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Personal particulars regarding Greene.
Greene's blank-verse for the stage.
Pandosto, Groat's-worth of Wit, and
other tracts, by Greene.

History of Orlando Furioso.


Henslowe's connection with Shake-

speare's company.

Wentworth Smith.

Richard Hatheway.

John Webster.

Thomas Middleton.

Prolific talents of our old dramatists.

Examination of the Life and Death of
Doctor Faustus.

Examination of the Massacre at Paris.

the Jew of Malta.

Edward the Second.

Inquiry into Marlow's Versification.

The true Tragedy of Richard, Duke of



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Friar Bacon and Friar Bongay.

James the Fourth.

George-a-Green, the Pinner of Wake-


Alphonsus, King of Arragon.


Mother Bombie.

Maid's Metamorphosis.

Woman in the Moon.

Love's Metamorphosis.

Old Wives' Tale.

Edward the First.

David and Bethsabe.

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RICHARD Edwards enjoyed a very high reputation as a dramatic poet, but he seems to have owed much of it to the then comparative novelty of his undertakings. Thomas Twine (who completed Phaer's translation of the Eneid in 1573), in an epitaph upon the death of Edwards, calls him—

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* In ‘an Epitaph upon the death of the worshipfull Maister Richarde ‘Edwardes, late Maister of the Children of the Queenes Majesties ‘Chappell,’ in Turberville's Epitaphes, Epigrams, Songs and Sonets,

printed in 1567, 8vo. Turberville was murdered in 1579, by John

Morgan, as appears by the following entry in the Stationers' Registers of that year:—‘A dittie of M. Turberville murthered, and ‘John Morgan that murthered him, with a letter of the said Morgan ‘to his mother, and another to his sister Turberville.”

Wol. III. B

Pythias and Palamon and Arcyte, adding, however,
that he had written more equally fit for the ears of
“Thy tender tunes and rhymes,
“Wherein thou wont'st to play,
* Each princely dame of court and town
“Shall bear in mind alway.
“Thy Damon and his friend,
“Arcyte and Palemon,
“With more full fit for princes ears,
“Though thou from earth art gone,
“Shall still remain in fame' &c."

He is mentioned in Webbe's Discourse of English Poetry, 1586; and Puttenham in his Art of English Poesy, 1589, tells us that the Earl of Oxford (of whose dramatic productions there is no other trace) and Edwards deserve the highest prize for ‘comedy and interlude.’ Meres, in his Palladis Tamia, 1598, repeats the applause given by Puttenham, with the omission of the word ‘interlude, then out of fashion, terming Edwards ‘one of the best for comedy.’

The earliest notice we have of Edwards as a dramatic poet occurs in 1564-5, when a tragedy by him, the name of which is not given, was performed by the children of the chapel under his direction, before the Queen at Richmond. It has been remarked elsewheret, that this might possibly be his Damon and

* Warton (Hist. Eng. Poet. iv. 112) says that Twine was an actor in Edwards's Pasamon and Arcyte, and that Miles Winsore, the antiquary, was another of the performers, and afterwards delivered an oration before the Queen at Bradenham.

† Annals of the Stage, vol. i. p. 189.

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