The above list does not include all the characters of the play, but all those to which actors can, I think, be assigned. With regard to the three female parts, and another of a Moorish woman, we are left much in the dark, and I have placed names against them with considerable hesitation. The actors who doubled their parts were W. Penn, who was also a Jailor; Rowland, who was also King Prusias; Patrick, who was also a Captain; and Baxter, who was also an officer and a servant, besides, as well as we can judge, delivering a speech or two as Demetrius. Rowland (an actor of whom we find mention no where else, that I am aware of) must also have trebled his small parts. Besides these, we hear in the course of the play of W. Mago, (misprinted Nago on p. 26) Gascoine, Herbert, and Harry Wilson: the last was a singer, and may have been son to Jack Wilson, of whom we hear in "Much ado about Nothing." It need hardly be added that the "tragedy" was got up and acted by the company called the King's players, all the names being those of performers in that association in 1631. As we know nothing of Rowland, so we are in the same state of ignorance as to Balls, who is constantly styled Mr. Balls: Nick was most likely apprentice to one of the older performers: to the Boy, for want of a better claimant, I have given the part of the Courtesan.

January 9, 1849.

A MEMBER OF BOTH SOCIETIES.

ART. XV.—Beaumont and Fletcher's " Woman's Prize :" the day when it was acted, and the Prologue and Epilogue spoken.

I observe that the Rev. Mr. Dyce, in his edition of "the Works of Beaumont and Fletcher," vii., 98, states that the comedy of "The Woman's Prize" was one of the plays "acted by the Red Bull actors after the return of Charles the Second;" and in support of his statement he quotes Malone's Shakespeare by Boswell, iii., 272, where "Tamer Tamed" occurs in a list of dramas found among the papers of Sir Henry Herbert. Malone merely remarks that this list was probably furnished by the actors at the Red Bull soon after the Restoration. I have, however, before me an authority which shows the very day on which "The Woman's Prize,” under the title of "The Tamer Tamed," was revived, viz., on the 24th of June, 1660, within a month after the entry of the King into London; and it must have been performed at the Red Bull. Moreover, I am able to furnish the very prologue and epilogue spoken upon the occasion, with the existence of which the Rev. Mr. Dyce was, of course, not acquainted, or he would not have quoted the second-hand authority of Malone, who only spoke from the document he found among Sir H. Herbert's papers.

They were written by Thomas Jordan, and are contained in one of his publications, "Printed for the Author," without date: but the year is of the less consequence, because in many instances it is supplied before the separate pieces in the volume, which has for title "A Nursery of Novelties in Variety of poetry. Planted for the delightful leisures of Nobility and Ingenuity." In order to render the information respecting "The Woman's Prize" complete, I shall quote the prologue and epilogue at length, observing that they are followed by "a Speech" made at the Red Bull on the very day preceding, reproving the auditors in the pit for rising and

coming upon the stage before the play was ended. It is necessary to mention this, inasmuch as it explains a passage in the ensuing, which is headed,

A Prologue to the Comedy call'd The Tamer Tamed,
June 24. 1660.

Enter, reading the Bill.

The Tamer Tam'd, what do the Players mean?
Shall we have Rump and Rebel in the scene?
Juncto's of safety with the righteous rabble
Of Apron-Peers, knights of Sir Arthurs Table?
Shall Baxter, Hewson, Scot, and Fox be nam'd?
These were our Tamers, but I hope they'r tam'd;
For those were men, who (in their holy rage)
Did things too horrid for a civil Stage,
Unless our company should all comply
To leave good language and speak Blasphemy.
This Play, The Tamer tamd, is Fletcher's wit,
A man that pleas'd all pallats; therefore sit
And see the last scene out: pray do not run
Into confusion, till the Play be done.

Should strangers see you mix among us thus,
They would be apt to think you some of Us.
Pray keep your seats, you do not sit in fear,
As in the dangerous dayes of Oliver ;

It is not now (in good time be it spoke)

"Enter the Red-coats," "Exit Hat and Cloak;"
But such a prosp'rous change doth now attend ye,
That those who did affront ye shall defend ye.

The Epilogue, spoken by the Tamer, a Woman.
With licence of my husband, I apply
My self to this honour'd society.
I fear I have offended the good laws
Of household government, and given cause

By my example (in this wilde assay)

For some to put in practice what we play;
And, 'cause the Breeches now come near the make
Of Petty-coats, may willingly mistake:

These are old quarrels, and no doubt came in
When Adam digged, and Madam Eve did spin.
They'r ne'er the honester for that, the crime
Of bold Rebellion is older than Time.
The breach of trust is old, the breach of Laws,
Murther of Kings, witness the good Old Cause!
But we exhibit to your Approbation,

Not the Rebellion, but the Reformation.

The Rev. Mr. Dyce remarks (vii., 98) that "The Woman's Prize" was "one of the pieces in which the youthful Betterton distinguished himself, while an actor at the Cockpit in Drury Lane, in the company formed by Rhodes on the eve of the Restoration;" and he refers to an authority he supposes himself to have cited in his edition of Beaumont and Fletcher, vol. v., p. 3, where, however, nothing is said upon the subject. I conclude that there is an error in the reference; and, as I am interested in the question, I should be glad to learn where it is stated that Betterton played in "The Tamer Tamed" prior to the return of Charles the Second. Perhaps it is true; but it is clearly important, because, if he did, he no doubt had the part of Maria, Petruchio's second wife, who delivered the preceding epilogue. Without imputing any carelessness to the Rev. Mr. Dyce, who may well have overlooked the authority of Thomas Jordan, I think it will be admitted, that by the foregoing quotations I have supplied a deficiency in his information respecting "The Woman's Prize, or the Tamer Tamed."

Liverpool, November 27, 1847.

H. G. NORTON.

ART. XVI.-Sir George Buc and the office of the Revels.

The following letter from Sir George Buc to Cecil, Earl of Salisbury, Lord High Treasurer to King James I., is new to our dramatic history. Buc was Master of the Revels during the last six years of Shakespeare's life, and is known to have licensed the first performance of "The Winter's Tale." The Revels' house in St. John's, to which the letter alludes, was part of the old hospital of St. John's of Jerusalem, and must necessarily have been known to Shakespeare.

[Harl. MS., 6850, rough draft of letter in Sir George Buc's handwriting.]

To the right honoble the Erle of Salisbury,

1. high Tresorer of England.

Most humbly I beseech yr l'p to make fauorable allowance for a house for me for his māties better service in the office of the Revells, as also for these few other just and conscionable consyderations, viz:—

1. For that the house in St. Jones, granted to me by his māties lřes patents, and lately taken from me and from myne office is worth (wth the appurtenances) per ann. 50.

2. Itē, in consyderation that by the order of the Erl of Suff., 1. Chamberlayn, I have hyred at a high and dear rate a convenient house for the office, the wch (as all other the like wthin this city) are dearly rented.

3. Itē, in consyderation that ye sayd L. Chamberlayn hath enjoyned mee to place in this my house the King's stuff of the wardrobe and storehouse of the Revels, wherunto were allotted fayre and larg roomes in St Jones.

4. Ite, for yt the late m' of ye Revells had allowance of 35" pann., notw'standing yt hee was not at the charge of hyreing of any house, and besides had 100 for his better recōpense.