Philip Massinger

42, 50, 81, 82, 84,

l, 12

18, 20, 24, 31, 32, 3

, 123, 142,

ary of

on, 23,

A., 25, 65

Sir G.

r, 2

29 n. 2, 1

ncy in a M

insk

tno

ugh there the work would be less easy, partly from the looseness of the metres, partly from t

Fasti Oxonie

dies." But we must be careful how we believe Langbaine; his account of our poet begins thus: "This author was born at Salisbury, in the reign of

of repeating himself arose probably from his profession as an actor."

f Rome, English transla

T. Wyatt is a fragment, we find five authors concerned. It will be

nt of Field se

story of the pirate Ward; and The Poor Man's Comfort, a tragi-comedy. Like Marston, he abandoned the stage in middle life an

rum as is contained in these li

It may be

ice, with whic

ith my death, w

ed actions.-V.

aid on the metaphor co

at attention, As you would hear an embassy fro

0

npowder Plot; and the curious argument in The Renegado, V., 1, 28-41, in favo

1

ado, I.,

2

men of Ver

3

he Bashful Lover, IV., 2. The same expedient occurs in The Emperor of the East, V., 3, where Theodosius, disguised as a friar, convin

4

ifies the play referred to in the document as The Honest Man of Fortune, acted in 1613. In the first Dubl

are pre

reverence; m

h; yet some wor

wrong my duty,

ordship pleased

n my trod-d

5

"there is no record of any speculations of Henslowe's own as far as the evidence of the Di

Massinger to Philip Henslowe for payment of ￡3, dated

6

March 4

7

d May 6

8

Picture, II., 2, 37; City Madam, I., 2, 116; Emp

9

. 31), distinctly says that the poet had a pension of twenty or thir

0

f William Herbert

1

could never arrive at the happiness t

2

a comedy of Cervantes, Los Ba?os de Argel, printed in 1615. The Emperor of the East is derived from a French translation of Zonaras. If, which is doubtful, The Duke of Milan owes anything to Gu

sed on a Spanish play, of which no translation is known, Conquista de las islas Malucas, by De Argensola, 1609. Rosenbach attributes the play to Massinger! It is clear, however, that a translation may have been in circulation from which Fletcher took his materials, or somebody may have seen the play acted in Spain, and reported it to him. Further, Love's Cure is based on the Comedia de la Fuerza de la Cos

3

9-45 ru

well that do th

for a pensio

over candour:

those toys I wo

eyond a pla

ue the course

grow

s collaboration with Fletcher and others. The poem was published by A. B. Grosart in Englische Stud

4

As Massinger was but nineteen in 1603 he cannot have been the "happy genius" referred to in the address "to the reade

5

Massenger, a stranger." The entry about Fletcher runs thus: "Aug. 29, 1625, John Ffletcher [sic], a man, in the church." Entries such as

6

chancel of St. Saviour's does not mark

7

akspere. It represents two scenes from The Virgin Martyr, and, unfortunately, repeats

8

y Review, A

9

2,

0

The monastery to which Sir John Frugal retires is at "Lovain" (City Madam, I

1

d finem. Compare the part played in Sir John Barnavelt by

patents out for th

emov'd, first

r Charles Morgan's

avelt (to hi

st thou hav

ish Captain, and

hy father and

. Barn

ied by any mean

romise) to win

Companies in

d firm

2

3-5; Guardian, II., 1, 84; V., 4, 160; Very Woman, V., 5, 28. Cf. in Marlowe, Tamburlaine, Pt. I.

3

; Renegado, IV., 1,

4

Woman,

5

ral Combat and

6

Lorenzo that "Heaven's liberal hand" has designed him to fight rather against

When o

ch other, t

valour shou

une of a si

ent agains

7

Malta, is the hero of The Maid of Honour. Cf. also Fle

8

milar emphasis on the Turk and pirates in

9

. In The Unnatural Combat, III., 1, 75, the "Hugonots" are referred to as using the word "mortified." "Genev

0

aid, I

1

an, III.

ave a city, Sir-

are affirm it-w

ad of vanity '

rlasting morris

obby-horse an

ld star

2

169; Very Woman, III., 5, 29 and 70; Re

3

Massinger, cf. Picture, II., 2; C

4

e Fatal Dowry, II., 2; Emperor of the East, I., 2, 21; Picture, II.,

5

1, 81. Cf. Merchant of Venice, I., 2

6

ay end

you

reformation,

whom wealth make

heres, and will

manners, and th

wixt the city

1, 81 and 88. In The Renegado, I., 2, distinctions are drawn between the county ladies,

to hear

ly, and to cry

ality enough between a lady and a city dame if their hair be but of a colour." Ford contrasts the ladies of t

poor girl for

must not with

ste Maid in Ch

you have a presenc

a maid brought

pirit makes our

o the Induction to The Knight of the Burning Pestl

7

enry VIII., V., 4; Shoemaker's Holiday, V., 2; The H

8

Cf. Epicoene, V., 1 bis; Elder Brother, IV., 3; Hone

9

, 52-54; Winter's Tale, IV., 3, 181-263; V., 2, 25-27; Antony and Cleopatra, V., 2, 215; Queen of Corinth, III., 1; Spanish Curate, IV., 7; False One, I., 1; Elder Brother, IV., 4; The White Devil, p. 23b; The Devil's Law-case, pp. 131b and 1

0

, 2; Four Plays in One; Triumph of Love, 4; Little French Lawyer, III., 2; The False One, III.

1

tting justice done for the poor, cf. Unnatural Comba

2

reference to the m

on mills, that

r trees fo

one, I.,

3

, 290

4

New Way and

5

y M

6

e, I., 1, refers to the national love of self-depreciat

7

, III., 1, 133-135; and Webster's

8

st Whore, Pt

, and only paradise for women. Also Lamira'

9

e's Sacrifice is a slighter sketch of the same type. The worthlessness of Bia

0

, IV., 2

1

Poetry, pp. 363-365

2

line 13; Prologue to Romeo and Juliet, line 12, a

l my

grace of two

id I go

; Love's Pilgrimage, line 8; Lover's Progress, line 18 ("three short

3

s You List probably represents an adaptation of this play, with classica

4

n, which referred to quite recent events in France. But the censor

5

een made, under another title. Sir H. Herbert wrote, "Received of Mr. Lowen's for m

6

(ed. 1790), vol.

7

an, I

8

Florence, I., 1, 75-84. Sanazarro is

9

1, 2

0

1, 1

1

, 3,

2

o Great Duke of Flo

3

made by the Informer to

4

arto,

5

, 236

6

1, 13

7

, 220

8

atch the Old One, III., 4; Dampit: "In Anno '88, when

9

air Maid of the Inn. Notice too the zest with which Valerio (A W

0

Honour, we find classical allusions in I., 1, 240; I., 2, 36, 107-128; II., 1, 48; II., 2, 23; II., 3, 26;

1

, xxvi.,

2

e Studie

3

2,

4

her to imitate Massinger than for Massinger to imitate Fletcher. The

5

, 1,

6

ussion o

7

ppend

8

ed, he ignores Massinger's undoubted claims to have collaborated with Fletcher, though he makes full amends for this omission in his article in the Cambridge History of E

9

attributes the completion of The Lover's Progress, Love's Pilgrimage, and the character of Septimius in The False One to Massinger.

0

t., VI

1

he original book is to be seen at Shak

2

s date for suc

3

assinger; and not a few passages in Massinger remind one o

O my

alth, which you

ldly man had b

nger might with

adoratio

t thank you for

hat tranquil

ows must purch

ge with him:

poverty, th

err'd on me; an

for my wea

cy. Hon

eeling he r

he Bashful Lov

She caus

ew no guilt, but

y of it; 'twa

itude-what sha

ctavio no

sure of his pr

d he forced to

ed to want; b

ation of se

es, raised by enc

s sits he

el inclined to say that Massinger knew H

4

soliloquies are inartistic, and at times ludicrous. The play has at once the dignity of an early period and the complexity of style with which we are familiar

discussion inf

5

ppend

6

ow in the British Museum, expresses himself as sceptical of the W

7

5. Cf. Downes' Roscius

8

tion, I., p. 19

9

ntative English

0

volumes, is one of the classics of our

0

of Sir Giles Overreach, one of the most brill

0

firmly believes in the eternal difference between right and wrong,

0

, xxvi.,

0

IV., 4: "Ich untersuch

0

ts of a strictly dramatic kind, but it is not 'well-built,' it is not what we mean by 'a good play.'?" He

0

ful of the practical dramatists of the early seventeenth century." He suggests (R. E. C., p. xcv.) that with slight and judicious modif

0

hetoric, III

0

thor did not invent this incident, but took it from Byzan

0

. Cf. ? ?φωνο? in Ar

1

yage and The D

1

(Oxford Lectures, p. 366, note) on the blinding of Gloucester in King Lear. W

htful

rs! O, that the

ead, and make

bands here might

r; this is her heart's blood, is it not? I think it be." There is a similar difficulty about D'Amville in The Atheist's Tragedy (V., 2) knocking out his brains with the executioner

1

marked feature of Marlowe's Tamburlaine and Faustus; but

1

3 (Timoleon and four senators); Unnatural Combat, II., 2 (Theocrine and three attendants); Great Duke of Florence, I., 2 (three councillors); II., 2; V., 2 and 3 (Cozimo and courtiers); Guardian, IV., 4 (Severino and four banditti); Maid of Honour, I., 1 (Bertoldo and the two heirs "city bred"); Roman Actor, IV., 1, 98; V., 1, 213 (the three tribunes

1

her. The secret is not revealed until Act V., 2, 122, though it is hinted

1

other and sister are n

1

.,

1

,

1

to the creditors in The City Madam, I., 3; the long preparation which Sforza makes in The Duke of Milan, I., 3, 268; the skill which leads up to the disclosure of Marullo's name in The Bondman (IV.,

1

Actor, I., 3; Bondman, I., 3; Parliament of

2

h in the account of many it undergoes at this day with other common interludes; happening through the poet's error of intertwining comic stuff with tragic sadness and

2

the third act; but the plot is not felt to have exha

2

ays: "Neither Fletcher nor Massinger admits prose" (Shakespeare Manual, p. 71). The grace of Ma

2