Part i

may therefore be among the anonymous plays of 1596–7 or an earlier season. Gayley suggests _The Comedy of Humours_, produced 11 May 1597, but that is more plausibly identified with Chapman’s _Humorous Day’s Mirth_ (q.v.). Another possibility is _Woman Hard to Please_, produced 27 Jan. 1597.

_Lost Plays_

Henslowe’s diary records the following plays for the Admiral’s men, in which Porter had a hand in 1598 and 1599:

(i) _Love Prevented._

May 1598. _Vide Two Angry Women of Abingdon, supra._

(ii) _Hot Anger Soon Cold._

With Chettle and Jonson, Aug. 1598.

(iii) _2 Two Angry Women of Abingdon._

Dec. 1598–Feb. 1599.

(iv) _Two Merry Women of Abingdon._

Feb. 1599.

(v) _The Spencers._

With Chettle, March 1599.

THOMAS POUND (1538?-1616?).

Pound was of Beaumonds in Farlington, Hants, the son of William Pound and Anne Wriothesley, daughter of Thomas, first Earl of Southampton. William Pound had a brother Anthony, whose daughter Honora married Henry, fourth Earl of Sussex (_V. H. Hants_, iii. 149; _Harl. Soc._ lxiv. 138; Berry, _Hants Genealogies_, 194; _Recusant Rolls_ in _Catholic Record Soc._ xviii. 278, 279, 330, 334). Thomas was in youth a Winchester boy, a Lincoln’s Inn lawyer, and a courtier of repute. About 1570 he left the world and became a fervent Catholic, and the record of his recusancy, of his relations with the Jesuit order, which he probably joined, of the help he gave to Edmund Campion, and of his long life of imprisonment and domiciliary restraint is written in H. Morus, _Historia Missionis Anglicanae Societatis Jesu_ (1660); D. Bartoli, _Dell’ Istoria della Compagnia di Gesu: L’Inghilterra_ (1667); N. Sanders and E. Rishton, _De Origine Schismatis Anglicani_ (1586); M. Tanner, _Societas Jesu Apostolorum Imitatrix_ (1694); R. Simpson in _2 Rambler_ (1857), viii. 29, 94; H. Foley, _Records of the English Province of the Society of Jesus_, iii (1878), 567; J. H. Pollen, _English Catholics in the Reign of Elizabeth_ (1920), 333 _sqq._ I am only concerned with his worldly life and his quitting of it. As a Winchester _alumnus_, he is said to have delivered a Latin speech of welcome to Elizabeth (Bartoli, 51), presumably at her visit of 1560 (App. A), but he can hardly still have been a schoolboy; perhaps he was at New College. He had already been entered at Lincoln’s Inn on 16 Feb. 1560 (_Adm. Reg._ i. 66), and it was on behalf of Lincoln’s Inn that he wrote and pronounced two mask orations which are preserved in _Bodl. Rawl. Poet. MS._ 108, ff. 24, 29, whence they are described in E. Brydges, _British Bibliographer_, ii. 612. Both seem to have been before Elizabeth (cf. vol. i, p. 162, and App. A). The first, at the wedding of his cousin Henry, Earl of Southampton, in Feb. 1566, is headed in the manuscript ‘The copye of an oration made and pronounced by Mr. Pownde of Lyncolnes Inne, with a brave maske out of the same howse, all one greatte horses att the mariage off the yonge erle of South hampton to the Lord Mountagues dawghter abowt Shrouetyde 1565’. The second, at the wedding on 1 July 1566 of another cousin, Frances Radcliffe, is similarly headed ‘The copye of an oration made and pronounced by Mr. Pownd of Lincolnes Inne, with a maske att y^e marriage of y^e Earl of Sussex syster to Mr. Myldmaye off Lyncolnes Inne 1566’. From this, which is in rhyming quatrains, Brydges quotes 119 lines; they are of no merit. In 1580 Pound wrote from his prison at Bishop’s Stortford to Sir Christopher Hatton (_S. P. D. Eliz._ cxlii. 20) commending a petition to the Queen, ‘for her poeticall presents sake, which her Majesty disdayned not to take at poore Mercuries hands, if you remember it, at Killiegeworth Castle’. The reference must be to the Kenilworth visit of 1568, rather than 1573 or 1575, for soon after Thomas Pound’s days of courtly masking came to an abrupt end. The story is told in Morus, 46:

‘Natales Christi dies, ut semper solemnes, ita anno sexagesimo quarto fuere celeberrimi; dabantur in Curia ludi apparatissimi Thoma Pondo instructore. Inter saltandum, nudam eius manum manu nuda prensat Regina, tum ei caput, abrepto Leicestrie Comitis pileo, ipsa tegit, ne ex vehementi motu accensus subito refrigeraretur. Imposita ei videbatur laurea: cum (secundo eandem saltationis formam flagitante Regina) celerrime de more uno in pede circumuolitans, pronus concidit; Plausu in risum mutato, surge, inquit Regina, Domine Taure; ea voce commotus, surrexit quidem; at flexo ad terram poplite, vulgatum illud latine prolocutus, _sic transit gloria mundi_, proripuit se, et non longo interuallo Aulam spesque fallaces deseruit, consumptarum facultatum et violatae Religionis praemium ludibrium consecutus.’

There is a little difficulty as to the date. Morus puts it in 1564, but goes on to add that Pound was in his thirtieth year, and he was certainly born in 1538 or 1539. And Bartoli, 51, followed by Tanner, 480, gives 1569, citing, probably from Jesuit archives, a letter written by Pound himself on 3 June 1609. No doubt 1569, which may mean either 1568–9 or 1569–70, is right.

THOMAS PRESTON (> 1569–1589 <).

A Thomas Preston entered King’s, Cambridge, from Eton in 1553, and became Fellow in 1556, taking his B.A. in 1557 and his M.A. in 1561. At Elizabeth’s visit in 1564 he disputed with Thomas Cartwright before her in the Philosophy Act, and also played in _Dido_, winning such favour that she called him her ‘scholar’ and gave him a pension of £20 a year from the privy purse (Cunningham, xx; Nichols, _Eliz._ i. 270; Fuller, _Cambridge_, 137; Wordsworth, _Ecclesiastical Memorials_, iv. 322). He held his fellowship at King’s until 1581. In 1583 a newswriter reported him to be ‘withdrawen into Scotland as a malcontent and there made much of by the King’ (Wright, _Eliz._ ii. 215). In 1584 he became Master of Trinity Hall, and in 1589 was Vice-Chancellor. In 1592, with other Heads of Houses, he signed a memorial to Burghley in favour of the stay of plays at Cambridge (_M. S. C._ i. 192). It seems to me incredible that he should, as is usually taken for granted, have been the author of _Cambyses_, about which there is nothing academic, and I think that there must have been a popular writer of the same name, responsible for the play, and also for certain ballads of the broadside type, of which _A Lamentation from Rome_ (Collier, _Old Ballads_, _Percy Soc._) was printed in 1570, and _A Ballad from the Countrie, sent to showe how we should Fast this Lent_ (_Archiv_, cxiv. 329, from _Bodl. Rawl. Poet. MS._ 185) is dated 1589. Both are subscribed, like _Cambyses_, ‘Finis Quod Thomas Preston’. A third was entered on S. R. in 1569–70 as ‘A geliflower of swete marygolde, wherein the frutes of tyranny you may beholde’.

A Thomas Preston is traceable as a quarterly waiter at Court under Edward VI (_Trevelyan Papers_, i. 195, 200, 204; ii. 19, 26, 33), and a choirmaster of the same name was ejected from Windsor Chapel as a recusant about 1561 (cf. ch. xii).

_Cambyses > 1570_

_S. R._ 1569–70. ‘An enterlude a lamentable Tragedy full of pleasaunt myrth.’ _John Allde_ (Arber, i. 400).

N.D. [1569–84]. A Lamentable Tragedie, mixed full of pleasant mirth, containing the life of Cambises King of Percia ... By Thomas Preston. _John Allde._ [Arrangement of parts for eight actors; Prologue; Epilogue, with prayer for Queen and Council. At end, ‘Amen, quod Thomas Preston’.]

N.D. [1584–1628]. _Edward Allde._

_Editions_ by T. Hawkins (1773, _O. E. D._ i), in Dodsley^4, iv (1874), and by J. M. Manly (1897, _Specimens_, ii), and J. S. Farmer (1910, _T. F. T._).

Line 1148 mentions Bishop Bonner whose ‘delight was to shed blood’, and Fleay, 64, therefore dates the play 1569–70, as Bonner died 5 Sept. 1569. But he may merely be put in the past as an ex-bishop. Three comic villains, Huf, Ruf, and Snuf, are among the characters, and chronology makes it possible that the play was the _Huff, Suff, and Ruff_ (cf. App. A) played at Court during Christmas 1560–1. Preston may, however, have borrowed these characters, as Ulpian Fulwell borrowed Ralph Roister, from an earlier play.

_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_ (Q_{2}), _Pericles_ (Q_{4}), 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_ (Q_{2}) and _Merchant of Venice_ (Q_{2}) 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_ (Q_{3}), the ‘1608’ edition of _King Lear_ (Q_{2}) 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 F_{1} 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).

[F_{2}] 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.]

[F_{3}] 1663. _For Philip Chetwinde._ [For the second issue of 1664, with _Pericles_ and six apocryphal plays added, cf. p. 203.]

[F_{4}] 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 F_{1} 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_

[F_{1}] 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.]

[F_{1}] 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).

[Q_{1}] 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._

[Q_{2}] 1598.... By William Shakespeare. _Thomas Creede for Andrew Wise._

[Q_{3}] 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).

[Q_{4}] 1605. _Thomas Creede, sold by Mathew Lawe._

[Q_{5}] 1612.... As it hath beene lately Acted by the Kings Maiesties seruants.... _Thomas Creede, sold by Mathew Lawe._

[Q_{6}] 1622. _Thomas Purfoot, sold by Mathew Law._

[F_{1}] 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 Q_{1}-Q_{2}-Q_{3}-Q_{4} (+ Q_{3})-Q_{5}-Q_{6}, with corrections.]

[Q_{7}] 1629. _John Norton, sold by Mathew Law._

[Q_{8}] 1634. _John Norton._

_Comedy of Errors. 1593_ (?)

[F_{1}] 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).

[Q_{1}] 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._

[Q_{2}] 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).

[Q_{3}] 1611. _For Edward White._

[F_{1}] 1623. The Lamentable Tragedy of Titus Andronicus. [From Q_{1}-Q_{2}-Q_{3}, 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.]

[F_{1}] 1623. The Taming of the Shrew.

[Q_{1}] 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.

[Q_{1}] 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).

[F_{1}] 1623. Loues Labour’s lost. [From Q_{1}.]

[Q_{2}] 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.

[Q_{1}] 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._

[Q_{2}] 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).

[Q_{3}] 1609.... by the King’s Maiesties Seruants at the Globe.... _For Iohn Smethwick._

[F_{1}] 1623. The Tragedie of Romeo and Iuliet. [From Q_{2}-Q_{3}.]

[Q_{4}] N.D. _For Iohn Smethwicke._ [Two issues.]

[Q_{5}] 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).

[Q_{1}] 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._

[Q_{2}] [1619]. ‘_Printed by Iames Roberts, 1600._’ [On the evidence for printing with false date by William Jaggard, cf. Pollard, 81.]

[F_{1}] 1623. A Midsommer Nights Dreame. [From Q_{2}.]

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

_The Two Gentlemen of Verona. 1595_ (?)

[F_{1}] 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.]

[F_{1}] 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).

[Q_{1}] 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._

[Q_{2}] 1598.... By William Shakespeare. _Valentine Simmes for Andrew Wise._

[Q_{3}] 1598. _Valentine Simmes, for Andrew Wise._ [White coll.]

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

[Q_{4}] 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.]

[Q_{5}] 1615. _For Mathew Law._

[F_{1}] 1623. The life and death of King Richard the Second. [From Q_{1}-Q_{2}-Q_{3}-Q_{4}-Q_{5}, with corrections.]

[Q_{6}] 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).

[Q_{1}] 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._

[Q_{2}] [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).

[F_{1}] 1623. The Merchant of Venice. [From Q_{1}.]

[Q_{3}] 1637. _M. P[arsons?] for Laurence Hayes._

[Q_{3}] 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).

[Q_{1}] 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._

[Q_{2}] 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).

[Q_{3}] 1604. _Valentine Simmes for Mathew Law._

[Q_{4}] 1608. _For Mathew Law._

[Q_{5}] 1613. _W[illiam] W[hite] for Mathew Law._

[Q_{6}] 1622. _T[homas] P[urfoot], sold by Mathew Law._

[F_{1}] 1623. The First Part of Henry the Fourth, with the Life and Death of Henry Sirnamed Hot-spurre. [From Q_{1}-Q_{2}-Q_{3}-Q_{4}-Q_{5}.]

[Q_{7}] 1632. _John Norton, sold by William Sheares._

[Q_{8}] 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.]

[F_{1}] 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._

[F_{1}] 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).

[Q_{1}] 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).

[Q_{2}] 1602. _Thomas Creede for Thomas Pauier._

[Q_{3}] [1619]. ‘_Printed for T. P. 1608._’ [On the evidence for printing with false date by William Jaggard, cf. Pollard, _F. and Q._ 81.]

[F_{1}] 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_

[F_{1}] 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).

[Q_{1}] 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._

[Q_{2}] 1619. _[William Jaggard] for Arthur Johnson._ [On its relation to other plays printed by Jaggard in 1619, cf. Pollard _F. and Q._ 81.]

[F_{1}] 1623. The Merry Wiues of Windsor. [Distinct text from Qq.]

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

[Q_{3}] 1630. _T. H[arper] for R. Meighen._

_As You Like It. 1600_ (?)

[F_{1}] 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).

[Q_{1}] 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._

[Q_{2}] 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 Q_{1}.]

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

[Q_{3}] 1611. _For Iohn Smethwicke._

[F_{1}] 1623. The Tragedie of Hamlet, Prince of Denmarke. [Distinct text from Qq.]

[Q_{4}] N.D. [after 1611]. _W[illiam] S[tansby] for Iohn Smethwicke._

[Q_{5}] 1637. _R. Young for John Smethwicke._

_Twelfth Night. 1601–2_

[F_{1}] 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.]

[F_{1}] 1623. The Tragedie of Troylus and Cressida. [A distinct text from Q.]

_All’s Well That Ends Well. 1602_ (?)

[F_{1}] 1623. All’s Well, that Ends Well.

_Measure for Measure. 1604_ (?)

[F_{1}] 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).

[Q_{1}] 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’.]

[F_{1}] 1623. The Tragedie of Othello, the Moore of Venice. [Distinct text from Q_{1}]

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

[Q_{2}] 1630. _A. M[athewes] for Richard Hawkins._

[Q_{3}] 1655.... The fourth Edition. _For William Leak._

_Macbeth. 1605–6_ (?)

[F_{1}] 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).

[Q_{1}] 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.]

[Q_{2}] [1619]. ‘_Printed for Nathaniel Butter, 1608._’ [On the evidence for printing with false date by William Jaggard, cf. Pollard, 81.]

[F_{1}] 1623. The Tragedie of King Lear. [From Q_{1} with corrections.]

[Q_{3}] 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 F_{1} [_vide supra_]. _Edward Blount and Isaac Jaggard_ (Arber, iv. 107).

[F_{1}] 1623. The Tragedie of Anthonie, and Cleopatra.

_Coriolanus. 1606_ (?)

[F_{1}] 1623. The Tragedy of Coriolanus.

_Timon of Athens. 1607_ (?)

[F_{1}] 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).

[Q_{1}] 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._

[Q_{2}] 1609. _[William White] for Henry Gosson._ [‘Eneer’ for ‘Enter’ on A_{2}].

[Q_{3}] 1611. _By S[imon] S[tafford]._

[Q_{4}] ‘_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.]

[Q_{5}] 1630. _I. N[orton]for R. B[ird]._ [Two issues.]

[Q_{6}] 1635. _By Thomas Cotes._

[F_{3}] 1664. Pericles Prince of Tyre. [Distinct text from Qq.]

_Cymbeline. 1609_ (?)

[F_{1}] 1623. The Tragedie of Cymbeline.

_The Winter’s Tale. 1610_ (?)

[F_{1}] 1623. The Winters Tale.

_The Tempest. 1611_

[F_{1}] 1623. The Tempest.

_Henry VIII. 1613_ (?)

[F_{1}] 1623. The Famous History of the Life of King Henry the Eight.

_Doubtful Plays_

Besides the seven plays printed in F_{3} (_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. } by Will: Shakspeare.’ Iphis & Iantha or a marriage without } a man, a Comedy. }

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_,