Part 1 with Heywood, Dec. 1602–Jan. 1603; one payment had been made to

Chettle for Part 2 before the diary entries stopped.

(xliii) [Unnamed play].

‘for a prologe & a epyloge for the corte’, 29 Dec. 1602.

(_b_) _Plays for Worcester’s, 1602–3_

(xliv) [Unnamed play. Collier’s _Robin Goodfellow_ is forged].

A tragedy, Aug. 1602, but perhaps not finished, unless identical, as suggested by Greg (_Henslowe_, ii. 229), with the anonymous _Byron_.

(xlv) _1 Lady Jane_, or _The Overthrow of Rebels_.

With Dekker (q.v.), Heywood, Smith, and Webster, Oct. 1602.

(xlvi) _Christmas Comes but Once a Year._

With Dekker, Heywood, and Webster, Nov. 1602.

(xlvii) [Unnamed play. Collier’s _Like Quits Like_ is forged].

With Heywood, Jan. 1603, but apparently not finished, or possibly identical, as suggested by Greg (_Henslowe_, ii. 235), with (xlviii).

(xlviii) _Shore._

With Day, May 1603, but not finished before the diary ended.

THOMAS CHURCHYARD (1520?-1604).

The best account of Churchyard is that by H. W. Adnitt in _Shropshire Arch. Soc. Trans._ iii (1880), 1, with a bibliography of his numerous poems. For his share in the devices of the Bristol entertainment (_1574_) and the Suffolk and Norfolk progress (_1578_), of both of which he published descriptions, cf. ch. xxiv. He was also engaged by the Shrewsbury corporation to prepare a show for an expected but abandoned royal visit in 1575 (_Mediaeval Stage_, ii. 255). His _A Handful of Gladsome Verses given to the Queenes Maiesty at Woodstocke this Prograce_ (1592) is reprinted in H. Huth and W. C. Hazlitt, _Fugitive Tracts_ (1875), i. It is not mimetic. His own account of his work in _Churchyard’s Challenge_ (1593) suggests that he took a considerable part in Elizabethan pageantry. He says that he wrote:

‘The deuises of warre and a play at Awsterley. Her Highnes being at Sir Thomas Greshams’,

and

‘The deuises and speeches that men and boyes shewed within many prograces’.

And amongst ‘Workes ... gotten from me of some such noble friends as I am loath to offend’ he includes:

‘A book of a sumptuous shew in Shrouetide, by Sir Walter Rawley, Sir Robart Carey, M. Chidley, and M. Arthur Gorge, in which book was the whole seruice of my L. of Lester mencioned that he and his traine did in Flaunders, and the gentlemen Pencioners proued to be a great peece of honor to the Court: all which book was in as good verse as euer I made: an honorable knight, dwelling in the Black-Friers, can witness the same, because I read it vnto him.’

The natural date for this ‘shew’ is Shrovetide 1587. I do not know why Nichols, _Eliz._ ii. 279, dates the Osterley device 1579. Elizabeth was often there, but I find no evidence of a visit in 1579. Lowndes speaks of the work as in print, but I doubt whether he has any authority beyond Churchyard’s own notice, which does not prove publication.

ANTHONY CHUTE (_ob. c._ 1595).

Nashe in his _Have With You to Saffron Walden_ (1596, _Works_, iii. 107), attacking Chute as a friend of Gabriel Harvey, says, ‘he hath kneaded and daub’d vp a Commedie, called The transformation of the King of _Trinidadoes_ two Daughters, Madame _Panachaea_ and the Nymphe _Tobacco_; and, to approue his Heraldrie, scutchend out the honorable Armes of the smoakie Societie’. I hesitate to take this literally.

GEORGE CLIFFORD (1558–1605).

George Clifford was born 8 Aug. 1558, succeeded as third Earl of Cumberland 8 Jan. 1570, and died 30 Oct. 1605. A recent biography is G. C. Williamson, _George, Third Earl of Cumberland_ (1920). He married Margaret Russell, daughter of Francis, second Earl of Bedford, on 24 June 1577. His daughter, Anne Clifford, who left an interesting autobiography, married firstly Richard, third Earl of Dorset, and secondly Philip, fourth Earl of Pembroke. Cumberland was prominent in Elizabethan naval adventure and shone in the tilt. He is recorded as appearing on 17 Nov. 1587 (Gawdy, 25) and 26 Aug. 1588 (_Sp. P._ iv. 419). On 17 Nov. 1590 he succeeded Sir Henry Lee (q.v.) as Knight of the Crown. Thereafter he was the regular challenger for the Queen’s Day tilt, often with the assistance of the Earl of Essex. On 17 Nov. 1592 they came together armed into the privy chamber, and issued a challenge to maintain against all comers on the following 26 Feb. ‘that ther M. is most worthyest and most fayrest Amadis de Gaule’ (Gawdy, 67). Cumberland’s tiltyard speeches, as Knight of Pendragon Castle, in 1591 (misdated 1592) and 1593 are printed by Williamson, 108, 121, from manuscripts at Appleby Castle.

His appearance as Knight of the Crown on 17 Nov. 1595 is noted in Peele’s (q.v.) _Anglorum Feriae_. In F. Davison’s _Poetical Rhapsody_ (1602, ed. Bullen, ii. 128) is an ode _Of Cynthia_, with the note ‘This Song was sung before her sacred Maiestie at a shew on horse-backe, wherwith the right Honorable the Earle of Cumberland presented her Highnesse on Maie day last’. This is reprinted by R. W. Bond (_Lyly_, i. 414) with alternative ascriptions to Lyly and to Sir John Davies. But Cumberland himself wrote verses. I do not know why Bullen and Bond assume that the show was on 1 May 1600. The _Cumberland MSS._ at Bolton, Yorkshire, once contained a prose speech, now lost, in the character of a melancholy knight, headed ‘A Copie of my Lord of Combrlandes Speeche to y^e Queene, upon y^e 17 day of November, 1600’. This was printed by T. D. Whitaker, _History of Craven_ (1805, ed. Morant, 1878, p. 355), and reprinted by Nichols, _Eliz._ iii. 522, and by Bond, _Lyly_, i. 415, with a conjectural attribution to Lyly. In 1601 Cumberland conveyed to Sir John Davies a suggestion from Sir R. Cecil that he should write a ‘speech for introduction of the barriers’ (_Hatfield MSS._ xi. 544), and in letters of 1602 he promised Cecil to appear at the tilt on Queen’s Day, but later tried to excuse himself on the ground that a damaged arm would not let him carry a staff (_Hatfield MSS._ xii. 438, 459, 574). Anne Clifford records ‘speeches and delicate presents’ at Grafton when James and Anne visited the Earl there on 27 June 1603 (Wiffen, ii. 71).

JO. COOKE (_c._ 1612).

Beyond his play, practically nothing is known of Cooke. It is not even clear whether ‘Jo.’ stands for John, or for Joshua; the latter is suggested by the manuscript ascription on a copy of the anonymous _How a Man may Choose a Good Wife from a Bad_ (q.v.). Can Cooke be identical with the I. Cocke who contributed to Stephens’s _Characters_ in 1615 (cf. App. C, No. lx)? Collier, iii. 408, conjectures that he was a brother John named, probably as dead, in the will (3 Jan. 1614) of Alexander Cooke the actor (cf. ch. xv). There is an entry in S. R. on 22 May 1604 of a lost ‘Fyftie epigrams written by J. Cooke Gent’, and a ‘I. Cooke’ wrote commendatory verses to Drayton’s _Legend of Cromwell_ (1607).

_Greenes Tu Quoque or The City Gallant. 1611_

1614. Greene’s Tu quoque, or, The Cittie Gallant. As it hath beene diuers times acted by the Queenes Maiesties Seruants. Written by Io. Cooke, Gent. _For John Trundle._ [Epistle to the Reader, signed ‘Thomas Heywood’, and a couplet ‘Upon the Death of Thomas Greene’, signed ‘W. R.’]

1622. _For Thomas Dewe._

N.D. _M. Flesher._

_Editions_ in Dodsley^{1–4} (1744–1875) and by W. Scott (1810, _A. B. D._ ii) and J. S. Farmer (1913, _S. F. T._).

Heywood writes ‘to gratulate the love and memory of my worthy friend the author, and my entirely beloved fellow the actor’, both of whom were evidently dead. Satire of Coryat’s _Crudities_ gives a date between its publication in 1611 and the performances of the play by the Queen’s men at Court on 27 Dec. 1611 and 2 Feb. 1612 (cf. App. B). In Aug. 1612 died Thomas Greene, who had evidently played Bubble at the Red Bull (ed. Dodsley, p. 240):

_Geraldine._ Why, then, we’ll go to the Red Bull: they say Green’s a good clown.

_Bubble._ Green! Green’s an ass.

_Scattergood._ Wherefore do you say so?

_Bubble._ Indeed I ha’ no reason; for they say he is as like me as ever he can look.

Chetwood’s assertion of a 1599 print is negligible. The Queen of Bohemia’s men revived the play at Court on 6 Jan. 1625 (_Variorum_, iii. 228).

AQUILA CRUSO (_c._ 1610).

Author of the academic _Euribates Pseudomagus_ (cf. App. K).

ROBERT DABORNE (?-1628).

Daborne claimed to be of ‘generous’ descent, and it has been conjectured that he belonged to a family at Guildford, Surrey. Nothing is known of him until he appears with Rosseter and others as a patentee for the Queen’s Revels in 1610. Presumably he wrote for this company, and when they amalgamated with the Lady Elizabeth’s in 1613 came into relations with Henslowe, who acted as paymaster for the combination. The Dulwich collection contains between thirty and forty letters, bonds, and receipts bearing upon these relations. A few are undated; the rest extend from 17 April 1613 to 4 July 1615. Most of them were printed by Malone (_Variorum_, iii. 336), Collier (_Alleyn Papers_, 56), and Swaen (_Anglia_, xx. 155), and all, with a stray fragment from _Egerton MS._ 2623, f. 24, are in Greg, _Henslowe Papers_, 65, 126. There and in _Henslowe_, ii. 141, Dr. Greg attempts an arrangement of them and of the plays to which they relate, which seems to me substantially sound. They show Daborne, during the twelve months from April 1613, to which they mainly belong, writing regularly for the Lady Elizabeth’s, but prepared at any moment to sell a play to the King’s if he can get a better bargain. Lawsuits and general poverty made him constantly desirous of obtaining small advances from Henslowe, and on one occasion he was in the Clink. In the course of the year he was at work on at least five plays (_vide infra_), alone or in co-operation now with Tourneur, now with Field, Massinger, and Fletcher. Modern conjectures have assigned him some share in plays of the Beaumont and Fletcher series which there is no external evidence to connect with his name. However this may be, it is clear that, unless his activity in 1613–14 was abnormal, he must have written much of which we know nothing. He is still traceable in connexion with the stage up to 1616, giving a joint bond with Massinger in Aug. 1615, receiving an acquittance of debts through his wife Francisce from Henslowe on his death-bed in Jan. 1616 (_Henslowe_, ii. 20), and witnessing the agreement between Alleyn and Meade and Prince Charles’s men on the following 20 March. But he must have taken orders by 1618, when he published a sermon, and he became Chancellor of Waterford in 1619, Prebendary of Lismore in 1620, and Dean of Lismore in 1621. On 23 March 1628 he ‘died amphibious by the ministry’ according to _The Time Poets_ (_Choice Drollery_, 1656, sig. B).

_Collection_

1898–9. A. E. H. Swaen in _Anglia_, xx. 153; xxi. 373.

_Dissertation_: R. Boyle, _D.’s Share in the Beaumont and Fletcher Plays_ (1899, _E. S._ xxvi. 352).

_A Christian Turned Turk. 1609 < > 12_

_S. R._ 1612, Feb. 1 (Buck). ‘A booke called A Christian turned Turke, or the tragicall lyffes and deathes of the 2 famous pyrates Ward and Danseker, as it hath bene publiquely acted written by Robert Daborn gent.’ _William Barrenger_ (Arber, iii. 476).

1612. A Christian turn’d Turke: or, The Tragicall Liues and Deaths of the two Famous Pyrates, Ward and Dansiker. As it hath beene publickly Acted. Written by Robert Daborn, Gentleman. _For William Barrenger._ [Epistle by Daborne to the Reader, Prologue and Epilogue.]

This may, as Fleay, i. 83, says, be a Queen’s Revels play, but he gives no definite proof, and if it is the ‘unwilling error’ apologized for in the epilogue to _Mucedorus_ (1610), it is more likely to proceed from the King’s men. It appears to be indebted to pamphlets on the career of its heroes, printed in 1609. The Epistle explains the publishing of ‘this oppressed and much martird Tragedy, not that I promise to my selfe any reputation hereby, or affect to see my name in Print, vsherd with new praises, for feare the Reader should call in question their iudgements that giue applause in the action; for had this wind moued me, I had preuented others shame in subscribing some of my former labors, or let them gone out in the diuels name alone; which since impudence will not suffer, I am content they passe together; it is then to publish my innocence concerning the wrong of worthy personages, together with doing some right to the much-suffering Actors that hath caused my name to cast it selfe in the common rack of censure’. I do not know why the play should have been ‘martir’d’, but incidentally Daborne seems to be claiming a share in Dekker’s _If It be not Good, the Devil is in It_ (1612).

_The Poor Man’s Comfort, c. 1617_ (?)

[_MS._] _Egerton MS._ 1994, f. 268.

[Scribal signature ‘By P. Massam’ at end.]

_S. R._ 1655, June 20. ‘A booke called The Poore Mans comfort, a Tragicomedie written by Robert Dawborne, M^r of Arts.’ _John Sweeting_ (Eyre, i. 486).

1655. The Poor-Mans Comfort. A Tragi-Comedy, As it was diuers times Acted at the Cockpit in Drury Lane with great applause. Written by Robert Dauborne Master of Arts. _For Rob: Pollard and John Sweeting._ [Prologue, signed ‘Per E. M.’]

The stage-direction to l. 186 is ‘Enter 2 Lords, Sands, Ellis’. Perhaps we have here the names of two actors, Ellis Worth, who was with Anne’s men at the Cockpit in 1617–19, and Gregory Sanderson, who joined the same company before May, 1619. But there is also a James Sands, traceable as a boy of the King’s in 1605. The performances named on the title-page are not necessarily the original ones and the play may have been produced by the Queen’s at the Red Bull, but 1617 is as likely a date as another, and when a courtier says of a poor man’s suit (l. 877) that it is ‘some suit from porters hall, belike not worth begging’, there may conceivably be an allusion to attempts to preserve the Porter’s Hall theatre from destruction in the latter year. In any case, Daborne is not likely to have written the play after he took orders.

_Doubtful and Lost Plays_

The Henslowe correspondence appears to show Daborne as engaged between 17 April 1613 and 2 April 1614 on the following plays:

(_a_) _Machiavel and the Devil_ (17 April-_c._ 25 June 1613), possibly, according to Fleay and Greg, _Henslowe_, ii. 152, based on the old _Machiavel_ revived by Strange’s men in 1592.

(_b_) _The Arraignment of London_, probably identical with _The Bellman of London_ (5 June–9 Dec. 1613), with Cyril Tourneur, possibly, as Greg, _Henslowe Papers_, 75, suggests, based on Dekker’s tract, _The Bellman of London_ (1608).

(_c_) An unnamed play with Field, Massinger, and Fletcher, the subject of undated correspondence (_Henslowe Papers_, 65 and possibly 70, 84) and possibly also of dated letters of July 1613 (_H. P._ 74).

(_d_) _The Owl_ (9 Dec. 1613–28 March 1614). A comedy of this name is in Archer’s list of 1656, but Greg, _Masques_, xcv, thinks that Jonson’s _Mask of Owls_ may be meant.

(_e_) _The She Saint_ (2 April 1614).

Daborne has been suggested as a contributor to the _Cupid’s Revenge_, _Faithful Friends_, _Honest Man’s Fortune_, _Thierry and Theodoret_, and later plays of the Beaumont (q.v.) and Fletcher series, and attempts have been made to identify more than one of these with (_c_) above.

SAMUEL DANIEL (_c._ 1563–1619).

Daniel was born in Somerset, probably near Taunton, about 1563. His father is said to have been John Daniel, a musician; he certainly had a brother John, of the same profession. In 1579 he entered Magdalen Hall, Oxford, but took no degree. He visited France about January 1585 and sent an account of political affairs from the Rue St. Jacques to Walsingham in the following March (_S. P. F._ xix. 388). His first work was a translation of the _Imprese_ of Paulus Jovius (1585). In 1586 he served Sir Edward Stafford, the English ambassador in Paris, and as a young man visited Italy. He was domesticated at Wilton, and under the patronage of Mary, Lady Pembroke, wrote his sonnets to Delia, the publication of which, partial in 1591 and complete in 1592, gave him a considerable reputation as a poet. The attempt of Fleay, i. 86, to identify Delia with Elizabeth Carey, daughter of Sir George Carey, afterwards Lord Hunsdon, breaks down. Nashe in _The Terrors of the Night_ (1594, ed. McKerrow, i. 342) calls her a ‘second Delia’, and obviously the first was not, as Fleay suggests, Queen Elizabeth, but the heroine of the sonnets. Delia dwelt on an Avon, but the fact that in 1602 Lord Hunsdon took the waters at Bath does not give him a seat on the Avon there. Lady Pembroke’s _Octavia_ (q.v.) inspired Daniel’s book-drama _Cleopatra_ (1594). Other poems, notably _The History of the Civil Wars_ (1595), followed. Tradition makes Daniel poet laureate after Spenser’s death in 1599. There was probably no such post, but it is clear from verses prefixed to a single copy (B.M.C. 21, 2, 17) of the _Works_ of 1601, which are clearly addressed to Elizabeth, and not, as Grosart, i. 2, says, Anne, that he had some allowance at Court:

I, who by that most blessed hand sustain’d, In quietnes, do eate the bread of rest. (Grosart, i. 9.)

Possibly, however, this grant was a little later than 1599. Daniel acted as tutor to Anne Clifford, daughter of the Earl of Cumberland, at Skipton Castle, probably by 1599, when he published his _Poetical Essays_, which include an _Epistle_ to Lady Cumberland. It might have been either Herbert or Clifford influence which brought him into favour with Lady Bedford and led to his selection as poet for the first Queen’s mask at the Christmas of 1603. No doubt this preference aroused jealousies, and to about this date one may reasonably assign Jonson’s verse-letter to Lady Rutland (_The Forest_, xii) in which he speaks of his devotion to Lady Bedford:

though she have a better verser got, (Or Poet, in the court-account), than I, And who doth me, though I not him envy.

In 1619 Jonson told Drummond that he had answered Daniel’s _Defence of Ryme_ (?1603), that ‘Samuel Daniel was a good honest man, had no children; but no poet’, and that ‘Daniel was at jealousies with him’ (Laing, 1, 2, 10). All this suggests to me a rivalry at the Jacobean, rather than the Elizabethan Court, and I concur in the criticisms of Small, 181, upon the elaborate attempts of Fleay, i. 84, 359, to trace attacks on Daniel in Jonson’s earlier comedies. Fleay makes Daniel Fastidious Brisk in _Every Man Out of his Humour_, Hedon in _Cynthia’s Revels_, and alternatively Hermogenes Tigellius and Tibullus in _The Poetaster_, as well as Emulo in the _Patient Grissel_ of Dekker and others. In most of these equations he is followed by others, notably Penniman, who adds (_Poetaster_, xxxvii) Matheo in _Every Man In his Humour_ and Gullio in the anonymous _1 Return from Parnassus_. For all this the only basis is that Brisk, Matheo, and Gullio imitate or parody Daniel’s poetry. What other poetry, then, would affected young men at the end of the sixteenth century be likely to imitate? Some indirect literary criticism on Daniel may be implied, but this does not constitute the imitators portraits of Daniel. Fleay’s further identifications of Daniel with Littlewit in _Bartholomew Fair_ and Dacus in the _Epigrams_ of Sir John Davies are equally unsatisfactory. To return to biography. In 1604 Daniel, for the first time so far as is known, became connected with the stage, through his appointment as licenser for the Queen’s Revels by their patent of 4 Feb. Collier, _New Facts_, 47, prints, as preserved at Bridgewater House, two undated letters from Daniel to Sir Thomas Egerton. One, intended to suggest that Shakespeare was a rival candidate for the post in the Queen’s Revels, is a forgery, and this makes it impossible to attach much credit to the other, in which the writer mentions the ‘preferment of my brother’ and that he himself has ‘bene constrayned to live with children’. Moreover, the manuscript was not forthcoming in 1861 (Ingleby, 247, 307). Daniel evidently took a part in the management of the Revels company; the indiscretion of his _Philotas_ did not prevent him from acting as payee for their plays of 1604–5. But his connexion with them probably ceased when _Eastward Ho!_ led, later in 1605, to the withdrawal of Anne’s patronage. The irrepressible Mr. Fleay (i. 110) thinks that they then satirized him as Damoetas in Day’s _Isle of Gulls_ (1606). Daniel wrote one more mask and two pastorals, all for Court performances. By 1607 he was Groom of Anne’s Privy Chamber, and by 1613 Gentleman Extraordinary of the same Chamber. In 1615 his brother John obtained through his influence a patent for the Children of the Queen’s Chamber of Bristol (cf. ch. xii). He is said to have had a wife Justina, who was probably the sister of John Florio, whom he called ‘brother’ in 1611. The suggestion of Bolton Corney (_3 N. Q._