Dodds, M. Hope. Anthony Munday, N & Q., Vol. 146, No. 44, p. 331.

Cf. also Archibald Sparke, ibid., p. 331.

Eliot, T. S. Four Elizabethan Dramatists. I. A Preface. Criterion, II, No. 6, pp. 115-23.

Flood, W. H. Grattan. The Beginnings of the Chapel Royal. Music and Letters, Jan., 1924.

Friedrich, Karl. Die englische Dramatisierung des Katilinastoffes. Summary (2 pp.) of Erlangen Diss. Erlangen, 1923.

Frijlinck, Wilhelmina P. (ed.). The Tragedy of Sir John van Olden Barnavelt. Amsterdam, 1922.

Rev. by Phil. Aronstein in Beiblatt, xxxv, 67-9; by A. C. Judson in JEGP., XXIII, 150-2.

Garvin, Wilhelmina C. The Development of the Comic Figure in the German Drama from the Reformation to the Thirty Years' War. Pennsylvania doctoral dissertation. delphia: Westbrook Publishing Co., 1923.

Considers in some detail the question of English influence.

Graves, Thornton S. Ralph Crane and the King's Players.

Phila

SP.,

XXI, 362-6. Gregg, Kate L. Thomas Dekker: A Study in Economic and Social

Backgrounds. University of Washington Publications. Language and Literature, Vol. 11, No. 22 (July, 1924), pp. 55-112.

This is a doctoral dissertation accepted by the Department of English at the University of Washington. A nine-page introductory chapter on the "Economic Interpretation of English Literature "a chapter, I believe, in which the author rather overemphasizes the newness of her method and the strictness of the censorship—is followed by a detailed study of Dekker himself. His sensitiveness to the social and economic questions of his day is emphasized, with particular reference to his attitude toward the agrarian problem, the church, and the government. The writer is no doubt justified in stressing the amount of suffering and injustice in Elizabethan England, for the mass of “literature of discontent " produced by satirists and hack-writers of the period was somewhat more extensive than she apparently realizes. Interesting, to say the least, is her contention that the exuberant and braggadoccio quality characteristic of so much Elizabethan literature was due, not so much to self-confidence and the pure joy of living, as it was to the machination of the government in fostering a literature of deception as a means of combatting the grow

ing spirit of discontent. Other Elizabethans could profitably be approached from a point of view very similar to that from which Miss Gregg has approached Dekker.

Greg, W. W. Two Elizabethan Stage Abridgements: The Battle of Alcazar & Orlando Furioso. An Essay in Critical Bibliography. Clarendon Press, 1923.

Rev. by J. Q. Adams in JEGP., XXII, 605-9; in N & P., 146, p. 73. Greg, W. W. More Massinger Corrections. Library, v (June, 1924), 59-91.

A careful study of the corrections, which Dr. Greg lists and pronounces to be in Massinger's autograph, found in the volume of eight plays by Massinger secured by Mr. John Addington Symonds and now in the possession of Mr. Edmund Gosse.

Greg, W. W. "Arden of Faversham." LTS., Jan. 24, 1924, p. 53. Shows weakness of emendation proposed by F. D. Simpson, ibid., Jan. 17, 1924.

Grossmann, Rudolf. Spanien und das elisabethanische Drama. Hamburg, 1920.

Rev. by Walther Fischer in Beiblatt, xxxv, 115-19.

Grylls, Rosalie Glynn. Greek and Elizabethan Drama. Contemporary Review, Vol. 126, 638-44.

Harrison, G. B. The Story of Elizabethan Drama. Cambridge University Press, 1924. Pp. 134.

Elementary and brief but interesting and essentially accurate. Jeffery, V. M. Italian and English Pastoral Drama of the Renaissance. I. Source of the Complaint of the Satyres against the Nymphes.' MLR., XIX, 56-62; II. The Source of Peele's 'Arraignment of Paris,' ibid., pp. 175-87; III. Sources of Daniels' Queen's Arcadia' and Randolph's 'Amyntas,' ibid., pp. 435-44.

Jourdain, Eleanor F. The Drama in Europe in Theory and Practice. London: Methuen and Co., 1924.

The chapter (pp. 43-57) on Elizabethan drama, besides being too brief and sketchy to be of value, contains numerous novel statements, e. g., red curtains were employed for sacred dramas in England and blue-black ones for tragedy (p. 46), actors lived in the actors' house " (p. 47), the pit was sometimes used for bear-baiting, Romans wore togas over court dresses (p. 51), acts were a later division

66

imposed on Shakespeare's plays" though "there was one pause after the crisis" (p. 52), in 1625 all theaters were closed on account of the plague but were opened again in 1637 (p. 57), etc.

K., J. The " But" of Ben Jonson. N & Q., Vol. 147, No. 3, p. 45. Koch, J. Echte und "Unechte" Masken. Eng. Stud., Bd. 58,

179-212.

Law, Robert Adger. The "Shoemakers' Holiday" and "Romeo and Juliet." SP., XXI, 356-61.

Lawrence, W. J. John Kirke, the Caroline Actor-Dramatist. SP., XXI, 586-93.

Lawrence, W. J. The Rose Theatre of Shakespeare's Day. LTS., Feb. 21, 1924, p. 112.

Shows that the mystifying couplet quoted by Rendle—

"In the last great fire

The Rose did expire ”—

refers to the burning of a tavern during Restoration and has nothing to do with the playhouse.

Lawrence, W. J. Bells on the Elizabethan Stage. Fortnightly Review, July, 1924, pp. 59-70.

Lawrence, W. J. Inigo Jones: An Identification. LTS., Oct. 23, 1924, p. 667.

Cf. comment by W. W. Greg, ibid., Oct. 30, 1924, p. 686. Lawrence, W. J. The Authorship of “The Careless Shepherdess.” LTS., July 24, 1924.

Argument that play a Cambridge production originally acted c. 1632. "T. G. Mr. of Arts" on title page of 1656 edition cannot be Thomas Goffe, since he was an Oxford man and a prologue of c. 1637 for a revival of play speaks of author as still alive. Goffe died in July 1629.

Lawrence, W. J. Was Peter Cunningham a Forger? MLR., XIX, 25-34.

Supports view of Law against attack of Mrs. Stopes.

Lawrence, W. J. Thomas Ravenscroft's Theatrical Associations. MLR., XIX, 418-23.

Lindsey, Edwin S. The Music of the Songs in Fletcher's Plays. SP., XXI, 325-55.

Lloyd, Bertram. Jonson and "Thomas of Woodstock." LTS., July 17, 1924, p. 449.

Lloyd, Bertram. A Minor Source of The Changeling.' MLR.,

XIX, 101-2.

Martin, Robert Grant. The Sources of Heywood's If you Know Not Me, you Know Nobody, Part I. MLN., XXXIX, 220-2. Chief source is Fox's Acts and Monuments either in original or Holinshed.

Matthews, Brander and Lieder, Paul Robert (eds.). The Chief British Dramatists Excluding Shakespeare. Twenty-five Plays from the Middle of the Fifteenth Century to the End of the Nineteenth. Boston and New York: Houghton Mifflin Co., 1924. Pp. xviii, 1084.

This is a well printed and carefully selected collection of plays suitable for a rapid survey course in English drama, though it is, as the editors recognize, of no especial value to students of the Renaissance. The text proper is preceded by a very brief but interesting account of the development of the theater in England, obviously written by Professor Matthews, and followed by helpful notes on the dramatists and plays, a classified reading list, and an index of characters. Of the eight sixteenth and seventeenth century dramas contained in the volume the text of Ralph Roister Doister is based on the modernized version of Professor C. G. Child, collated with the editions of Arber and Manly, while the other seven follow the wellknown text in Professor Neilson's Chief Elizabethan Dramatists.

Milton, Ernest. Christopher Marlowe, A Play in Five Acts, with a Prologue by Walter De La Mare. London: Constable,

1924.

Mundy, P. D. Anthony Munday and his Connections. N & Q., Vol. 147, p. 261.

Nethercot, Arthur H. Recent Heresies concerning the Pre-Modern Drama. Texas Review, April, 1924, pp. 228-32. Discussion of the recent works of Archer and Schücking.

Nicoll, Allardyce. An Introduction to Dramatic Theory. London: Harrap & Co., 1923. Pp. 218.

Contains material of interest to students of Elizabethan drama. Ramsey, Stanley C. Inigo Jones. Masters of Architecture Series. London: Benn, 1924.

Rhodes, R. Crompton. Titus and Vespacian. LTS., Apr. 17, 1924, p. 240.

Comment: W. W. Greg, ibid., May 1, p. 268; John S. Smart, ibid., May 8, p. 286 and June 5, p. 356; C. R. Rhodes, ibid., May 22, p. 322; W. W. Greg, ibid., May 15, p. 384.

Roberts, Morris. A Note on the Sources of the English Morality Play. Studies by Members of the Dept. of English, Univ. of Wisconsin, No. 18 (1923), pp. 100-117.

Robertson, J. M. Tito Andronico. LTS., May 29, 1924, p. 340.

Points out that "Tito Andronico" (Chambers, п, 285) only dative after von of German play of Titus Andronicus.

Robertson, J. M. A Marlowe Mystification. LTS, Dec. 11, 1924, p. 850.

Rose, H. J. Mhkoc and Xponoc: The Unity of Time" in Ancient Drama. Aberystwyth Studies, Vol. VI, University of Wales, 1924, pp. 1-22.

Evidence that unity of time not a rigid principle in Greek tragedy. Rollins, Hyder E. The Drinking Academy, or The Cheater's Holiday. PMLA., XXXIX, 837-71.

Reprint of an early manuscript play (c. 1620) in possession of Mr. W. A. White.

Schutt, J. H. Beaumont and Fletcher's Philaster, Considered as a Work of Literary Art. English Studies, vi, June, 1924. Essays and Studies by Members

Seaton, Ethel. Marlowe's Map.

of the English Association, Vol. x.
Press, 1924, pp. 13-35.

Oxford: Clarendon

Argument that Marlowe was more careful about his geography than he has been given credit for being.

Simpson, Percy and Bell, C. F. Designs by Inigo Jones for Masques & Plays at Court. A Descriptive Catalogue of Drawings for Scenery and Costumes mainly in the Collection of His Grace the Duke of Devonshire, K. G. with Introduction and Notes by Printed for the Walpole and Malone Socie

ties. Oxford University Press, 1924.

Rev. in LTS., Sept. 25, 1924, p. 591; by W. W. Greg in Library, V. (Dec., 1924), pp. 280-2; by Hamilton Bell in LR., Dec. 20, 1924, p. 7. This magnificent work-made possible by the liberality of the Duke of Devonshire, the industry of the editors, the commendable policy of the Malone and Walpole Societies, and the skill of the Oxford Press-richly deserves the praise it is receiving from students, for it not only throws considerable new light upon the methods of Inigo Jones and the nature of the seventeenth century masque but makes accessible to scholars a reliable mass of material which is sure to lead to further study of court entertainments of the Elizabethan period.