); K. R. Schröder, _Textverhältnisse und Entstehungsgeschichte von M.’s F._ (1909); R. Rohde, _Zu M.’s D. F._ (1913, _Morsbach-Festschrift_); P. Simpson, _The 1604 Text of M.’s D. F._ (1921, _Essays and Studies_, vii); with much earlier literature summarized in Ward’s edition, to which also (1887, ed. 2) Fleay’s excursus on _The Date and Authorship of Dr. F._ was contributed.

The Admiral’s men played ‘Docter ffostose’ for Henslowe twenty-four times from 2 Oct. 1594 to Oct. 1597 (Henslowe, ii. 168). Their 1598 inventories include ‘j dragon in fostes’ (_Henslowe Papers_, 118). Alleyn (q.v.) played the title-rôle. The entry printed by Collier from Henslowe’s _Diary_ of a payment to Dekker on 20 Dec. 1597 ‘for adycyons to ffostus’ is a forgery (Warner, 159; Greg, _Henslowe_, i. xxxix), but Henslowe did pay £4 to William Bird and Samuel Rowley ‘for ther adicyones in doctor fostes’ on 22 Nov. 1602 (Henslowe, i. 172). Probably, therefore, the Admiral’s revived the play about 1602–3. These additions are doubtless the comic passages which appear for the first time in the 1616 text, although that may also contain fragments of the original text omitted from the 1,485 lines of 1604. The source of the play seems to be the German _Faustbuch_ (1587) through the English _History of Dr. Johann Faustus_, of which an edition earlier than the extant 1592 one is conjectured. A probable date is 1588–9. On 28 Feb. 1589 ‘a ballad of the life and deathe of Doctor Faustus the great Cungerer’ was entered on S. R. (Arber, ii. 516). There are apparent imitations of the play in _Taming of A Shrew_ (q.v.).

The reference in _The Black Book_ (_vide infra_) can hardly be taken as evidence that the original production was at the Theatre.

Greg (_Henslowe_, ii. 168) gives some support to the view of Fleay (Ward, clxvii) that Marlowe is only responsible for part even of the 1604 text, and that the rest, including the comic matter, may have been contributed by Dekker. But he doubts whether Dekker worked upon the play before the date of a revision in 1594, for which there is some evidence, such as an allusion in xi. 46 to Dr. Lopez. Fleay thought Dekker to have been also an original collaborator, which his age hardly permits.

The play seems to have formed part of the English repertories in Germany in 1608 and 1626 (Herz, 66, 74).

It became the centre of a curious _mythos_, which was used to point a moral against the stage (cf. ch. viii). Of this there are several versions:

(_a_) 1604. T. M. _The Black Book_ (Bullen, _Middleton_, viii. 13), ‘Hee had a head of hayre like one of my Diuells in Dr. Faustus when the old Theater crackt and frighted the audience.’

(_b_) 1633. Prynne, _Histriomastix_, f. 556, ‘The visible apparition of the Devill on the stage at the Belsavage Play-house, in Queen Elizabeths dayes (to the great amazement both of the actors and spectators) while they were there prophanely playing the History of Faustus (the truth of which I have heard from many now alive, who well remember it) there being some distracted with that feareful sight.’

(_c_) N.D. ‘J. G. R.’ from manuscript note on ‘the last page of a book in my possession, printed by Vautrollier’ (1850, _2 Gent. Mag._ xxxiv. 234), ‘Certaine Players at Exeter, acting upon the stage the tragical storie of Dr. Faustus the Conjurer; as a certain nomber of Devels kept everie one his circle there, and as Faustus was busie in his magicall invocations, on a sudden they were all dasht, every one harkning other in the eare, for they were all perswaded, there was one devell too many amongst them; and so after a little pause desired the people to pardon them, they could go no further with this matter; the people also understanding the thing as it was, every man hastened to be first out of dores. The players (as I heard it) contrarye to their custome spending the night in reading and in prayer got them out of the town the next morning.’

(_d_) _c._ 1673. John Aubrey, _Natural History and Antiquities of Surrey_ (1718–19), i. 190, ‘The tradition concerning the occasion of the foundation [of Dulwich College] runs thus: that Mr. Alleyne, being a Tragedian and one of the original actors in many of the celebrated Shakespear’s plays, in one of which he played a Demon, with six others, and was in the midst of the play surpriz’d by an apparition of the Devil, which so work’d on his Fancy, that he made a Vow, which he perform’d at this Place’.

_The Jew of Malta, c. 1589_

_S. R._ 1594, May 17. ‘The famouse tragedie of the Riche Jewe of Malta.’ _Nicholas Ling and Thomas Millington_ (Arber, ii. 650). [On 16 May ‘a ballad intituled the murtherous life and terrible death of the riche Jew of Malta’ had been entered to John Danter.]

1632, Nov. 20 (Herbert). ‘A Tragedy called the Jew of Malta.’ _Nicholas Vavasour_ (Arber, iv. 288).

1633. The Famous Tragedy of the Rich Iew of Malta. As it was played before the King and Queene, in his Majesties Theatre at White-Hall, by her Majesties Servants at the Cockpit. Written by Christopher Marlo. _I. B. for Nicholas Vavasour._ [Epistle to Thomas Hammon of Gray’s Inn, signed ‘Tho. Heywood’; Prologues and Epilogues at Court and at Cockpit by Heywood; Prologue by Machiavel as presenter.]

_Editions_ in Dodsley^{2, 3}, viii (1780–1827), and by W. Scott (1810, _A. B. D._ i), Reynell and Son (publ. 1810), S. Penley (1813), A. Wagner (1889), and W. A. Neilson (1911, _C. E. D._).--_Dissertations_: J. Kellner, _Die Quelle von M.’s J. of M._ (1887, _E. S._ x. 80); M. Thimme, _M.’s J. of M._ (1921).

An allusion in Marlowe’s prologue to the death of the Duc de Guise gives a date of performance later than 23 Dec. 1588. Strange’s men gave the play for Henslowe seventeen times from 26 Feb. 1592 to 1 Feb. 1593. Probably it belonged to Henslowe, as it was also played for him by Sussex’s men on 4 Feb. 1594, by Sussex and the Queen’s together on 3 and 8 April 1594, by the Admiral’s on 14 May 1594, by either the Admiral’s or the Chamberlain’s on 6 and 15 June 1594, and thirteen times by the Admiral’s from 25 June 1594 to 23 June 1596 (Henslowe, ii. 151). The 1598 inventories of the latter company include ‘j cauderm for the Jewe’ (_Henslowe Papers_, 118). On 19 May 1601 Henslowe advanced them money to buy ‘things’ for a revival of the play (Henslowe, i. 137). Heywood’s epistle and Cockpit prologue name Marlowe and Alleyn as writer and actor of the play. Fleay, i. 298, suggests that Heywood wrote the Bellamira scenes (III. i; IV. iv, v; V. i), the motive of which he used for the plot of his _Captives_, and Greg agrees that the play shows traces of two hands, one of which may be Heywood’s. The Dresden repertory of 1626 included a ‘Tragödie von Barabas, Juden von Malta’, but this was not necessarily the play ‘von dem Juden’ given by English actors at Passau in 1607 and Graz in 1608 (Herz, 66, 75).

_Edward the Second. c. 1592_

_S. R._ 1593, July 6 (Judson). ‘A booke, Intituled The troublesom Reign and Lamentable Death of Edward the Second, king of England, with the tragicall fall of proud Mortymer.’ _William Jones_ (Arber, ii. 634).

1593? [C. F. Tucker Brooke (1909, _M. L. N._ xxiv. 71) suggests that a manuscript t.p. dated 1593 and sig. A inserted in Dyce’s copy of 1598 may be from a lost edition, as they contain textual variants.]

1594. The troublesome raigne and lamentable death of Edward the second, King of England: with the tragicall fall of proud Mortimer. As it was sundrie times publiquely acted in the honourable citie of London, by the right honourable the Earl of Pembroke his servants. Written by Chri. Marlow. Gent. _For William Jones._

1598. _Richard Bradocke for William Jones._ [With an additional scene.]

1612. _For Roger Barnes._

1622.... As it was publikely Acted by the late Queenes Maiesties Servants at the Red Bull in S. Iohns streete.... _For Henry Bell._

_Editions_ in Dodsley^{1–3}, ii (1744–1825), and by W. Scott (1810, _A. B. D._ i), W. Wagner (1871), F. G. Fleay (1873, 1877), O. W. Tancock (1877, etc.), E. T. McLaughlin (1894), A. W. Verity (1896, _T. D._), and W. A. Neilson (1911, _C. E. D._).--_Dissertations_: C. Tzschaschel, _M.’s Edward II und seine Quellen_ (1902, _Halle diss._); M. Dahmetz, _M.’s Ed. II und Shakespeares Rich. II_ (1904).

Pembroke’s men seem only to have had a footing at Court in the winter of 1592–3, and this is probably the date of the play. Greg (_Henslowe_, ii. 224) suggests that it may have had some ‘distant connexion’ with Chettle and Porter’s _The Spencers_ and an anonymous _Mortimer_ of the Admiral’s men in 1599 and 1602 respectively. But I think _Mortimer_ is a slip of Henslowe’s for _Vortigern_.

_The Massacre at Paris. 1593_

[_MS._] Collier, ii. 511, prints a fragment of a fuller text than that of the edition, but it is suspect (cf. Tucker Brooke, 483).

N.D. The Massacre at Paris: With the Death of the Duke of Guise. As it was plaide by the right honourable the Lord high Admirall his Seruants. Written by Christopher Marlow. _E. A. for Edward White._

Strange’s men produced ‘the tragedey of the gvyes’ as ‘n.e.’ on 26 Jan. 1593. The Admiral’s men also played it for Henslowe as ‘the Gwies’ or ‘the masacer’ ten times from 21 June to 27 Sept. 1594. Possibly in Nov. 1598 and certainly in Nov. 1601 Henslowe advanced sums for costumes for a revival of the play by the Admiral’s. The insertion by Collier of Webster’s name in one of these entries is a forgery and whether the lost _Guise_ of this writer (q.v.) bore any relation to Marlowe’s play is wholly unknown. On 18 Jan. 1602 Henslowe paid Alleyn £2 for the ‘boocke’ of ‘the massaker of france’ on behalf of the company (Henslowe, i. xlii; ii. 157). For the offence given in France by this play, cf. ch. x.

_Dido Queen of Carthage > 1593_

_With_ Thomas Nashe.

1594. The Tragedie of Dido Queene of Carthage: Played by the Children of her Maiesties Chappell. Written by Christopher Marlowe, and Thomas Nash. Gent. _Widow Orwin for Thomas Woodcock._

_S. R._ 1600, June 26. Transfer from Paul Lynley to John Flasket, ‘Cupydes Journey to hell with the tragedie of Dido’ (Arber, iii. 165). [Perhaps another book.]

_Editions_ in _Old English Drama_ (1825, ii), by J. S. Farmer (1914, _S. F. T._), and with _Works_ of Nashe.--_Dissertations_: J. Friedrich, _Didodramen des Dolce, Jodelle, und M._ (1888); B. Knutowski, _Das Dido-Drama von M. und Nash_ (1905, _Breslau diss._).

Tanner, _Bibl. Britanniae_ (1748), says, ‘Petowius in praefatione ad secundam partem Herois et Leandri multa in Marlovii commendationem adfert; hoc etiam facit Tho. Nash in _Carmine Elegiaco tragediae Didonis praefixo in obitum Christoph. Marlovii_, ubi quatuor eius tragediarum mentionem facit, necnon et alterius _de duce Guisio_’. The existence of this elegy is confirmed by Warton, who saw it either in 1734 or 1754 (_Hist. Eng. Poet._ iv. 311; cf. McKerrow, ii. 335). It was ‘inserted immediately after the title-page’, presumably not of all copies, as it is not in the three now known. Whether Nashe’s own share in the work was as collaborator, continuator, or merely editor, remains uncertain. Fleay, ii. 147, gives him only I. i. 122 to end, III. i, ii, iv; IV. i, ii, v; Knutowski regards him as responsible for only a few trifling passages. As, moreover, the play has affinities both to early and to late work by Marlowe, it cannot be dated. Beyond its title-page and that of the anonymous _Wars of Cyrus_ there is nothing to point to any performances by the Chapel between 1584 and 1600. It is true that Tucker Brooke, 389, says, ‘The one ascertained fact concerning the history of this company during the ten years previous to 1594 seems to be that they acted before the Queen at Croydon in 1591, under the direction of N. Giles, and Mr. Fleay assumes, apparently with no further evidence, that _Dido_ was presented on this ‘occasion’. But this only shows what some literary historians mean by an ‘ascertained fact’. A company played _Summers Last Will and Testament_ (q.v.) at Croydon in 1592 and said that they had not played for a twelvemonth. But the Queen was not present, and they are not known to have been the Chapel, whose master was not then Nathaniel Giles. Nor did they necessarily play twelve months before at Croydon; and if they did, there is nothing to show that they played _Dido_. There is nothing to connect the play with the Admiral’s _Dido and Aeneas_ of 1598 (Greg, _Henslowe_, ii. 189).

_Lust’s Dominion. c. 1600_ (?)

1657. Lusts Dominion; Or, The Lascivious Queen. A Tragedie. Written by Christopher Marlowe, Gent. _For F. K., sold by Robert Pollard._

_Editions_ by C. W. Dilke (1814, _O. E. P._ i) and in Dodsley^4, xiv (1875).

The attribution of the play, as it stands, to Marlowe is generally rejected. Fleay, i. 272, supported by Greg (_Henslowe_, ii. 211), suggests an identification with _The Spanish Moor’s Tragedy_, which Day, Dekker, and Haughton were writing for the Admiral’s in Feb. 1600, although the recorded payment does not show that this was finished. They think that a play in which Marlowe had a hand may perhaps underlie it, and attempt, not wholly in agreement with each other, to distribute the existing scenes amongst the collaborators.

_Lost Play_

_The Maiden’s Holiday_

Entered on the Stationers’ Register on 8 April 1654 (Eyre, i. 445) by Moseley as ‘A comedie called The Maidens Holiday by Christopher Marlow & John Day’, and included in Warburton’s list of burnt plays (_3 Library_, ii. 231) as ‘The Mayden Holaday by Chri[~s]. Marlowe’.

_Doubtful Plays_

Marlowe’s hand has been sought in _An Alarum for London_, _Contention of York and Lancaster_, _Edward III_, _Locrine_, _Selimus_, _Taming of A Shrew_, and _Troublesome Reign of King John_ (cf. ch. xxiv), and in Shakespeare’s _Titus Andronicus_, _Henry VI_, and _Richard III_.

JOHN MARSTON (_c._ 1575–1634).

Marston was son of John Marston, a lawyer of Shropshire origin, who had settled at Coventry, and his Italian wife Maria Guarsi. He matriculated at Brasenose College, Oxford, aged 16, on 4 Feb. 1592, and took his degree on 6 Feb. 1594. He joined the Middle Temple, and in 1599 his father left law-books to him, ‘whom I hoped would have profited by them in the study of the law but man proposeth and God disposeth’. He had already begun his literary career, as a satirist with _The Metamorphosis of Pygmalion’s Image and Certain Satires_ (1598) and _The Scourge of Villainy_ (1598). For these he took the pseudonym of W. Kinsayder. Small, 64, has refuted the attempts to find in them attacks on Jonson, and H. C. Hart (_9 N. Q._ xi. 282, 342) has made it plausible that by ‘Torquatus’ was meant, not Jonson, but Gabriel Harvey. This view is now accepted by Penniman (_Poetaster_, xxiii). On 28 Sept. 1599 Henslowe paid £2, on behalf of the Admiral’s, for ‘M^r Maxton the new poete’. The interlineated correction ‘M^r Mastone’ is a forgery (Greg, _Henslowe_, i. xlii; ii. 206), but probably Marston was the poet. The title of the play was left blank, and there was no further payment. It seems clearer to me than it does to Dr. Greg that the £2 was meant to make up a complete sum of £6 10_s._ for _The King of Scots_, and that Marston was the ‘other Jentellman’ who collaborated with Chettle, Dekker, and Jonson on that lost play. The setting up of the Paul’s boys in 1599 saved Marston from Henslowe. For them he successively revised the anonymous _Histriomastix_ (q.v.), wrote the two parts of _Antonio and Mellida_ and _Jack Drum’s Entertainment_, helped Dekker with _Satiromastix_, and finally wrote _What You Will_. This probably accounts for all his dramatic work during Elizabeth’s reign. In the course of it he came into conflict with Jonson, who told Drummond in 1619 (according to the revision of the text of Laing, 20, suggested by Penniman, _War_, 40, and Small, 3) that ‘He had many quarrells with Marston, beat him, and took his pistol from him, wrote his Poetaster on him; the beginning of them were, that Marston represented him in the stage’. Marston’s representation of Jonson as Chrysoganus in _Histriomastix_ was complimentary, that as Brabant senior in _Jack Drum’s Entertainment_ offensive; and it was doubtless the latter that stirred Jonson to retaliate on Marston, perhaps as Hedon in _Cynthia’s Revels_, certainly as Crispinus in _The Poetaster_. Marston’s final blow was with Lampatho Doria in _What You Will_. When the theatres reopened in 1604 Marston seems to have left the Paul’s boys and taken a share in the syndicate formed to exploit the Queen’s Revels, for whom the rest of his plays were written. He was now on friendly terms with Jonson, to whom he dedicated his _Malcontent_ and for whose _Sejanus_ he wrote congratulatory verses. Possibly further friction arose over the unfortunate collaboration of Jonson, Marston, and Chapman in _Eastward Ho!_, for the chief indiscretion in which Marston seems to have been responsible, and may have stimulated a sarcasm on Jonson in the Epistle to _Sophonisba_. In 1608 Marston’s career as a dramatist abruptly terminated. An abstract of the Privy Council Register has the brief note on 8 June, ‘John Marston committed to Newgate’ (F. P. Wilson from _Addl. MS._ 11402, f. 141, in _M. L. R._ ix. 99). I conjecture that he was the author of the Blackfriars play (cf. ch. xii, s.v. Chapel) which hit at James’s explorations after Scottish silver. He disappeared, selling his interest in the Blackfriars company, then or in 1605, to Robert Keysar, and leaving _The Insatiate Countess_ unfinished. He had taken orders by 10 Oct. 1616 when he obtained the living of Christchurch, Hampshire. This he resigned on 13 Sept. 1631. In 1633 he was distant from London, but died on 25 June 1634 in Aldermanbury parish. He had married Mary, probably the daughter of William Wilkes, one of James’s chaplains, of whom Jonson said in 1619 (Laing, 16) that ‘Marston wrott his Father-in-lawes preachings, and his Father-in-law his Commedies’. If we trust the portrait of Crispinus in _The Poetaster_, he had red hair and little legs. A letter from Marston to Sir Gervase Clifton, endorsed ‘Poet Marston’, is calendared in _Hist. MSS. Various Coll._ vii. 389; it is undated, but must, from the names used, be of 1603–8.

_Collections_

1633. Tragedies and Comedies collected into one volume. Viz. 1. Antonio and Mellida. 2. Antonio’s Revenge. 3. The Tragedie of Sophonisba. 4. What You Will. 5. The Fawne. 6. The Dutch Courtezan. _A. M. for William Sheares._ [Epistle to Viscountess Falkland, signed ‘William Sheares’.]

1633. The Workes of Mr. Iohn Marston, Being Tragedies and Comedies, Collected into one Volume. _For William Sheares._ [Another issue.]

1856. J. O. Halliwell, _The Works of John Marston_. 3 vols. [Contains all the works, except _Jack Drum’s Entertainment_.]

1879. A. B. Grosart, _The Poems of John Marston_. [Contains _Pygmalion’s Image_ and the satires.]

1887. A. H. Bullen, _The Works of John Marston_. 3 vols. [Contains all the works, except _Jack Drum’s Entertainment_.]

_Dissertations_: W. von Scholten, _Metrische Untersuchungen zu Marston’s Trauerspielen_ (1886, _Halle diss._); P. Aronstein, _John Marston als Dramatiker_ (_E. S._ xx. 377; xxi. 28); W. v. Wurzbach, _John Marston_ (1897, _Jahrbuch_, xxxiii. 85); C. Winckler, _John Marston’s litterarische Anfänge_ (1903, _Breslau diss._) and _Marston’s Erstlingswerke und ihre Beziehungen zu Shakespeare_ (1904, _E. S._ xxxiii. 216).

PLAYS

_Antonio and Mellida. 1599_

_S. R._ 1601, Oct. 24. ‘A booke called The ffyrst and second partes of the play called Anthonio and Melida provided that he gett laufull licence for yt.’ _Matthew Lownes and Thomas Fisher_ (Arber, iii. 193).

1602. The History of Antonio and Mellida. The first part. As it hath beene sundry times acted, by the Children of Paules. Written by I. M. _For Mathew Lownes and Thomas Fisher._ [Epistle to Nobody, signed ‘J. M.’, Induction, Prologue, and Epilogue.]

1602. Antonio’s Reuenge. The second part. As it hath beene sundry times acted, by the children of Paules. Written by I. M. _For Thomas Fisher._ [Prologue.]

_Editions_ by C. W. Dilke (1814, _O. E. P._ ii) and W. W. Greg (1921, _M. S. R._).

In V. i of