1638, 1641, 1650, 1661, 1686. Philaster, 1620, 1622, 1630, 1634, 1639, 1651, 1652 (2 edd.), 1660 (?), 1687. Thierry and Theodoret, 1621, 1648, 1649.

ORIGINAL EDITIONS OF SINGLE PLAYS BY FLETCHER ALONE

The Faithful Shepherdess, n. d. (prob. 1609), 1629, 1634, 1656, 1665. Henry VIII (with Shakespeare), in Shakespeare Folio of 1623. The Two Noble Kinsmen (with Shakespeare), 1634. The Elder Brother, 1637, 1651, 1661, 1678. Wit Without Money, 1639, 1661. Monsieur Thomas, 1639. The Bloody Brother, 1639, 1640. Rule a Wife and Have a Wife, 1696, 1697. The Night-Walker, 1640, 1661. The Wild-Goose Chase, 1652. The Humorous Lieutenant, 1830 (from a MS. dated 1625).

FIRST FOLIO EDITION OF BEAUMONT AND FLETCHER'S PLAYS (1647)

The Mad Lover. The Spanish Curate. The Little French Lawyer. The Custom of the Country. The Noble Gentleman. The Captain. The Beggar's Bush. The Coxcomb. The False One. The Chances. The Loyal Subject. The Laws of Candy. The Lover's Progress. The Island Princess. The Humorous Lieutenant. The Nice Valour, or The Passionate Madman. The Maid in the Mill. The Prophetess. Bonduca. The Sea Voyage. The Double Marriage. The Pilgrim. The Knight of Malta. The Woman's Prize, or The Tamer Tamed. Love's Cure, or The Martial Maid. The Honest Man's Fortune. The Queen of Corinth. Women Pleased. A Wife for a Month. Wit at Several Weapons. Valentinian. The Fair Maid of the Inn. Love's Pilgrimage. The Masque at the Marriage of the Prince and Princess Palatine of the Rhine. Four Plays in One.*

(Plays followed by an asterisk are believed to be in part by Beaumont: the rest by Fletcher.)

COLLECTED EDITIONS

First Folio, 1647. Fifty Comedies and Tragedies (Second Folio), 1679. Works of B. and F. (pub. Tonson), 7 vols., 1711.- Theobald, Seward, and Sympson, 10 vols., 1750. - Colman (G.), 10 vols., 1778. — Colinan (G.), (with Jonson's Works), 4 vols., 1811; (without Jonson) 3 vols., 1811.-Weber (H.), 14 vols. Edin. 1812. - Darley (G.), 2 vols., 1839 (text of Weber). - Dyce (A.), 11 vols., 1843-6; 2 vols., Boston, 1852. - Strachey (J. St. L.), in Mermaid Series, ten plays in 2 vols., 1887.— Bullen (A. H.), General editor of Variorum edition by various editors, 12 vols., 1904, (in process). — Glover (A.) and Waller (A. R.), in Cambridge English Classics, 10 vols., 1905. (In process, Text of folio of 1679 with collations of other edd.)

THE KNIGHT OF THE BURNING PESTLE

Ed. Morley (H.) in Burlesque Plays and Poems, Universal Library, 1885. Moorman (F. W.), in Temple Dramatists, 1898. Murch (H. S.), in Yale Studies in English, New York, 1908.- Alden (R. M.), in Belies Lettres Series, Boston, 1910.

PHILASTER

Ed. Thayer (W. R.), in Best Elizabethan Plays, Boston, 1890. - Thorndike (A. H.), in Belles Lettres Series, Boston, 1906.

Boas (F. S.), in Temple Dramatists, 1898.

THE MAID'S TRAGEDY

Ed. Thorndike (A. H.), in Belles Lettres Series, Boston, 1906. - Cox (F. J.), 1908.

THE FAITHFUL SHEPHERDESS

Ed. Moorman (F. W.), in Temple Dramatists, 1897. - Fletcher (J. B.), in Belles Lettres Series, announced.

CRITICISM, etc.

Koeppel (E.), Quellenstudien zu den Dramen . . . Beaumont's and Fletcher's, in Münchener Beiträge, XI. 1895. -Leonhardt (B.), Ucber B. and F.'s Knight of the Burning Pestle, Annaberg, 1885. Cf. also Anglia, VIII. 424; XIX. 34; XIX. 509; XXIII. 14; in Engl. Studien, XII. 307; 1885-1903. - Macaulay (G. C.), Francis Beaumont, a critical study, 1883. - Hatcher (O. L.), John Fletcher, a study in dramatic method, Chicago, 1905. - Swinburne (A. C.), Beaumont and Fletcher, in Studies in Prose and Poetry, 1894.Thorndike (A. H.), Influence of B. and F. on Shakespeare, Worcester, Mass., 1901. - Greg (W. W.), Pastoral Poetry and Pastoral Drama, London, 1906.

JOHN WEBSTER

ORIGINAL EDITIONS

The White Devil, 1612. The Duchess of Malfi, 1623, 1640, 1678. The Devil's Law-case, 1623. Appius and Virginia, 1654. A Cure for a Cuckold (with W. Rowley), 1661. The Thracian Wonder (with W. Rowley), 1661. Induction to The Malcontent, 1604.

COLLECTED EDITIONS

Dyce (A.), 4 vols., 1830, 1857. - Hazlitt (W.), 4 vols., 1857.-Symonds (J. A.), two plays in Mermaid Series, 1888.

THE DUCHESS OF MALFI

Ed. Thayer (W. R.), in Best Elizabethan Plays, Boston, 1890. — Vaughan (C. E.), in Temple Draniatists, 1896. Sampson (M. W.), in Belles Lettres Series, Boston, 1904.

CRITICISM, etc.

Gosse (E.), in Seventeenth Century Studies, 1883. —Stoll (E. E.), John Webster, the Periods of his work, Boston, 1905. - Pierce (F. E.), The Collaboration of Webster and Dekker, in Yale Studies m English, New York, 1909. - Kiesow (K.), Die Verschiedenen Bearbeitungen der Novelle von der Herzo gin v. Amalfi, Anglia, XVII. 198.

THOMAS MIDDLETON

ORIGINAL EDITIONS

Blurt, Master-Constable, 1602. The Phoenix, 1607, 1630. Michaelmas Term, 1607. A Trick to Catch the Old One, 1608, 1616. The Family of Love, 1608. A Mad World, my Masters, 1608. Your Five Gallants, n. d. (lic. 1608). A Game at Chess, 1625. A Chaste Maid in Cheapside, 1630. Women Beware Women. 1657. More Dissemblers Besides Women, 1657. No Wit, No Help like a Woman's, 1657. The Mayor of Quinborough, 1661. Anything for a Quiet Life, 1662. The Witch, 1778. A Fair Quarrel (with W. Rowley), 1617. The Changeling (with W. Rowley), 1653. The Spanish Gipsy (with W. Rowley), 1653. The O.d Law (with Massinger and W. Rowley), 1656. The Roaring Girl (with Dekker), 1611. The Widow (with Jonson and Fletcher), 1652. COLLECTED EDITIONS

Dyce (A.), 5 vols., 1840.—Bullen (A. H.), 8 vols., 1885-6.—Swinburne (A. C.), and Ellis (H.), ten plays, in Mermaid Series, 1890.

CRITICISM, etc.

Wiggin (P. G.), An Enquiry into the authorship of the Middleton-Rowley Plavs, in Radcliffe Col lege Monographs, Boston, 1897. — Christ (K.), Quellenstudien zu den Dramen Thomas Middleton's,

1905.

WILLIAM ROWLEY

ORIGINAL EDITIONS

A Search for Money, 1609. A New Wonder, a Woman Never Vext, 1632. A Match at Midnight, 1633. All's Lost by Lust, 1633. A Shoemaker a Gentleman, 1638. The Changeling (with Middleton), 1653. And many other collaborated plays.

CRITICISM, etc.

Stork (C. W.), Rowley's Place in the Drama, in his ed. of All's Lost by Lust, etc., Philadelphia, 1910. — Wiggin (P. G.), An Enquiry into the authorship of the Middleton-Rowley Plays, Boston, 1897.

PHILIP MASSINGER

ORIGINAL EDITIONS

The Virgin Martyr (with Dekker), 1622. The Duke of Milan, 1623. The Bondman, 1624. The Roman Actor, 1629. The Renegado, 1630. The Picture, 1630. The Maid of Honour, 1632. The Emperor of the East, 1632. The Fatal Dowry (with N. Field), 1632. A New Way to Pay Old Debts, 1633. The Great Duke of Florence, 1636. The Unnatural Combat, 1639. The Guardian, 1655. A Very Woman, 1655. The Bashful Lover, 1655. The City Madam, 1658. The Parliament of Love (lic. 1624), 1805. Believe as you List (S. R. 1653), 1849.

COLLECTED EDITIONS

Coxeter (T.), 4 vols., 1759, 1761. — - Mason (T. M.), 4 vols., 1779. — Gifford (W.), 4 vols., 1805, 1813, 1845, 1850; ed. Cunningham (F.), 1870. — Coleridge (H.), with Ford, 1 vol., 1840.- Symons (A.), in Mermaid Series, ten plays in two vols., 1887-89.

Ed. Stronach (G.), in Temple Dramatists, 1904.

A NEW WAY TO PAY OLD DEBTS

CRITICISM, etc.

Stephen (Sir L.), in Cornhill Magazine, Oct., 1877 (also in Hours in a Library, I, 1879). — Swinburne (A. C.), in Fortnightly Review, July, 1889.-Tréverret (A. de), Étude sur Massinger, Revue de l'en

seignement des langues vivantes, Dec. 1886, Jan. 1887. - Wurzbach (W. von), in Shakespeare Jahrbuch, XXXV. 214, XXXVI. 128. Koeppel (E.), Quellenstudien, in Quellen und Forschungen, LXXXII, Strassburg, 1897.- Gardiner (S. R.), The Political Element in Massinger, Contemporary Review, XXVIII., 1876 (also New Shak. Soc. Trans., 1876). — Phelan (J.), Anglia, II., 1879.

JOHN FORD

ORIGINAL EDITIONS

The Lover's Melancholy, 1629. The Broken Heart, 1633. Love's Sacrifice, 1633. 'Tis Pity She's a Whore, 1633. Perkin Warbeck, 1634. The Fancies, Chaste and Noble, 1638. The Lady's Trial, 1639. The Witch of Edmonton (with Dekker and W. Rowley), 1658.

COLLECTED EDITIONS

Weber (H.), 2 vols., 1811.- Gifford (W.), 2 vols., 1827; w. additions by Dyce (A.), 3 vols., 1869, 1895. Coleridge (H.), (with Massinger's Works), 1840. Ellis (H.), five plays in Mermaid Series, 1888. -Bang (W.), Louvain, 1908 (in process).

Ed. Scollard (C.), New York, 1905.

THE BROKEN HEART

Smeaton (O.), in Temple Dramatists, 1906.

CRITICISM, etc.

Koeppel (E.), Quellenstudien zu den Dramen . . . John Ford's, in Quellen und Forschungen, LXXXII, Strassburg, 1897. - Swinburne (A. C.), in Essays and Studies, 1888. - Wolff (M.), John Ford, ein Nachahmer Shakespeare's, Heidelberg, 1880. - Sherman (S. P.), Stella and The Broken Heart, in Publ. Mod. Lang. Ass. Amer. XXIV., 274, 1909; see also his Introduction to Bang's Ford, and his MS. dissertation in the archives of Harvard University Library. — Pierce (F. E.), The Sequence of Ford's Plays, The Nation, N. Y., Jan. 5, 1911.

JAMES SHIRLEY

ORIGINAL EDITIONS

The Wedding, 1629. The Grateful Servant, 1630. The School of Compliment, 1631, as Love Tricks, 1637, 1667. Changes, or Love in a Maze, 1632. The Witty Fair One, 1633. The Bird in a Cage, 1633. The Traitor, 1635. Hyde Park, 1637. The Gamester, 1637. The Young Admiral, 1637. The Example, 1637. The Lady of Pleasure, 1637. The Duke's Mistress, 1638. The Royal Master, 1638. The Maid's Revenge, 1639. Love's Cruelty, 1640. The Opportunity, 1640. The Coronation (lic. 1635), 1640. The Constant Maid, 1640, as Love Will Find Out a Way, 1667. St Patrick for Ireland, 1640. The Humorous Courtier, 1640. The Arcadia, 1640. Six New Plays, viz., The Brothers, The Doubtful Heir, The Imposture, The Cardinal, The Sisters, The Court Secret, 1652-3. The Politician, 1655. The Gentleman of Venice, 1655. Honoria and Mammon, 1659. The Contention of Ajax and Ulysses, 1659. The Ball (with Chapman), 1639. Chabot, Admiral of France (with Chapman), 1639.

COLLECTED EDITIONS

Gifford (W.) and Dyce (A.), 6 vols., 1833. — ·Gosse (E.), six plays, in Mermaid Series, 1888.

CRITICISM, etc.

Swinburne (A. C.), in Fortnightly Review, April, 1890.- Stiefel (A. L.), Die Nachahmung spanischer Komödien in England, in Romanische Forschungen, v. 193, 1890. — Nissen (P.), James Shirley, Hamburg, 1901. Gärtner (O.), Shirley, sein Leben und Werken, Halle, 1904.

BIOGRAPHICAL SKETCHES

JOHN LYLY

John Lyly was born in Kent about 1554. His father was Peter Lyly, Registrar of Canterbury, and his grandfather the well-known grammarian, William Lyly, the friend of Colet and More. He entered Magdalen College, Oxford, in 1569, whence he graduated B. A. in 1573, and M. A. in 1575. Here he was more distinguished for wit than for scholarship. Going up to London, and living at first under the protection of Burleigh, he produced in 1578 his Euphues: the Anatomy of Wit, which was followed in 1580 by Euphues and his England, both of which gained a great and immediate popularity. He was now attached to the Earl of Oxford. Campaspe, his first play, was performed in 1581, and most of his dramatic work was done in that decade. The Woman in the Moon, however, may have been produced as late as 1594-5. In 1583, Lyly married Beatrice Browne, a well-connected lady, who bore him eight children. From 1588 he seems to have held an honorary position as Esquire of the Body to the Queen, and ho lived for years in the vain hope of succeeding to the office of Master of the Revels. Between 1589 and 1601 he sat in four parliaments, and in his Pappe with an Hatchet (1589) he took part with the Bishops in the Marprelate controversy. In spite of the distinction which Lyly won by his literary work, he failed to obtain from the Queen the substantial preferment which he craved, and he died in 1606, a disappointed place-seeker. Lyly's reputation has depended largely on the extraordinary vogue of his Euphues, and the immense influence of the style of that work on the prose of the time; but he holds also a highly important position in the development of polite comedy in England.

GEORGE PEELE

The date of Peele's birth is unknown, but is conjecturally placed about 1558. In 1565 he was a free scholar at Christ's Hospital, of which his father was clerk, and in 1571 he went to Oxford. He was a student first at Broadgates Hall (now Pembroke College), and later at Christ Church, whence he graduated B. A. in 1577, and M. A. in 1579. From the University, where he had already achieved some reputation as a poet, he went to London, and apparently plunged at once into the irregularities that wrecked his career, for in the same year the governors of Christ's Hospital forced his father to turn him out of the precincts of the hospital. His wife, whom he had married by 1583, brought him some property, which he soon dissipated; and he became a member of that group of authors who wrote plays, pageants, and all sorts of occasional productions, in the uncertain hope of earning a living. The famous Jests, fathered on Peele, are probably quite unauthentic; but there is an unfortunate appropriateness in many of them to his known mode of life. He seems to have been an actor as well as a playwright. Meres mentions him in Palladis Tamia (1598) as dead.

Peele's claims to distinction rest upon his treatment of metre, and on his humor. He did much to refine and supple the diction of the drama, and before Marlowe placed his stamp upon blank verse, Peele was writing it with great sweetness and a charming musical quality. In the present play, the realistic element in the dialogue is more notable than the decorative, and this realism is employed in the service of a new type of humor. "He was the first," says Gummere, "to blend romantic drama with a realism which turns romance back upon itself, and produces the comedy of subconscious humor."

ROBERT GREENE

Greene was much given to the mingling of autobiography with his fiction, and this has resulted in a much larger body of possibly true biographical details than we possess concerning most of his contemporaries. He was born in Norwich of a respectable family, probably about 1560; entered St. John's College, Cambridge, in 1575; graduated B. A. in 1578; travelled in Spain and Italy, and, by his own account, lived up to the proverbial reputation of the Italianate Englishman; returned to Cambridge and took his M. A. in 1581; and during the rest of his short life busied himself in the production of the very considerable mass of romances, tracts, songs, and plays which to-day give him his place in literature. About 1585 he married a Lincolnshire woman, who bore him a son, and whom he deserted after spending her portion. The [annals of literature hardly bear the record of a more sordid career than that of this university-bred man of letters; and his death was only too fitting a close to it. He died in 1592 in the house of, a poor shoemaker, to whom he gave a bond for ten pounds, leaving the following letter to his deserted wife: "Doll, I charge thee by the love of our youth and by my soul's rest that thou wilt see this man paid, for if he and his wife had not succoured me I had died in the streets.