[574] ii. 829 (1599), 833 (1601), 835 (1602), 837 (1603).
[575] I find no entries of Enough is as Good as a Feast (N.D.), Thyestes (1560), Hercules Furens (1561), Trial of Treasure (1567), God’s Promises (1577), perhaps reprints; of Orestes (1567); or of Abraham’s Sacrifice (1577) or Conflict of Conscience (1581), perhaps entered in 1571–5. The method of exhaustions suggests that Copland’s Robin Hood (N.D.) is the ‘newe playe called —— ’ which he entered on 30 Oct. 1560, and that Colwell’s Disobedient Child (N.D.) is the unnamed ‘interlude for boyes to handle and to passe tyme at christenmas’, which he entered in 1569–70.
[576] His plays were Sir Thomas Wyat (1607), Every Woman in her Humour (1609), Two Maids of Moreclack (1609), Roaring Girl (1611), White Devil (1612), and Insatiate Countess (1613).
[577] In Nice Wanton a prayer for a king has been altered by sacrificing a rhyme into one for a queen. The prayer of Impatient Poverty seems also to have been for Mary and clumsily adapted for Elizabeth. Wager’s Enough is as Good as a Feast may be Elizabethan or pre-Elizabethan. Jacob and Esau (1568), entered in 1557–8, is pre-Elizabethan.
[578] Reprints of 1559–85 include Heywood’s Weather and Four Ps, printed in England before the establishment of the Stationers’ Register, and Bale’s Three Laws and God’s Promises, printed, probably abroad, in 1538. John Walley, who seems to have printed 1545–86, failed to date his books. I cannot therefore say whether his reprints of the pre-Register Love and Hickscorner, or the prints of Youth and Wealth and Health (if it is his), which he entered in 1557–8, are Elizabethan or not.
[579] Cf. App. L.
[580] Cf. App. B. I classify as follows: (a) Companies of Men: (i) Morals (3), Delight, Beauty and Housewifery, Love and Fortune; (ii) Classical (7), Tully, A Greek Maid, Four Sons of Fabius, Sarpedon, Telomo, Phillida and Corin, Rape of the Second Helen; (iii) Romantic (17), Lady Barbara, Cloridon and Radiamanta, Predor and Lucia, Mamillia, Herpetulus the Blue Knight and Perobia, Philemon and Philecia, Painter’s Daughter, Solitary Knight, Irish Knight, Cynocephali, Three Sisters of Mantua, Knight in the Burning Rock, Duke of Milan and Marquess of Mantua, Portio and Demorantes, Soldan and Duke, Ferrar, Felix and Philiomena; (iv) Farce (1), The Collier; (v) Realistic (2), Cruelty of a Stepmother, Murderous Michael; (vi) Antic Play (1); (vii) Episodes (2), Five Plays in One, Three Plays in One; (b) Companies of Boys: (i) Morals (6), Truth, Faithfulness and Mercy, ‘Vanity’, Error, Marriage of Mind and Measure, Loyalty and Beauty, Game of Cards; (ii) Classical (12), Iphigenia, Ajax and Ulysses, Narcissus, Alcmaeon, Quintus Fabius, Siege of Thebes, Perseus and Andromeda, ‘Xerxes’, Mutius Scaevola, Scipio Africanus, Pompey, Agamemnon and Ulysses; (iii) Romantic (4), Paris and Vienna, Titus and Gisippus, Alucius, Ariodante and Genevora; (c) Unknown Companies: (i) Morals (5), As Plain as Can Be, Painful Pilgrimage, Wit and Will, Prodigality, ‘Fortune’; (ii) Classical (2), Orestes, Theagenes and Chariclea; (iii) Romantic (1), King of Scots; (iv) Farces (2), Jack and Jill, Six Fools. The moral and romantic elements meet also in the list of pieces played by companies of men at Bristol from 1575 to 1579: The Red Knight, Myngo, What Mischief Worketh in the Mind of Man, The Queen of Ethiopia, The Court of Comfort, Quid pro Quo (Murray, ii. 213).
[581] Love and Fortune was printed in the next period.
[582] Mary Magdalen; Conflict of Conscience. ‘Compiled’ goes back to Bale, Heywood, and Skelton. Earlier still, Everyman is not so much a play as ‘a treatyse ... in maner of a morall playe’.
[583] The prologue of Mary Magdalen has ‘we haue vsed this feate at the uniuersitie’.