Bullen, Fleay, ii. 76, Small, 101, and Aronstein agree in regarding the play as written in 1601 by way of answer to Cynthia’s Revels, and they are probably right. Small shows that, in spite of the fact that Quadratus calls Lampatho Doria a ‘Don Kynsader’ (II. i. 134), Lampatho must stand for Jonson, and Quadratus to some extent for Marston himself. Perhaps Simplicius Faber is the unidentified Asinius Bubo of Satiromastix. Both Fleay and Small think that the play has been revised before publication, partly because of confusion in the names of the characters, and partly because of the absence of the kind of Marstonian language which Jonson satirized. Small goes so far as to suggest that the seventeen untraceable words vomited by Crispinus in The Poetaster came from What You Will, and that Marston rewrote the play and eliminated them. The rest of Fleay’s conjectures about the play seem to me irresponsible. If the play dates from 1601, it may reasonably be assigned to the Paul’s boys. The induction, with its allusions to the small size of the stage and the use of candles, excludes the possibility of an adult theatre.
The Dutch Courtesan. 1603–4
S. R. 1605, June 26. ‘A booke called the Dutche Curtizan, as yt was latelie presented at the Blackeffryers Provyded that he gett sufficient Aucthoritie before yt be prynted.’ John Hodgettes (Arber, iii. 293). [A further note, ‘This is alowed to be printed by Aucthoritie from Master Hartwell’.]
1605. The Dutch Courtezan. As it was played in the Blacke-Friars. by the Children of her Maiesties Reuels. Written by Iohn Marston, T. P. for John Hodgets. [Prologue.]
S. R. 1613, April 19. Transfer to Hodgettes of Eleazer Edgar’s interest in the play (Arber, iii. 520).
As a Queen’s Revels play, this must have been on the stage at least as late as 1603, and the clear proof of Crawford, ii. 1, that several passages are verbal imitations of Florio’s translation of Montaigne, published in that year, make it difficult to put it earlier, although Wallace, ii. 75, says that he has evidence, which he does not give, for production in 1602. On the other hand, C. R. Baskervill (M. L. A. xxiv. 718) argues that the plot influenced that of The Fair Maid of Bristow, which was performed at Court during the winter of 1603–4. The play is referred to with Eastward Ho! (q.v.) as bringing trouble on Marston by A. Nixon, The Black Year (1606). It was revived for the Court by the Lady Elizabeth’s on 25 Feb. 1613, under the name of Cockle de Moye from one of the characters, and repeated on 12 Dec. 1613 (cf. App. B).
The Malcontent. 1604
S. R. 1604, July 5 (Pasfield). ‘An Enterlude called the Malecontent, Tragicomoedia.’ William Aspley and Thomas Thorpe (Arber, iii. 266, 268). [Entry made on the wrong page and re-entered.]
1604. The Malcontent. By Iohn Marston. V. S. for William Aspley. [Two editions. Inscription ‘Beniamino Jonsonio, poetae elegantissimo, gravissimo, amico suo, candido et cordato, Iohannes Marston, Musarum alumnus, asperam hanc suam Thaliam D.D.’ and Epistle to Reader.]
1604. The Malcontent. Augmented by Marston. With the Additions played by the Kings Maiesties servants. Written by Ihon Webster. V. S. for William Aspley. [A third edition, with the Induction, which is headed ‘The Induction to the Malcontent, and the additions acted by the Kings Maiesties servants. Written by Iohn Webster’, and the insertions I. i. 146–88, 195–212, 256–303; I. iii; II. ii. 34, 57–71; III. i. 33–156; IV. ii. 123–37; V. i; V. ii. 10–39, 164–94, 212–26; V. iii. 180–202.]