Not

EDGAR I. FRIPP.

(To be continued.)

NATHANIEL FIELD'S WORK IN THE

"BEAUMONT AND FLETCHER" PLAYS. (See ante, p. 141, 164.)

II. THE QUEEN OF CORINTH'

(Acts III. and IV.).

58., and had other trees squared and sawn orders. The assistant schoolmaster, we for repairs at the Vicar's House and Chapel must note, was no longer William Gilbert and the making of a pinfold. John Bretch-alias Higgës, but one Allen, whom John girdle's residence was overhauled the cen- Shakespeare paid 4 "for teaching the tral chimney was rebuilt, the roof retiled, children." Gilbert found work as a scrivener wood-work renewed, and the ground-floor and in other capacities in Stratford. clayed and sanded-at an outlay of 6l. 15s. 5d. It was perhaps during the " reparations that the Vicar took the lease of a small house in Church Street, at a rent of 8s. per annum. The pinfold was erected in Tinkers' Lane on land belonging to the Almshouse, and a rent of 8d. a year was henceforth paid to the inmates. The Protestantising of the Chapel was in hand and "images had been "defaced" when the energetic Chamberlain's term of office ended in October. coming under episcopal supervision, the Gild Chapel had been left in statu quo, probably through the influence of the Cloptons and William Bott at New Place. John Shakespeare did not spare it. When the frescoes were discovered under the whitewash in 1804, some were found nearly in a perfect state, but in the chancel many parts, especially the crosses, had been evidently mutilated by some sharp instrument through the ill-directed zeal of our early Reformers. The lower compartment was one of those intentionally mutilated-a cross, an altar and a crucifix." The Chamberlain may not have handled the instrument but he had the directing of it. Fortunately he did not vent his zeal upon the figures as on the symbols. He claimed in his old age that he had some of his son's humour, and it would be difficult to believe that the poet's father failed to appreciate the little horned and winged devil in one of the frescoes wielding a very sharp instrument on the heads of the damned. By having him whitewashed John Shakespeare preserved him for our enjoyment, but we are sorry that his son never saw him.

66

On Oct. 6, 1563, when George Whateley was sworn Bailiff and Roger Sadler Head Alderman, new Chamberlains were appointed in the persons of William Tyler and William Smith the haberdasher. John Shakespeare, however, was requested to continue the work he had begun and he served as acting Chamberlain for the next twelvemonth. He concluded the reforma

tion of the Chapel, taking down the roodloft, and providing seats for the minister and the clerk, a pulpit and a communion. board. The officiating minister here was not Bretchgirdle nor his curate, but the School

This play is by three authors, Massinger, Fletcher and Field, Massinger's part being Acts I. and V., Fletcher's Act II., and Field's Acts III. and IV. All the critics who have discussed its authorship recognize that it contains work that cannot be either Massinger's or Fletcher's. Macaulay (Camb. Hist. Eng. Lit.,' vol. vi.), and Boyle (New Shaks. Soc. Trans., 1880-6, p. 609) attribute it to Massinger, Fletcher, and a third author whom they do not identify, though Boyle, who gives III. and IV. to the unknown author, suggests Field as a possible candidate. Fleay at one time favoured Middleton's claim, but later, in his 'Biographical Chronicle of the English Drama,' he correctly assigned these acts to Field.

Though it will involve some repetition, I propose to include with the other indications of Field's hand in this play references to its connexions with the first two of the "Four Plays in One" already noted, in order to show that the marks of Field are sufficiently numerous throughout Acts III. and IV. to justify the assumption that they are entirely his.

Act III.-In sc. i. we have :

the lion should not

(i)
Tremble to hear the bellowing of the bull.
paralleled in 'The Triumph of Honour.'
of Corinth says of Euphanes, whom the
(ii.) Theanor, the vicious son of the queen
Queen favours and protects :-

....like a young pine
He grows up planted under a fair oak.
Com pare II. i. of 'The Fatal Dowry' where
Charalois, distributing his father's effects

in Henley Street; on May 23 of John, son of Nicholas Lane; and on Sept. 17 of Gieza, otherwise Joyce, daughter of Master William Clopton; the burial on Mar. 2 of Mistress Agnes Jeffreys, wife to Alderman Jeffreys of Sheep Street, and the marriage on June 21 In January, 1563, John Shakespeare sued of Nicholas Barnhurst and Elizabeth Bain-Richard Court alias Smith, for a debt. The ton, aaughter to the late Lawrence Bainton and step-daughter of Adrian Quyny.

66

EDGAR I. FRIPP.

(To be continued.)

NATHANIEL FIELD'S WORK IN THE "BEAUMONT AND FLETCHER" PLAYS. (See ante, p. 141, 164.)

II. THE QUEEN OF CORINTH

(Acts III. and IV.).

5s., and had other trees squared and sawn orders. The assistant schoolmaster, we for repairs at the Vicar's House and Chapel must note, was no longer William Gilbert and the making of a pinfold. John Bretch-alias Higgës, but one Allen, whom John girdle's residence was overhauled the cen- Shakespeare paid 4 "for teaching the tral chimney was rebuilt, the roof retiled, children. Gilbert found work as a scrivener wood-work renewed, and the ground-floor and in other capacities in Stratford. clayed and sanded-at an outlay of 6l. 15s. 5d. It was perhaps during the reparations that the Vicar took the lease of a small house in Church Street, at a rent of 8s. per annum. The pinfold was erected in Tinkers' Lane on land belonging to the Almshouse, and a rent of 8d. a year was henceforth paid to the inmates. The Protestantising of the Chapel was in hand and "images had been "defaced when the energetic Chamberlain's term of office ended in October. Not coming under episcopal supervision, the Gild Chapel had been left in statu quo, probably through the influence of the Cloptons and William Bott at New Place. John Shakespeare did not spare it. When the frescoes were discovered under the whitewash in 1804, some were found nearly in a perfect state, but in the chancel "many parts, especially the crosses, had been evidently mutilated by some sharp instrument through the ill-directed zeal of our early Reformers. The lower compartment was one of those intentionally mutilated-a cross, an altar and a crucifix." The Chamberlain may not have handled the instrument but he had the directing of it. Fortunately he did not vent his zeal upon the figures as on the symbols. He claimed in his old age that he had some of his son's humour, and it would be difficult to believe that the poet's father failed to appreciate the little horned and winged devil in one of the frescoes wielding a very sharp instrument on the heads of the damned. By having him whitewashed John Shakespeare preserved him for our enjoyment, but we are sorry that his son never saw him.

On Oct. 6, 1563, when George Whateley was sworn Bailiff and Roger Sadler Head Alderman, new Chamberlains were appointed in the persons of William Tyler and William Smith the haberdasher. John Shakespeare, however, was requested to continue the work he had begun and he served as acting Chamberlain for the next twelvemonth. He concluded the reformation of the Chapel, taking down the roodloft, and providing seats for the minister and the clerk, a pulpit and a communionboard. The officiating minister here was not Bretchgirdle nor his curate, but the School

This play is by three authors, Massinger, Fletcher and Field, Massinger's part being Acts I. and V., Fletcher's Act II., and Field's Acts III. and IV. All the critics who have discussed its authorship recognize that it contains work that cannot be either Massinger's or Fletcher's. Macaulay (Camb.. Hist. Eng. Lit.,' vol. vi.), and Boyle (New Shaks. Soc. Trans., 1880-6, p. 609) attribute it to Massinger, Fletcher, and a third author whom they do not identify, though Boyle, who gives III. and IV. to the unknown author, suggests Field as a possible candidate. Fleay at one time favoured Middleton's claim, but later, in his 'Biographical Chronicle of the English Drama,' he correctly assigned these acts to Field.

Though it will involve some repetition, I propose to include with the other indications of Field's hand in this play references to its connexions with the first two of the "Four Plays in One" already noted, in order to show that the marks of Field are sufficiently numerous throughout Acts III. and 1V. to justify the assumption that they are entirely his.

Act III.-In sc. i. we have :—

the lion should not

(i) Tremble to hear the bellowing of the bull. paralleled in 'The Triumph of Honour.'

(ii.) Theanor, the vicious son of the queen of Corinth says of Euphanes, whom the Queen favours and protects :

in Henley Street; on May 23 of John, son of Nicholas Lane; and on Sept. 17 of Gieza, otherwise Joyce, daughter of Master William Clopton; the burial on Mar. 2 of Mistress Agnes Jeffreys, wife to Alderman Jeffreys of Sheep Street, and the marriage on June 21 of Nicholas Barnhurst and Elizabeth Bainton, aaughter to the late Lawrence Bainton and step-daughter of Adrian Quyny.

Joan, was probably living) was named Margaret, no doubt after her mother's sister, Margaret Arden, wife of Alexander Webbe, now living in John Shakespeare's old home at Snitterfield.

In January, 1563, John Shakespeare sued Richard Court alias Smith, for a debt. The case was settled out of court by arbitration, as we learn from the entry in the Court of Henry Field, the father of Richard, may Record Roll of Feb. 3: Actio debiti inter have been brother to John Field of Tan-Johannem Shackspere et Ricardum Court worth.* He was settled in Stratford before concordata per arbitramentum. Extra. Nov. 1556, when, it will be remembered, John Shakespeare sued him for barley undelivered. His wife was named Ursula. They had a daughter Margery, born about 1557, and a son Rafe, baptized on Jan. 26, 1560. Nicholas Barnhurst was a yeoman and woollen-draper, living in Sheep Street. He probably came from Wotton Wawen. Like his wife's step-father he was a Puritan, but more obstinate and quarrelsome.

In October, 1562, John Shakespeare entered on his year as acting Chamberlain, his colleague John Taylor taking the passive part. Humfrey Plymley was Bailiff and Adrian Quyny Head Alderman. We will summarise the events of the twelvemonth chronologically.

On Sunday, Nov. 22, Thomas Barber married Mistress Harbage, widow of Francis Harbage, the furrier. Entering into the late Alderman's business, perhaps his late master's, he began to prosper. He may have come from Drayton, where he had a brother, Richard. Widow Harbage bore him no children but brought him two sons and two daughters by her first husband. Barber, who was a yeoman as well as a skinner, had two tenements side by side in Rother Market, for which he paid 13s. 4d. rent, and two barns by Bankeroft at 13s. 4d. a year. He became a leading man in Stratford and a gentleman.

A few days after this wedding, on Wednesday, Dec. 2, John Shakespeare took a second daughter to the Parish Church to be christened. The ceremony differed in several respects from that of four years previously. It was Protestant instead of Catholic, Bretchgirdle and not Dyos officiated, the service was entirely in English and at the font, the anointing was omitted, and the minister concluded with an exhortation to the godparents to call upon the child, "so soon as she shall be able," to hear sermons. This second baby-Shakespeare (the first,

*The conjecture of Mr. T. Kemp of Warwick.

On Sunday, Jan. 31, there was another interesting wedding at the parish churchof Thomas Rogers and Margaret Pace. Thomas Rogers is a man to bear in mind. He was a butcher in Corn Street, and builder in his old age of the fine timber-house erroneously called "Harvard House." His first wife, whose name we do not know, bore him a child, Anne, who lived to womanhood, and in September, 1562, a second child, Margaret, who died two months afterwards. The mother died before or shortly after this second child's baptism on Sept. 24. Rogers' second wife, Margaret Pace, was daughter of Richard Pace, a farmer in Shottery. She bore him nine children in the course of seventeen years. By a third wife, whom he married in 1581, Thomas Rogers became grandfather of John Harvard, who was the founder in 1638 of Harvard University. But no Harvard had to do with the building of Thomas Rogers' house in 1596.

As Chamberlain John Shakespeare was concerned in the leasing of a number of town properties in the spring of 1563. Three of these were in Henley Street-a house to Widow More, a house to Roger Greene a miller, and a house to Gilbert Bradley the glover. The last was three doors from the Chamberlain's own, next to Richard Hornby's smithy, a dwelling of eight small bays or gables rented at 21s. per annum. Friendship had nothing to do with these lettings, for in each case the lease was a renewal.

On Apr. 30 John Shakespeare buried his recently baptized infant, Margaret. She did not live to "hear sermons. John Bretchgirdle read over her grave the words in the revised Order for the Burial of the Dead: "He cometh up and is cut down like a flower."

66

Happily the Chamberlain was busy. He superintended the felling of trees in the Churchyard (which had now a new sacredness for him), sold five trees for 20s. to Thomas Barber, and two elms to Richard Hill the woollen-draper in Wood Street for

66

66

EDGAR I. FRIPP.

(To be continued.)

"BEAUMONT AND FLETCHER" PLAYS.
(See ante, p. 141, 164.)

II. THE QUEEN OF CORINTH
(Acts III. and IV.).

58., and had other trees squared and sawn orders. The assistant schoolmaster, we for repairs at the Vicar's House and Chapel must note, was no longer William Gilbert and the making of a pinfold. John Bretch-alias Higgës, but one Allen, whom John girdle's residence was overhauled the cen- Shakespeare paid 4 "for teaching the tral chimney was rebuilt, the roof retiled, children." Gilbert found work as a scrivener wood-work renewed, and the ground-floor and in other capacities in Stratford. clayed and sanded-at an outlay of 6l. 158. 5d. It was perhaps during the reparations that the Vicar took the lease of a small house in Church Street, at a rent of 88. per annum. The pinfold was erected in Tinkers' Lane on land belonging to the Almshouse, and a rent NATHANIEL FIELD'S WORK IN THE of 8d. a year was henceforth paid to the inmates. The Protestantising of the Chapel was in hand and "images had been 'defaced" when the energetic Chamberlain's term of office ended in October. Not coming under episcopal supervision, the Gild Chapel had been left in statu quo, probably through the influence of the Cloptons and William Bott at New Place. John Shakespeare did not spare it. When the frescoes were discovered under the whitewash in 1804, some were found nearly in a perfect state, but in the chancel "many parts, especially the crosses, had been evidently mutilated by some sharp instrument through the ill-directed zeal of our early Reformers. The lower compartment was one of those intentionally mutilated-a cross, an altar and a crucifix. The Chamberlain may not have handled the instrument but he had the directing of it. Fortunately he did not vent his zeal upon the figures as on the symbols. He claimed in his old age that he had some of his son's humour, and it would be difficult to believe that the poet's father failed to appreciate the little horned and winged devil in one of the frescoes wielding a very sharp instrument on the heads of the damned. By having him whitewashed John Shakespeare preserved him for our enjoyment, but we are sorry that his son never saw him.

On Oct. 6, 1563, when George Whateley was sworn Bailiff and Roger Sadler Head Alderman, new Chamberlains were арpointed in the persons of William Tyler and William Smith the haberdasher. John Shakespeare, however, was requested to continue the work he had begun and he served as acting Chamberlain for the next twelvemonth. He concluded the reformation of the Chapel, taking down the roodloft, and providing seats for the minister and the clerk, a pulpit and a communionboard. The officiating minister here was not Bretchgirdle nor his curate, but the School

This play is by three authors, Massinger, Fletcher and Field, Massinger's part being Acts I. and V., Fletcher's Act II., and Field's. All the critics who have Acts III. and IV. discussed its authorship recognize that it contains work that cannot be either Massinger's or Fletcher's. Macaulay (Camb. Hist. Eng. Lit.,' vol. vi.), and Boyle (New Shaks. Soc. Trans., 1880-6, p. 609) attribute it to Massinger, Fletcher, and a third author whom they do not identify, though Boyle, who gives III. and IV. to the unknown author, suggests Field as a possible candidate. Fleay at one time favoured Middleton's claim, but later, in his 'Biographical Chronicle of the English Drama,' he correctly assigned these acts to Field.

Though it will involve some repetition, I propose to include with the other indications of Field's hand in this play references to its connexions with the first two of the

66

Four Plays in One" already noted, in order to show that the marks of Field are sufficiently numerous throughout Acts III. and IV. to justify the assumption that they are entirely his.

Act III.-In sc. i. we have :

....

(i) the lion should not Tremble to hear the bellowing of the bull. paralleled in 'The Triumph of Honour.'

(ii.) Theanor, the vicious son of the queen of Corinth says of Euphanes, whom the Queen favours and protects :

...like a young pine
He grows up planted under a fair oak.
Com pare II. i. of 'The Fatal Dowry' where
Charalois, distributing his father's effects