tribute of a great poet, and a great master of the purest and the
noblest English, to the most monstrous and preposterous taste or fashion
of his time. As the product of an eccentric imbecile it would be no less
curious than Stanihurst's Virgil: as the work of Cyril Tourneur it is
indeed "a miracle instead of wit." For it cannot be too often repeated
that in mere style, in commanding power and purity of language, in
positive instinct of expression and direct eloquence of inspiration, the
author of "The Revenger's Tragedy" stands alone in the next rank to
Shakespeare. Many if not most of their contemporaries could compose a
better play than he probably could conceive--a play with finer variation
of incidents and daintier diversity of characters: not one of them, not
even Webster himself, could pour forth poetry of such continuous force
and flow. The fiery jet of his molten verse, the rush of its radiant and
rhythmic lava, seems alone as inexhaustible as that of Shakespeare's. As
a dramatist, his faults are doubtless as flagrant as his merits are
manifest: as a writer, he is one of the very few poets who in their
happiest moments are equally faultless and sublime. The tone of thought
or of feeling which gives form and color to this splendid poetic style
is so essentially what modern criticism would define as that of a
natural Hebraist, and so far from that of a Hellenist or Latinist of the
Renascence, that we recognize in this great poet one more of those
Englishmen of genius on whom the direct or indirect influence of the
Hebrew Bible has been actually as great as the influences of the country
and the century in which they happened to be born. The single-hearted
fury of unselfish and devoted indignation which animates every line of
his satire is more akin to the spirit of Ezekiel or Isaiah than to the
spirit of Juvenal or Persius: though the fierce literality of occasional
detail, the prosaic accuracy of implacable and introspective abhorrence,
may seem liker the hard Roman style of impeachment by photography than
the great Hebrew method of denunciation by appeal. But the fusion of
sarcastic realism with imaginative passion produces a compound of such
peculiar and fiery flavor as we taste only from the tragic chalice of
Tourneur or of Shakespeare. The bitterness which serves but as a sauce
or spice to the meditative rhapsodies of Marston's heroes or of
Webster's villains is the dominant quality of the meats and wines served
up on the stage which echoes to the cry of Vindice or of Timon. But the
figure of Tourneur's typic hero is as distinct in its difference from
the Shakespearean figure which may possibly have suggested it as in its
difference from the Shakespearean figure which it may not impossibly
have suggested. There is perhaps too much play made with skulls and
cross-bones on the stage of Cyril Tourneur: he cannot apparently realize
the fact that they are properties of which a thoughtful poet's use
should be as temperate and occasional as Shakespeare's: but the
graveyard meditations of Hamlet, perfect in dramatic tact and instinct,
seem cool and common and shallow in sentiment when set beside the
intensity of inspiration which animates the fitful and impetuous music
of such passages as these:
Here's an eye
Able to tempt a great man--to serve God;
A pretty hanging lip, that has forgot now to dissemble.
Methinks this mouth should make a swearer tremble,
A drunkard clasp his teeth, and not undo 'em
To suffer wet damnation to run through 'em.
Here's a cheek keeps her color let the wind go whistle;
Spout, rain, we fear thee not: be hot or cold,
All's one with us; and is not he absurd,
Whose fortunes are upon their faces set
That fear no other God but wind and wet?
_Hippolito._ Brother, y'ave spoke that right;
Is this the face that living shone so bright?
_Vindice._ The very same.
And now methinks I could e'en chide myself
For doting on her beauty, though her death
Shall be revenged after no common action.
Does the silk-worm expend her yellow labors
For thee? for thee does she undo herself?
Are lordships sold to maintain ladyships
For the poor benefit of a bewitching minute?[1]
Why does yon fellow falsify highways
And put his life between the judge's lips,
To refine such a thing, keeps horse and men
To beat their valors for her?
Surely we're all mad people, and they[2]
Whom we think are, are not: we mistake those:
'Tis we are mad in sense, they but in clothes.
_Hippolito_. 'Faith, and in clothes too we, give us our due.
_Vindice_. Does every proud and self-affecting dame
Camphire her face for this? and grieve her Maker
In sinful baths of milk--when many an infant starves,
For her superfluous outside,--all for this?
[Footnote 1: This is not, I take it, one of the poet's irregular
though not unmusical lines; the five short unemphatic syllables,
rapidly run together in one slurring note of scorn, being not more
than equivalent in metrical weight to three such as would take their
places if the verse were thus altered--and impaired:
For the poor price of one bewitching minute.]
[Footnote 2: Perhaps we might venture here to read--"and only they."
In the next line, "whom" for "who" is probably the poet's own license
or oversight.]
What follows is no whit less noble: but as much may be said of the whole
part--and indeed of the whole play. Violent and extravagant as the mere
action or circumstance may be or may appear, there is a trenchant
straightforwardness of appeal in the simple and spontaneous magnificence
of the language, a depth of insuppressible sincerity in the fervent and
and restless vibration of the thought, by which the hand and the brain
and the heart of the workman are equally recognizable. But the crowning
example of Cyril Tourneur's unique and incomparable genius is of course
to be found in the scene which would assuredly be remembered, though
every other line of the poet's writing were forgotten, by the influence
of its passionate inspiration on the more tender but not less noble
sympathies of Charles Lamb. Even the splendid exuberance of eulogy which
attributes to the verse of Tourneur a more fiery quality, a more
thrilling and piercing note of sublime and agonizing indignation, than
that which animates and inflames the address of Hamlet to a mother less
impudent in infamy than Vindice's cannot be considered excessive by any
capable reader who will candidly and carefully compare the two scenes
which suggested this comparison. To attempt the praise or the
description of anything that has been praised or described by Lamb would
usually be the veriest fatuity of presumption; and yet it is impossible
to write of a poet whose greatness was first revealed to his countrymen
by the greatest gritic of dramatic poetry who ever lived and wrote, and
not to echo his words of righteous judgement and inspired applause with
more or less feebleness of reiteration. The startling and magical power
of single verses, ineffaceable and ineradicable from the memory on which
they have once impressed themselves, the consciousness in which they
have once struck root, which distinguishes and denotes the peculiar
style of Cyril Tourneur's tragic poetry, rises to its highest tidemark
in this part of the play. Every other line, one might almost say, is an
instance of it; and yet not a single lineis undramatic, or deficient in
the strictest and plainest dramatic propriety. It may be objected that
men and women possessed by the excitement of emotions so desparate and
so dreadful do not express them with such passionate precision of
utterance: but, to borrow the saying of a later and bearer of the name
which Cyril sometimes spelled as Turner, "don't they wish they could?"
or rather, ought they not to wish it? What is said by the speakers
is exactly what they might be expected to think, to feel, and to express
with less incisive power and less impressive accuracy of ardent epigram
or of strenuous appeal.[1]
[Footnote 1: It is, to say the least, singular to find in the most
famous scene of a play, so often reprinted and re-edited a word which
certainly requires explanation passed over without remark from any one
of the successive editors. When Gratiana, threatened by the daggers of
her sons, exclaims:
Are you so barbarous to set iron nipples
Upon the breast that gave you suck?
Vindice retorts, in reply to her appeal:
That breast
Is turned to quarled poison.
This last epithet is surely unusual enough to call for some attempt at
interpretation. But none whatever has hitherto been offered. In the
seventh line following from this one there is another textual
difficulty. The edition now before me, Eld's of 1608, reads literally
thus:
_Vind._ Ah ist possible, _Thou onely_, you powers on hie,
That women should dissemble when they die.
Lamb was content to read,
Ah, is it possible, you powers on high,
and so forth. Perhaps the two obviously corrupt words in italics may
contain a clew to the right reading, and this may be it:
Ah!
Is't possible, you heavenly powers on high,
That women should dissemble when they die?
Or may not this be yet another instance of the Jew-Puritan abhorrence of
the word God as an obscene or blasphemous term when uttered outside the
synagogue or the conventicle? If so, we might read--and believe that the
poet wrote--
Is't possible, thou only God on high,
and assume that the licenser struck out the indecent monosyllable and
left the mutilated text for actors and printers to patch or pad at their
discretion.]
There are among poets, as there are among prose writers, some whose
peculiar power finds vent only in a broad and rushing stream of speech
or song, triumphant by the general force and fulness of its volume, in
which we no more think of looking for single lines or phrases that may
be detached from the context and quoted for their separate effect than
of selecting for peculiar admiration some special wave or individual
ripple from the multitudinous magnificence of the torrent or the tide.
There are others whose power is shown mainly in single strokes or
flashes as of lightning or of swords. There are few indeed outside the
pale of the very greatest who can display at will their natural genius
in the keenest concentration or the fullest effusion of its powers. But
among these fewer than few stands the author of "The Revenger's
Tragedy." The great scene of the temptation and the triumph of Castiza
would alone be enough to give evidence, not adequate merely but ample,
that such praise as this is no hyperbole of sympathetic enthusiasm, but
simply the accurate expression of an indisputable fact. No lyrist, no
satirist, could have excelled in fiery flow of rhetoric the copious and
impetuous eloquence of the lines, at once luxurious and sardonic,
cynical and seductive, in which Vindice pours forth the arguments and
rolls out the promises of a professional pleader on behalf of aspiring
self-interest and sensual self-indulgence: no dramatist that ever lived
could have put more vital emotion into fewer words, more passionate
reality into more perfect utterance, than Tourneur in the dialogue that
follows them:
_Mother_. Troth, he says true.
_Castiza_. False: I defy you both:
I have endured you with an ear of fire:
Your tongues have struck hot irons on my face.
Mother, come from that poisonous woman there.
_Mother_. Where?
_Castiza_. Do you not see her? she's too inward then.
I could not count the lines which on reperusal of this great tragic poem
I find apt for illustrative quotation, or suggestive of a tributary
comment: but enough has already been cited to prove beyond all chance of
cavil from any student worthy of the name that the place of Cyril
Tourneur is not among minor poets, nor his genius of such a temper as
naturally to attract the sympathy or arouse the enthusiasm of their
admirers; that among the comrades or the disciples who to us may appear
but as retainers or satellites of Shakespeare his rank is high and his
credentials to that rank are clear. That an edition more carefully
revised and annotated, with a text reduced to something more of
coherence and intelligible arrangement, than has yet been vouchsafed to
us, would suffice to place his name among theirs of whose eminence the
very humblest of their educated countrymen are ashamed to seem ignorant,
it would probably be presumptuous to assert. But if the noblest ardor of
moral emotion, the most fervent passion of eager and indignant sympathy
with all that is best and abhorrence of all that is worst in women or in
men--if the most absolute and imperial command of all resources and
conquest of all difficulties inherent in the most effective and the most
various instrument ever yet devised for the poetry of the tragic
drama--if the keenest insight and the sublimest impulse that can guide
the perception and animate the expression of a poet whose line of work
is naturally confined to the limits of moral or ethical tragedy--if all
these qualities may be admitted to confer a right to remembrance and a
claim to regard, there can be no fear and no danger of forgetfulness for
the name of Cyril Tourneur.
INDEX
Action, relation to character, 245.
Adventure, subject for drama, 242.
Aeschylus, Shakespeare compared with, 31;
Webster compared with, 52.
Allegory, 102, 168, 170, 179, 180.
Alleyn, 189.
"All Fools" (Chapman), 259.
"All's Lost by Lust," 196.
Amadis, 214.
"Amboyna" (Dryden), 82.
"Amphitruo," the, 217.
"Antipodes, The," 252.
_Antiquary, The_ (Scott), 84.
"Antonio and Mellida" (Marston), 30, 116, 117, 122, 124, 145, 148.
"Antonio's Revenge" (Marston), 122.
"Anything for a Quiet Life" (Middleton), 163.
"Appius and Virginia" (Webster), 198.
Arbuthnot, 228.
Ariosto, 110.
Aristophanes, Middleton compared with, 169;
caricaturist, 206.
Armada, 168, 206.
Arnold, Matthew, on Chapman, 107.
Asdrubal, speech of (Marston), 118.
"Asolani," 209.
"Astraea Redux," authorship, 157.
Astrophel and Stella, 66.
"Atheist's Tragedy, The" (Tourneur), 265;
reflects the age, 268, 273.
Athens, 169.
Audience in Shakespeare's age, 170, 245.
"Bachelor's Banquet, The" (Dekker), 97.
Bacon, Francis, 68, 256.
Balzac, Shakespeare and Marlowe compared with, 33;
Dekker compared with, 108.
Barkstead, William, 136.
Barnfield, 50.
"Bartholomew Fair" (Marston), 122.
Beaumont, 172;
and Fletcher, 182, 225.
"Beggars' Bush" (Fletcher), 178.
"Bellman of London, The," (Dekker), 101.
Bembo, Pietro, 209.
Bible, Hebrew, influence of, 281.
_Biographer's Manual_, 278.
_Biographical Chronicle of the English Drama_ (Fleay), 205.
Bishop Hall, 163.
Blake, William, Dekker compared to, 72;
"Jerusalem," 279.
Blank verse, 1, 2, 224.
"Blind Beggar of Alexandria, The" (Chapman), 193.
Boccaccio, Dekker compared with, 108.
Boswell, 162.
"Brazen Age, The," 218.
"Britannia's Honor," 84.
British Museum, 193.
Brome, 252.
Brontë, Charlotte, 40.
Browning, Heywood compared with, 236.
Bullen, on Marston, 135;
on Elizabethan songs, 137;
on Marlowe, 151;
on Middleton, 154, 163, 165, 168, 172, 179, 181;
on Heywood, 228, 230, 235.
Burbage, 189.
"Bussy d'Ambois" (Chapman), 259.
"Butcher's Story, The," 160.
Butler, parody Cat and Puss, 226.
Byron, 3, 38;
Jonson compared with, 71, 201, 267;
Tourneur compared with, 264.
Cade, Jack, 11.
"Caesar and Pompey," 259.
Campbell, Thomas, on Webster, 37.
"Canaan's Calamity," 92.
"Captives, The," 230.
Caricature, motive in drama, 206.
Carlyle, 93;
definition of genius, 109, 207;
Tourneur compared with, 264.
Carr, Robert, 256.
Cat and Puss (Butler), 226.
Catholic formula, 191.
"Catiline his Conspiracy" (Jonson), 144.
Caxton, 213, 214, 219.
"Cenci" (Shelley), 16.
_Cent Nouvelles Nouvelles_, 93.
"Challenge for Beauty, The" (Heywood), 212, 231, 234, 235.
Chalmers on Queen Elizabeth, 69.
"Changeling, The" (Middleton), 30, 186.
Chapman, George (255-261), Matthew Arnold on, 107;
part in "Eastward Ho!", 129, 130;
plays unedited, 152;
"Blind Beggar," 193;
in Germany, 255;
translation of Juvenal, 256;
faults of style, 257;
Homer, 258;
Keats on, 258;
sources from French history, 258;
Shelley on, 258;
tragedy and comedy, 259;
contact with Shakespeare, 260;
feeling toward other poets, 260.
"Chaste Maid at Cheapside, A," Middleton and Shirley (?), 163.
Chaucer, 1, 72;
Middleton compared with, 177, 247.
Chester, Sir Robert, 137, 138.
Chettle, 72, 87, 205.
"Childe Harold's Pilgrimage," 264.
"Chronicle History of Thomas Lord Cromwell," 19.
"Chronographicall History of all the Kings" (Heywood), 211.
"Christmas Carol, A," 229
Chronicle plays, 203, 206, 207, 208.
Clown, the, 230, 236.
Coleridge, on Beaumont and Fletcher, 29;
on Dekker, 88, 150;
love of country, 202, 254;
on Chapman, 258.
Collier, on Marlowe, 7.
Collingwood, 254.
Colman, George, 231.
Comedy, French and Latin, 133;
early specimens, 156, 157;
in Dekker, Jonson, Shakespeare, and Middleton, 158.
"Conquest of Granada, The," 226.
"Contention between the two Famous Houses, etc.," 9.
"Contes Drolatiques," 161.
"Coriolanus," 270.
Corneille, treatment of Psyche, 222.
Couplet, in dramatic verse, 204;
treatment by Jonson, Marlowe, Shakespeare, 205.
Critics, incompetence, 37, 38.
"Cure for a Cuckold, A," 24.
Daniel, "Defence of Rhyme," 107.
Dante, Webster compared with, 33, 52;
Marston compared with, 119;
love of country, 202.
Day, 87, 205.
"Dead Term, The" (Dekker), 102.
_Decameron_, 93.
"Defence of Rhyme," 107.
Dekker, Thomas (61-112);
collab. with Webster, 19;
part in "Westward Ho!", 20;
comic style, 21, 158;
collab. with Marston and Middleton, 30;
François Villon compared with, 61, 62;
tenderness like Shakespeare, 62;
compared with Jonson, 69-71;
with Blake and Shelley, 72;
moral force, 73;
satirist, 75;
Hunt and Hazlitt on, 78;
compared with Webster, Ford, and Middleton, 81;
with Massinger, 87;
Coleridge on, 88;
Kingsley on, 89, 90;
compared with Dickens, 102, 107;
modern writers compared with, 106-108;
humorist, 106;
style compared with Dryden, 107;
likened to Boccaccio, 108;
as man and poet, 112;
plays unedited, 152;
collab. with Middleton, 161;
allegory compared with Middleton, 168;
Rowley compared with, 191, 193;
faults, 194;
imitated by Rowley, 195;
use of foreign words, 247.
Deloney, Thomas, 91, 92.
Demonology, 161.
Desdemona, type of heroine, 57.
Devereux, Robert, 256.
"Devil's Answer to Pierce Penniless, The" (Dekker), 95.
"Devil's Law-case, The" (Webster), 25, 27, 30, 32, 49, 53.
"Dick of Devonshire," 235.
Dickens, Dekker compared with, 102, 107, 160;
Middleton compared with, 163.
Diderot, 266.
"Dido, Queen of Carthage" (Marlowe), 8.
Dilke, _Old Plays_, 154.
"Dr. Faustus" (Marlowe), 2, 4, 6, 11.
Dodsley's _Old Plays_, 195.
Don Juan, 214.
Donne, John, 126, 257.
Don Quixote, 229.
"Double PP, The, etc.," 97.
Drake, Sir Francis, 18.
Dramatic poetry, evolution of, 216.
"Dream, The" (Dekker), 100.
Drue, Thomas, 207.
Dryden, 82;
Dekker compared with, 107, 157, 221, 226.
"Duchess of Malfy, The" (Webster), 16, 32, 37, 53, 55, 270.
"Duchess of Suffolk, The," 207.
"Duke of Milan, The," 30.
"Dutch Courtesan, The" (Marston), 122, 130-133, 146.
Dyce, 11, 22, 23, 76, 151, 153, 180;
on Webster, 40;
on Middleton, 154, 157, 172;
on Heywood, 232.
"Earthly Paradise, The," 215.
"Eastward Ho!", 129, 130.
"École des Maris," 134.
"Edward II." (Marlowe), 6, 208.
_Elegies_, Ovid's, 12;
Tourneur's, 277;
Tennyson's, 278.
"Englishmen for My Money," 85.
English language, dignity, 228.
"English Traveller, The," 240.
"Entertainment" (Marston), 136.
Essex, Earl of, 256.
Euphuism, 147.
Euripides, 37, 169.
"Fair Maid of the Exchange, The," 237.
"Fair Maid of the Inn, The" (Fletcher), 26.
"Fair Maid of the West, The" (Heywood), 212, 241, 243.
"Fair Quarrel, A" (Middleton), 165, 167.
Falstaff, 179.
"Family of Love, The" (Middleton), 159, 181.
"Famous History of Sir Thomas Wyatt, The," 19.
"Fatal Curiosity" (Heywood), 239.
First great English poet, 1, 189.
Flamineo, 48, 52.
Fleay, _Biographical Chronicle_, 205;
on Heywood, 228, 246, 249.
Fletcher, "Fair Maid of the Inn, The," 26;
Webster compared with, 26;
tragic poet, 30;
compared with Shakespeare, 65;
comic style, 165;
metrical beauty, 172, 174;
Middleton compared with, 172, 174, 178;
collab. with Beaumont, 182;
realism, 214;
Heywood compared with, 232;
faults, 234;
"Flitcher," 237;
Chapman's feeling toward, 260.
Ford, 81, 172, 177.
Foreign words, abuse of, 246.
"Fortune by Land and Sea," 243, 244.
"Four Brides of Noah's Ark," 106.
"Four Prentices of London, The," 193, 225, 228.
Francis I., 258.
Franklin, 254.
French comedy, 133.
French history, source for Chapman, 258.
Froissart, 229.
"Game at Chess, A," 157, 171.
Gautier, 231.
"Gentle Craft, The" (Dekker), 64.
"Gentleman Usher, The" (Chapman), 259.
German criticism, 19.
Gifford, on Dekker and Jonson, 69, 70, 90;
on Marston, 122, 276.
Gil Blas, 210.
Giocondo, 110.
"Gloriana" (Lee), 82.
Glover, 38.
God, as term in literature, 286.
Goethe, on Marlowe, 2, 3.
"Golden Age, The" (Heywood), 216.
Goldsmith, Dekker compared with, 106.
Greene, Robert, 50, 73, 101.
Grenville, Richard, 18.
"Grim the Collier of Croydon," 84.
Grosart, _Barnfield_, 51;
on Dekker, 91, 99;
on Marston, 126.
"Gull's Hornbook, The" (Dekker), 97.
Hall, 125.
Hallam on Heywood, 3, 199, 232.
"Hamlet," 144, 176, 179;
influence on Tourneur, 276, 282, 284.
Haughton, 73, 87.
Hazlitt, on Dekker, 78, 79, 181, 190;
on Heywood, 201.
Hebrew Bible, influence of, 281.
"Heliogabalus," 231.
Henry IV., reign of, 258.
Henry, Prince of Wales, 256.
"Hero and Leander" (Marlowe), 13, 136, 256.
Heroine, orthodox ideal of, 247;
_cf._ also 157 _note_.
Hesiod, 256.
Heywood, Thomas (200-254), realism, 65, 215;
"The Royal King," etc., 193;
characters from life, 201;
love of country, 202;
of London, 202;
pathos and humor, 204;
patriotism, 210;
imitator of Theocritus, 214;
William Morris compared with, 215;
power of condensation, 217;
character as poet, 224, 225;
influence of civic services, 226;
compared with Fletcher, 232;
best play, 233, 234;
national quality in, 236, 254;
dramatic force, 245;
disciple of Jonson, 251;
prose, 253;
story-telling, 253.
"Hierarchie of the Blessed Angels, The" (Heywood), 212.
"Hippolytus," 37.
History, treatment on stage, 18, 19.
"Histriomatrix," 126, 139, 140. [Transcriber's note: in the text,
"Histriomastix"]
Hogarth, 158.
Homer, 220;
Chapman on, 255-261.
"Honest Whore, The," Webster's part in, 21;
Dekker's, 74, 75;
Middleton's and Rowley's, 183.
Hood, 138.
Horace, 143.
Horne, 152.
"How to Choose a Good Wife from a Bad" (Heywood), 247.
Hugo, Victor, son of, 4; 33, 38;
Dekker compared with, 74.
Hunt, Leigh, on Dekker, 78;
on Middleton, 154.
"Hymns" (Homer), 256.
"If you know not me," 206.
"Iliad," Chapman's translation, 255.
"Inner-Temple Masque, The," 179.
"Insatiate Countess, The" (Marston), 135.
"Iron Age, The," 216, 220.
Italian influence, 73, 103, 119, 148, 247.
"Jack Drum's Entertainment," 126, 142.
Jeronimo, 167.
"Jerusalem" (Blake), 279.
"Jests to make you merry" (Dekker), 99.
"Jew of Malta" (Marlowe), 5;
compared with "Dr. Faustus," 6;
with "King Richard II.," 11, 189.
"Jocondo and Astolfo" (Dekker), 110.
Johnson, Dr., 162, 237.
Jones, Inigo, 256.
Jonson, Ben, compared with Shakespeare, 65;
"Poetaster," 68;
compared with Dekker, 69, 70, 111;
collaboration with Dekker, 71;
court characters, 85;
influence on Marston, 122;
"Catiline," 144;
character invention, 158;
compared with Middleton, 165, 172;
treatment of couplet, 205;
model for other poets of the age, 222, 237;
friend of Chapman, 256;
model for Heywood, 251;
Chapman's feeling toward, 260;
ridicules Marston, 276.
Juvenal, Tourneur akin to, 281.
Keats, 223;
on Chapman, 258.
Killigrew, 267.
King Brute, 213.
"King Edward III.," 12.
"King Edward IV.," 203, 230.
"King Henry VI.," Marlowe's part in, 9.
"King Henry VIII.," Fletcher's part in, 174.
King James, 129;
demonology, 161, 213, 256.
"King Lear," 16, 31, 176.
"King Richard II.," 6, 208.
Kingsley, on Webster, 42;
on Dekker, 89, 90.
"Knight's Conjuring, A," 95.
Knox, John, 267.
La Fontaine, 110.
Lamb, Charles, 21, 151, 190;
on Dekker, 63, 66, 78, 162;
on Marston, 122, 123;
on Webster, 140;
on Heywood, 152, 200, 202, 205, 211, 214, 219, 225, 226, 237;
on Middleton, 153, 165, 167, 177;
on Rowley, 187, 197-199, 202;
on Chapman, 258, 259;
on Tourneur, 284.
Landor, Walter Savage, 120, 166;
on Marston, 137;
Rowley compared with, 199.
"Lantern and Candle-light" (Dekker), 101.
"La Reine d'Espagne," 232.
Latin comedy, 133.
"_Latter-day Pamphlets_," 93.
Latouche, Henri de, 232.
"Laugh and Lie Down," 278.
Lee, "Gloriana," 82.
"Life of Merlin, surnamed Ambrosius" (Heywood), 112.
Lillo, 239.
"Lingua," 170.
_Little Dorrit_, 100.
London, 11, 203, 214, 245.
"London's Tempe," 84.
Longfellow, 38.
"Love's Mistress," 222.
Lowndes, 278.
"Loyal Subject, The" (Fletcher), 232.
Lucrezia Borgia, 209.
"Lust's Dominion," 85, 152.
"Lycidas," 157.