Whether Massinger ever acted or not, is as doubtful as every other incident of his early life. It was not until 1614 that a glimmering of his actual condition in life is seen through the darkness, and the disclosure is melancholy and discouraging. There is something touching, as well as dreary, in the gloom that one can only diversify with scenes of penury and imprisonment for debt. At last the light breaks out; and, in the words of the following appeal, the history of some years of disappointment is disclosed:--[[186]]

"To our most loving friend, Mr. Philip Hinchlow, Esquire, these,--

“Mr. Hinchlow--You understand our unfortunate extremitye, and I doe not thinke you so void of cristianitee but that you would throw so much money into the Thames as wee request now of you, rather than endanger so many innocent lives. You know there is Xl. more at least to be receaved of you for the play. We desire you to lend us Vl. of that; which shall be allowed to you, without which we cannot be bayled nor I play any more till this be dispatch’d. It will lose you XXl. ere the end of the next weeke, besides the hindrance of the next new play. Pray, sir, consider our cases with humanity, and now give us cause to acknowledge you our true friend in time of neede. Wee have entreated Mr. Davison to deliver this note, as well as witness your love as our promises and always acknowledgement to be ever your most thankful and loving friends,[[187]]

”Philip Massinger.

“R. Davison.

”Nat. Field."

This letter is the only one with the signature of Philip Massinger extant. It was addressed to a pawnbroker--such was Philip Hinchlow, who, besides exercising that ancient profession, was also engaged in theatrical speculations, his advances being chiefly made upon the wearing apparel and properties, of which he acquired a large portion in this way. “A comfortable sort of person,” remarks Hartley Coleridge, “for three poets to be obliged to.” Especially when they, as it were, pledged to him the labour of their brains; and that when they were either already in prison, or afraid of that crisis in their miserable destiny. Nathaniel Field, the writer of this letter, was Massinger’s partner in the production of the “Fatal Dowry;” he had a share in the Globe and Blackfriar’s Theatres, in conjunction with Burbage, the original Richard III., Hamlet, and Othello; and with Lowin, the original Falstaff. Field was also an actor, and he performed in Ben Jonson’s masque, “Cynthia’s Revels,” in 1600, when he appeared as one of the children of the Queen’s chapel. Robert Daborne was a man of good descent, a scholar and a clergyman, although the author of several plays; nor was he the only clerical dramatist in an age which was, indeed, "not an innocent one"--for Cartwright, also a play-writer, was a divine, and, as Fuller states, “a florid and seraphical preacher.”[[188]]

It has been remarked that the “Fatal Dowry” was like the production of a man in debt. Massinger might refer to his own case when he wrote:--

“I will not take

One single piece of this great heap. Why should I