Chabot, ib.- Plays attributed to Chapman on insufficient grounds,

446.-Chapman as a dramatist, 447: his strength to be sought in

particular passages, 448; influence of his classical learning upon his

style, 449; his versification, 450.

PAGE

450-472

His life and literary reputation, 452.-His comedies: The Shoe-

makers' Holiday, 456; Olde Fortunatus, 457; Satiromastix, 459;

The Honest Whore, Parts I and II, 462; The Whore of Babylon,

463; If it be not good, the Devil is in it, 464; Match me in London,

465; The Wonder of a Kingdom, 466.- Dekker's Pageants, ib. –

Plays in which Dekker collaborated: Patient Grissil, ib.; various

historical plays, ib.; The Spanish Moor's Tragedy, 467; Dekker,

Heywood, &c.'s Sir Thomas Wyat, 468; Dekker and Webster's

Westward Ho and Northward Ho, 469; Middleton and Dekker's The

Roaring Girl, ib.; Massinger and Dekker's Virgin Martyr, ib.; Ford,

Dekker, and others' The Witch of Edmonton, 470; Dekker and

Ford's The Sun's Darling, ib.- Dekker as a dramatist, ib.: his

healthiness and vigour, 471.

His personal life, 472.- His literary life and works, 474.-His

Entertainments, 476.-His tragedies: Antonio and Mellida, 477;

Antonio's Revenge, 478; The Wonder of Women, or Sophonisba,

480; The Insatiate Countess, 481.-His comedies: Marston and

Webster's The Malcontent, 483; Parasitaster, or The Fawn, 485;

The Dutch Courtezan, 486; What You Will, 488.—Plays attributed

to Marston: Histriomastix, or The Player Whipt, 489; Jack Drum's

Entertainment, 490.-Marston's achievements as a dramatist, 491 :

his lack of self-dependence, 492; his chief merits and defects, ib.

THOMAS MIDDLETON (1570 c.-1627)

493-540

Non-dramatic works ascribed to him in verse, 493; and in prose,

494. His activity as a writer of plays, masques, and pageants,

495.- Middleton as a dramatic politician, 496.-His reputation

before and after death, 498.-His plays: The Mayor of Quin-

borough, 499.-Romantic comedies: The Old Law, 501; Blurt,

Master-Constable, 502; The Phoenix, 503; The Witch, 504; More

Dissemblers besides Women, 507.- Middleton and William Rowley's

The Spanish Gipsy, 508; Middleton and William Rowley's A Fair

Quarrel, 509; Middleton and William Rowley's The Changeling,

511.-Middleton's Women beware Women, 512.-His comedies of

manners: Michaelmas Term, 514; A Trick to Catch the Old One,

516; The Family of Love, 517; Your Five Gallants, 518; A Mad

World, my Masters, ib.; Middleton and Dekker's The Roaring Girl,

519; Middleton (and Jonson and Fletcher?)'s The Widow, 520;

Middleton's A Chaste Maid in Cheapside, 521; Anything for a Quiet

Life, 523; No Wit, No Help like a Woman's, ib.—A Game at Chess,

524: historical antecedents of the production of the play, ib.-

PAGE

Plays conjecturally ascribed to Middleton, 536. — His pageants and

masques, 537.-Middleton's merits as a dramatist, 538: his comedies

of English life unsurpassed of their kind, 539.

WILLIAM ROWLEY (1585 c.-1640 c.)

--

540-545

His life, 542. His plays:

His collaboration with Middleton, 540.

A New Wonder, a Woman Never Vexed, 543; All's Lost by Lust,

544; A Match at Midnight, ib.; A Shoemaker a Gentleman, ib.-

His qualities as a dramatist, 545.

--

545-550

His career, 546.-His plays: When You See Me, You Know Me,

547; Samuel Rowley and Dekker's (?) The Noble Soldier, 549.

THOMAS HEYWOOD (1575 c.-1650 c.)

550-589

His life, 551.-His Apology for Actors, 552.-His activity and

fertility as a playwright, ib.- His non-dramatic works, 554.- His

extant plays, 555.-Chronicle Histories: Edward IV, ib.; If You

Know Not Me, Parts I and II, 558.-Romantic dramas: The Four

Prentices of London, 559; The Royal King and the Loyal Subject,

560; A Woman Killed with Kindness, 562; The English Traveller,

565; The Fair Maid of the West, 566; The Captives, 567; Heywood

and William Rowley's Fortune by Land and Sea, 569; A Challenge

for Beauty, 570.-Comedies of life and manners: A Maiden-head Well

Lost, 571; The Fair Maid of the Exchange, 572; The Wise Woman of

Hogsdon, 574; Heywood and Brome's The Late Lancashire Witches,

575.- Mythological plays: The Golden, The Silver, The Brazen, and

The Iron Age, 578.—Other plays: The Rape of Lucrece, 581; Love's

Mistress, 582.- Non-extant plays by Heywood, 583.—His pageants,

584; dialogues, ib.; prologues and epilogues, 585.- Summary of

his powers as a dramatist, ib. : his pathos in the domestic drama,

586; his masterly skill in the invention of dramatic situations, 587;

in what sense he may be called 'a prose Shakspere,' ib.— Internal

evidence of his modesty and moral worth, 589.

His life and literary labours, 590.-Peregrinatio Scholastica, 592.-

The Parliament of Bees, 593.—His plays: The Isle of Gulls, 595;

Humour out of Breath, 596; Law-Tricks, 598; The Blind Beggar of

Bednal-Green, 599; Day, William Rowley, and George Wilkins'

The Travels of the Three English Brothers Shirley, 600.-- Day's place

among his fellow-dramatists, 603.

Other dramatists of this period

604-608

HENRY PORTER: The Two Angry Women of Abington, 604.-

WILLIAM HAUGHTON: Englishmen for my Money, 605; The Devil

and his Dame, 606. — RICHARD HATHWAY, 607.- WENTWORTH

SMITH, ib. GEORGE WILKINS: The Miseries of Enforced Marriage,

ib.-MARTIN SLATER, 608.-JOHN COOKE: Greene's Tu Quoque, ib.

Plays of doubtful authorship .

PAGE

608-613

How a Man may Choose a Good Wife from a Bad, 608; A Knack to

Know a Knave, 609; The Life and Death of Jack Straw, 611; Look

About You, ib.; Wily Beguiled, 612.

Literary dramas

613-627

SIR PHILIP SIDNEY'S The Lady of May, 614.—Tragedies by SIR

FULKE GREVILLE, LORD BROOKE (1554-1628), ib.: Alaham, 615;

Mustapha, 616.—Samuel Daniel (1562–1619), 617.— His tragedies:

Cleopatra, 618; Philotas, 619.—His pastoral dramas: The Queen's

Arcadia, 621; Hymen's Triumph, 622.—SIR WILLIAM ALEXANDER,

EARL OF STIRLING (1580-1640), 623: his 'Monarchic Tragedies,'

624.- BARNABY BARNES' The Devil's Charter, 626.

Masques and cognate entertainments

627-630

Compositions of this description by FRANCIS BACON, 628.—

Continued prevalence of the drama over the masque, 629.

Plays at the Universities, 630. — The Parnassus plays, 633: The

Pilgrimage to Parnassus, 634; The Return from Parnassus, Part I,

636; and Part II, 637.—The authorship of the Parnassus plays,

640. - Narcissus, 641.

Variations in their fame, 644.-Life of John Fletcher (1579-1623),

646.- Life of Francis Beaumont (1584-1616), 649; his personal

reputation, 652.- Beaumont and Fletcher's friendship and literary

partnership, 653.— Habits of literary partnership among Elisabethan

dramatists, 654. — Circumstances of the co-operation between

Beaumont and Fletcher, 655.-Are their respective contributions

to their joint works distinguishable? 656.—The evidence on this head

internal only, 658; and more especially turning on versification,

659; but no mental or moral test seems successfully applicable, 660.

Plays by Beaumont and Fletcher
661-748

Beaumont's (?) The Woman-Hater, 662.-Fletcher's The Faithful

Shepherdess, 663.— Plays written in co-operation by Beaumont and

Fletcher: Four Plays in One, 666; The Scornful Lady, 668;

Philaster, 669; The Maid's Tragedy, 672; A King and No King,

676; The Knight of the Burning Pestle, 679; The Coxcomb, 682.-

Plays usually ascribed to Beaumont and Fletcher conjointly: Cupid's

Revenge, 684; The Captain, 686; The Honest Man's Fortune, 687;

The Knight of Malta, 688; Thierry and Theodoret, 689; Love's Cure,

691; Wit at several Weapons, 692.-Beaumont (?), Fletcher, and

.

-

Massinger's (?) Love's Pilgrimage, 694.-Plays by Fletcher only:

Wit without Money, 695; Bonduca, 696; Valentinian, 698; The

Loyal Subject, 699; The Mad Lover, 701; The Humorous Lieutenant,

702; Women Pleased, 703; The Island Princess, 704; The Pilgrim,

705; The Wild-Goose-Chase, 707; Monsieur Thomas, 708; The Woman's

Prize, 709; A Wife for a Month, 711; Rule a Wife and Have a Wife,

ib.; The Chances, 712.- Plays by Fletcher and another author or

authors, not Beaumont: Fletcher and Massinger's (?) The Queen of

Corinth, 714; Fletcher and Massinger's (?) The Double Marriage, 715;

Fletcher and Massinger's (?) Sir John van Olden-Barneveld, 716;

Fletcher and Massinger's (?) The False One, 718; Fletcher and Mas-

singer's(?) The Little French Lawyer, 720; Fletcher and another's (?)

The Custom of the Country, 721; Fletcher and Massinger's (?) The Laws

of Candy and The Spanish Curate, 723; Fletcher and Massinger's (?)

The Beggars' Bush, 725; Fletcher and Massinger's (?) The Prophetess,

727; Fletcher and Massinger's (?) The Sea-Voyage, 728; Fletcher

and William Rowley's The Maid in the Mill, 729; Fletcher and

Massinger's (?) The Lovers' Progress, 730; Fletcher and Middle-

ton's (?) The Nice Valour, or The Passionate Madman, 732; Fletcher,

Jonson (?), and others' The Bloody Brother, or Rollo Duke of

Normandy, 734; Fletcher and Massinger's (?) The Elder Brother,

736; Fletcher and Massinger's (?) The Fair Maid of the Inn, 737;

Fletcher and another's The Noble Gentleman, 738; Fletcher and

Shirley's The Night-Walker, 741.-Other extant and non-extant

plays connected with the names of Beaumont and Fletcher, or of

either alone: Beaumont (?) and Fletcher's (?) The Faithful Friends,

ib. Supposed association of Shakspere and Fletcher as dra-

matists: Fletcher and Shakspere's (?) The Two Noble Kinsmen,

743; Fletcher and Shakspere's (?) and Massinger's (?) Henry VIII,

746.- Fletcher's share in plays attributed to other dramatists, 747.

-Lost plays by Fletcher, 748.

Beaumont and Fletcher's merits and defects as dramatists

PAGE

Their facile productivity, 748; not more than partially accounted

for by their breeding, 749.- Fortunate in the period of the begin-

nings of their careers, 750. — Range and sources of their subjects,

751.- Did they borrow from Spanish plays? 753.-Beaumont and

Fletcher and Lope de Vega, 754.-Their early popularity in part

explained by their agreement with their times, 756.—Their de-

fective treatment of the relations between man and woman, 757;

and their unconsciousness of these defects, 758. Their literary

qualities as dramatists: their facility in construction, 759; their

range of characters, ib.; their ease and grace of diction, 760; their

pathos, ib.; their grace and felicity of style, 761.- Fletcher's

versification, ib. - Beaumont and Fletcher not above their age, 762.

APPENDIX: Shakspere's Sonnets

765-766

ENGLISH DRAMATIC LITERATURE

CHAPTER IV.

SHAKSPERE.

(Continued).

THE ensuing biographical sketch is by no means intended Biographias an attempt to review, in however summary a form, what cal data. has been written concerning the personal life of Shakspere. It is, on the contrary, intended as an endeavour to detach, so far as may be, the facts which may really have affected that life from accretions and accumulations of all sorts, and from mere traditions of idle or of unaccountable origin '.

A word may, at the outset, seem in place with regard to

1 Among the more important English contributions to the Biography of Shakspere are the life by Halliwell-Phillipps, in vol. i. of his folio edition (1853), a much fuller version of the life published by him some years earlier (1848), and the same author's valuable two volumes of illustrations and excursuses accompanying Outlines (1884; here cited in the sixth edition, 1886), those published by Collier (1843), Dyce (1857), and Grant White (1857), respectively, in vol. i. of their several editions of Shakspere's works, Dr. Furnivall's Introduction to The Leopold Shakspere (1877 and 1881), and Mr. Fleay's Chronicle History of the Life and Work of William Shakespeare (1886,-the first systematic endeavour at collecting and digesting the evidence that exists with regard to Shakspere's public life,-his career, in other words, as a player and as a writer for the theatre. I have striven to follow Mr. Fleay's example of passing over, where possible, in silence discredited documents. Of biographies of Shakspere by non-English authors, that by the late Karl Elze (1876), and that by Dr. G. Brandes (1896), to which I have already referred, merit special attention. In addition, I have, while keeping in view the traditions handed down by Rowe (whose Life of Shakespeare was reprinted in vol. i. of the Variorum of 1821, made occasional use of the researches of Malone and Drake among earlier writers, as well as of the labours of Charles Knight (William Shakspere, a Biography, 1843), Joseph Hunter (New Illustrations of the Life, Studies and Writings of Shakspeare, 1845), Mr. S. Russell French (Shakspereana Genealogica, 1869, and other writers.