See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

ROBERT See also:

• GREENE, GEORGE WASHINGTON (1811-1883)
• GREENE, MAURICE (1695-1755)
• GREENE, NATHANAEL (1742-1786)
• ROBERT GREENE (c. 1560-1592)

GREENE (c. 1560-1592)  , See also:

• ENGLISH

English dramatist and See also:

• MISCELLANEOUS

miscellaneous writer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• NORWICH
• NORWICH, GEORGE GORING, EARL OF (1583?-1663)

Norwich about 156o . The identity of his See also:

• FATHER

father has been disputed, but there is every See also:

• REASON (Lat. ratio, through French raison)

reason to believe that he belonged to the tradesmen's class and had small means . It is doubtful whether See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• GREENE, GEORGE WASHINGTON (1811-1883)
• GREENE, MAURICE (1695-1755)
• GREENE, NATHANAEL (1742-1786)
• GREENE, ROBERT (c. 1560-1592)

Greene attended Norwich See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

grammar school; but, as an eastern counties See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man (to one of whose plays, See also:

• FRIAR (from the Lat. (rater, through the Fr. frere)

Friar See also:

• BACON
• BACON (through the O. Fr. bacon, Low Lat. baco, from a Teutonic word cognate with " back," e.g. O. H. Ger. pacho, M. H. Ger. backe, buttock, flitch of bacon)
• BACON, FRANCIS (BARON VERULAM, VISCOUNT ST ALBANS) (1561-1626)
• BACON, JOHN (1740–1799)
• BACON, LEONARD (1802–1881)
• BACON, ROGER (c. 1214-c. 1294)
• BACON, SIR NICHOLAS (1509-1579)

Bacon, the See also:

• NORFOLK
• NORFOLK, EARLS AND DUKES OF

Norfolk and See also:

• SUFFOLK
• SUFFOLK, CHARLES BRANDON, 1ST DUKE OF (c. 1484–'545)
• SUFFOLK, EARLS AND DUKES OF
• SUFFOLK, THOMAS HOWARD, 1ST EARL OF (1561-1626)
• SUFFOLK, WILLIAM DE LA POLE

Suffolk borderland owes a lasting poetic See also:

• COMMEMORATION

commemoration) he naturally found his way to See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge, where he entered St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John's See also:

• COLLEGE (Collegium)

College as a See also:

• SIZAR

sizar in 1575 and took his B.A. thence in 1579, proceeding M.A. in 1583 from See also:

• CLARE
• CLARE, JOHN (1793-1864)
• CLARE, JOHN FITZGIBBON, 1ST EARL OF (1749-1802)

Clare See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall . His See also:

• LIFE

life at the university was, according to his own See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, spent " among wags as lewd as himself, with whom he consumed the See also:

• FLOWER (Lat. flos, floris; Fr. fleur)
• FLOWER, SIB

flower of his youth." In ROBERT 539 1588 he was incorporated at See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford, so that on some of his See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title-pages he styles himself "utriusque Academiae in Artibus Magister "; and See also:

• NASHE (or NASH), THOMAS (1567-1601)

Nashe humorously refers to him as utriusque Academiae Robertus Greene." Between the years 1578 and 1583 he had travelled abroad, according to his own account very extensively, visiting See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, See also:

• POLAND (Polish Polska, Ger. Polen), (see POLAND, RUSSIAN, below)
• POLAND, RUSSIAN

Poland and See also:

• DENMARK
• DENMARK (Danmark)

Denmark, besides learning at first-See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand to " hate the See also:

• PRIDE, THOMAS (d. 1658)

pride of See also:

• ITALIC

Italic " and to know the See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of that poet's See also:

• FRUIT (through the French from the Lat. fructus; frui, to enjoy)

fruit, " See also:

• SPANISH

Spanish mirabolones." The grounds upon which it has been suggested that he took See also:

• HOLY

holy orders are quite insufficient; according to the title-See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page of a pamphlet published by him in 1585 he was then a " student in phisicke." Already, however, after taking his M,A. degree, he had according to his own account begun his See also:

• LONDON

London life, and his earliest extant See also:

• LITERARY

literary See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production wals in hand as See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early as 1580 . He now became " an author of playes and a penner of love-See also:

• PAMPHLETS

pamphlets, so that I soone See also:

• GREW, NEHEMIAH (1641-1712)

grew famous in that qualitie, that who for that See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade growne so See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary about London as See also:

• ROBIN

Robin Greene ?" " Glad was that printer," says Nashe, " that might See also:

• BEE (Sanskrit blza, AS. ben, Lat. apis)

bee so blest to pay him deare for the very dregs of his wit." By his own account he rapidly sank into the worst debaucheries of the See also:

• TOWN

town, though Nashe declares that he never knew him guilty of notorious See also:

• CRIME (Lat. crimen, accusation)

crime . He was not without passing impulses towards a more righteous and sober life, and was derided in consequence by his associates as a " Puritane and Presizian." It is possible that he, as well as his See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter enemy, See also:

• GABRIEL (Heb. SKns, man of God)

Gabriel See also:

• HARVEY
• HARVEY, GABRIEL (c. 1545-1630)
• HARVEY, SIR GEORGE (1806-1876)
• HARVEY, WILLIAM (1578—1657)

Harvey, exaggerated, the looseness of his conduct . His See also:

• MARRIAGE

marriage, which took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in 1585 or 1586, failed to steady him; if See also:

• FRANCESCO
• FRANCESCO, 210

Francesco, in Greene's pamphlet Never too See also:

• LATE

late to mend (1590), is intended for the author himself, it had been a runaway match; but the fiction and the autobiographical See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch in the Repentance agree in their account of the unfaithfulness which followed on the See also:

• PART

part of the See also:

• HUSBAND

husband . He lived with his wife, whose name seems to have been Dorothy (" See also:

• DOLL

Doll "; and cf . Dorothea in See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James IV.), for a while; " but forasmuch as she would perswade me from my wilful wickednes, after I had a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child by her, I See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast her off, having spent up the marriage-See also:

• MONEY

money which I obtained by her . Then See also:

• LEFT

left I her at six or seven, who went into See also:

• LINCOLNSHIRE

Lincolnshire, and I to London," where his reputation as a playwright and writer of pamphlets of " love and vaine fantasyes " continued to increase, and where his life was a feverish See also:

• ALTERNATION (from Lat. alternare, to do by turns)

alternation of labour and debauchery . In his last years he took it upon himself to make See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war on the cutpurses and " conny-catchers " with whom he came into contact in the slums, and whose doings he fearlessly exposed in his writings . He tells us how at last he was friendless " except it were in a fewe alehouses," where he was respected on account of the See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score he had run up .

When the end came he was a dependant on the charity of the poor and the pitying love of the unfortunate . See also:

• HENRI

Henri Murger has See also:

• DRAWN

drawn no picture more sickening and more pitiful than the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of Greene's See also:

• DEATH

death, as told by his Puritan adversary, Gabriel Harvey—a veracious though a far from unprejudiced narrator . Greene had taken up the cudgels provided by the Harvey See also:

• BROTHERS, RICHARD (1757-1824)

brothers on their intervention in the Marprelate controversy, and made an attack (immediately suppressed) upon Gabriel's father and See also:

• FAMILY

family in the See also:

• PROSE

prose-See also:

• TRACT (from Lat. tractare, to treat of a matter, through Provencal tractat and Ital. trattato)

tract A Quip for an Upstart Courtier, or a See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

Quaint Dispute between See also:

• VELVET

Velvet Breeches and See also:

• CLOTH

Cloth Breeches (1592) . After a banquet where the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

guest had been See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas Nashe—an old See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate and perhaps a college friend of Greene's, any See also:

• GREAT

great intimacy with whom, however, he seems to have been anxious to disclaim—Greene had fallen sick " of a surfeit of See also:

• PICKLE

pickle herringe and Rennish See also:

• WINE (Lat. vinum, Gr. oivos)

wine." At the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of a poor shoemaker near Dowgate, deserted by all except his compassionate hostess (Mrs Isam) and two See also:

• WOMEN

women—one of them the See also:

• SISTER

sister of a notorious thief named " Cutting See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

Ball," and the See also:

• MOTHER

mother of his illegitimate son, See also:

• FORTUNATUS
• FORTUNATUS, VENANTIUS HONORIUS CLEMENTIANUS (530-609)

Fortunatus Greene—he died on the 3rd of See also:

• SEPTEMBER (Lat. septem, seven)

September 1592 . Shortly before his death he wrote under a See also:

• BOND
• BOND, SIR EDWARD AUGUSTUS (1815-1898)

bond for £10 which he had given to the See also:

• GOOD, JOHN MASON (1764-1827)

good shoemaker, the following words addressed to his See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long-forsaken wife: " Doll, I See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge thee, by the loue of our youth and by my soules See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest, that See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

thou wilte see this man paide; for if hee and his wife had not succoured me, I had died in the streetes.—Robert Greene." Four Letters and Certain Sonnets, Harvey's attack on Greene . appeared almost immediately after his death, as to the circumstances of which his relentless adversary had taken care to inform himself personally . Nashe took up-the See also:

• DEFENCE
• DEFENCE (Lat. defendere, to defend)

defence of his dead friend and ridiculed Harvey in See also:

• STRANGE, SIR ROBERT (1721-1792)

Strange See also:

• NEWS

News (1593); and the dispute continued for some years . But, before this, the dramatist See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• CHETTLE, HENRY (1564?–16o7?)

Chettle published a pamphlet from the hand of the unhappy man, entitled Greene's See also:

• GROAT (adapted from the Dutch groot, great, thick; cf. Ger. Groschen; the Med. Lat. grossus gives Ital. grosso, Fr. gros, as names for the coin)

Groat's-See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth of Wit bought with a Million of Repentance (1592), containing the story of Roberto, who may be regarded, for See also:

• PRACTICAL

practical purposes, as representing Greene himself . This See also:

• ILL

ill-starred production may almost be said to have done more to excite the resentment of posterity against Greene's name than all the errors for which he professed his repentance . For in it he exhorted to repentance three of his quondam acquaintance . Of these three See also:

• MAR, EARLDOM OF
• MAR, JOHN ERSKINE, 1ST OR 6TH EARL OF (d. 1572)
• MAR, JOHN ERSKINE, 2ND OR 7TH EARL
• MAR, JOHN ERSKINE, 6TH OR 11TH EARL OF (1675-1732)

Mar%we was one—to whom and to whose creation of " that Atheist Tamberlaine " he had repeatedly alluded . The second was See also:

• PEELE, GEORGE (1558-c. 1598)

Peele, the third probably Nashe .

But the passage addressed to Peele contained a transparent allusion to a See also:

• FOURTH

fourth dramatist, who was an actor likewise, as " an vpstart See also:

• CROW (Dutch, kraal, Ger. Krdhe, Fr. corbeau, Lat. corvus)

crow beautified with our feathers, that with his Tygres See also:

• HEART
• HEART, LUNG

heart wrapt in a player's See also:

• HYDE
• HYDE, THOMAS (1636-1703)

hyde supposes hee is as well able to bombast out a blanke-See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse as the best of you; and being an See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute Iohannes-fac-totum, is in his owne conceyt the onely shake-See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene in a countrey." The phrase italicized parodies a passage occurring in The True Tragedie of See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard, See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

Duke of See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York, &c., and retained in Part III. of Henry VI . If Greene (as many eminent critics have thought) had a hand in The True Tragedie, he must here have intended a charge of See also:

• PLAGIARISM

plagiarism against See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare . But while it seems more probable that (as the late R . See also:

• SIMPSON, MATTHEW (1811-1884)
• SIMPSON, SIR JAMES YOUNG (1811-1870)
• SIMPSON, THOMAS (1710-1761)

Simpson suggested) the upstart crow beautified with the feathers of the three dramatists is a sneering description of the actor who declaimed their verse, the animus of the whole attack (as explained by Dr See also:

• INGLEBY, CLEMENT MANSFIELD (1823—1886)

Ingleby) is revealed in its concluding phrases . This " shake-scene," i.e. this actor had ventured to intrude upon the domain of the See also:

• REGULAR

regular See also:

• STAFF (O. Eng. staef, cf. Du. staf, Ger. Stab, &c.; Icel. stafr meant also a written letter, and O. Eng. stafas, the letters of the alphabet; " stave," one of the thin pieces of wood of which a cask is made, is a doublet)

staff of playwrights—their See also:

• MONOPOLY (Gr. govomeXla or govoircaXwv, exclusive sale, from govds, alone, and irwXeiv, to sell)

monopoly was in danger ! Two other prose pamphlets of an autobiographical nature were issued posthumously . Of these, The Repentance of Robert Greene, See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

Master of Arts (1592), must originally have been written by him on his death-See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed, under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, as he says, of Father See also:

• PARSONS
• PARSONS (or PERSONS), ROBERT (1546-161o)
• PARSONS, THEOPHILUS (1750-1813)

Parsons's Booke of See also:

• RESOLUTION

Resolution (The See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian Directorie, appertayning to Resolution, 1582, republished in an enlarged See also:

• FORM (Lat. forma)

form, which became very popular, in 1585); but it bears traces of having been improved from the See also:

• ORIGINAL

original; while Greene's See also:

• VISION (from Lat. videre, to see), or SIGHT

Vision was certainly not, as the title-page avers, written during his last illness . Altogether not less than See also:

• THIRTY

thirty-five prose-tracts are ascribed to Greene's prolific See also:

• PEN (Lat. penna, a feather, pen)

pen . Nearly all of them are interspersed with verses; in their themes they range from the " misticall " wonders of the heavens to the See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar but " pernitious sleights " of the sharpers of London . But the most widely attractive of his prose publications were his " love-pamphlets," which brought upon him the outcry of Puritan censors . The earliest of his novels, as they may be called, Mamillia, was licensed in 1583 . This interesting story may be said to have accompanied Greene through life; for even part ii., of which, though probably completed several years earlier, the earliest extant edition bears the date 1593, had a sequel, The Anatomic of Love's Flatteries, which contains a See also:

• REVIEW (Fr. revue, from revoir, to see again, Lat. re and videre)

review of suitors recalling Portia's in The See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

Merchant of See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice .

The Myrrour of Modestie (the story of Susanna) (1584); The Historic of Arhasto, See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King of Denmarke (1584); Morando, the Tritameron of Love (a rather tedious See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of the Decameron (1584); Planetomachia (1585) (a contention in story-telling between See also:

• VENUS

Venus and See also:

• SATURN
• SATURN [SATURNUS]

Saturn); See also:

• PENELOPE

Penelope's See also:

• WEB (a word common to Teutonic languages, cf. Du. webbe, Dan. vaev, Ger. Gewebe, all from the Teutonic wabh—to weave)

Web (1587) (another See also:

• STRING

string of stories); Alcida, Greene's See also:

• METAMORPHOSIS

Metamorphosis (1588), and others, followed . In these popular productions Ire appears very distinctly as a follower of John See also:

• LYLY (LILLY, or LYLIE), JOHN (1553–1606)

Lyly; indeed, the first part of Mamillia was entered in the Stationers' Registers in the See also:

• YEAR

year of the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of Euphues, and two of Greene's novels are by their titles announced as a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of sequel to the See also:

• PARENT, SIMON NAPOLEON (1855– )

parent See also:

• ROMANCE

romance: Euphues his Censure to Philautus (1587), Menaphon . Camilla's Alarum to Slumbering Euphues (1589), named in some later See also:

• EDITIONS

editions Greene's See also:

• ARCADIA

Arcadia . This pastoralromance, written in See also:

• DIRECT

direct emulation of See also:

• SIDNEY
• SIDNEY (or SYDNEY), ALGERNON (1622-1683)
• SIDNEY, SIR HENRY (1529-1586)
• SIDNEY, SIR PHILIP (1554-1586)

Sidney's, with a heroine called Samila, contains St Sephestia's charming See also:

• LULLABY

lullaby, with its refrain " Father's sorowe, father's joy." But, though Greene's See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style copies the balanced oscillation, and his diction the ornateness (including the proverbial See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy) of Lyly, he contrives to See also:

• INTEREST

interest by the See also:

• MATTER

matter as well as to attract See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention by the manner of his narratives . Of his highly moral intentions he leaves the reader in no doubt, since they are exposed on the title-pages . The full title of the Myrrour of 114 odestie for instance continues: " wherein appeareth as in a perfect glasse how the See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord delivereth the See also:

• INNOCENT (INNOCENTIUS)
• INNOCENT (POPES)

innocent from all imminent perils, and plagueth the See also:

• BLOOD

blood-thirsty hypocrites with deserved punishments," &c . On his Pandosto, The See also:

• TRIUMPH (triumphus)

Triumph of See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

Time (1588) Shakespeare founded A See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

Winter's See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

Tale; in fact, the novel contains the entire See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot of the See also:

• COMEDY

comedy, except the See also:

• DEVICE

device of the living statue; though some of the subordinate characters in the See also:

• PLAY

play, including See also:

• AUTOLYCUS

Autolycus, were added by Shakespeare, together with the See also:

• PASTORAL (from Lat. pastor, a shepherd)

pastoral fragrance of one of its episodes . In Greene's Never too Late (1590), announced as a " See also:

• POWDER (through O. Fr. puldre, modern poudre, from Lat. pulvis, pulveris, dust)

Powder of Experience: sent to all youthfull gentlemen " for their benefit, the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero, Francesco, is in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability intended for Greene himself, the sequel or second part is, however, pure fiction . This episodical narrative has a vivacity and truthfulness of manner which savour of an 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century novel rather than of an Elizabethan tale concerning the days of " Palmerin, King of Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain." Philador, the prodigal of The See also:

• MOURNING (from the verb " to mourn," to be sorrowful, 0. Eng. murnan; cf. O.H.G. mornen, Goth. maurnan, to be anxious, O.N. morna, to pine away; by some referred to root seen in Gr. jdptpva, sorrow, by others to root mer-, to die)

Mourning Garment (1590), is obviously also in some respects a portrait of the writer . The experiences of the Roberto of Greene's Groat'sworth of Wit (1592) are even more palpably the experiences of the author himself, though they are possibly overdrawn—for a born rhetorician exaggerates everything, even his own sins . Besides these and the See also:

• POSTHUMOUS

posthumous pamphlets on his repentance, Greene left realistic pictures of the very disreputable society to which he finally descended, in his pamphlets on " connycatching ": A Notable See also:

• DISCOVERY

Discovery of Coosnage (1591), The Blacke Bookes Messenger . Laying open the Life and Death of Ned See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne, one of the most Notable Cut purses, Crossbiters, and Conny-catchers that ever lived in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England (1592) .

Much in Greene's manner, both in his romances and in his pictures of See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low life, anticipated what proved the slow course of the actual development of the English novel; and it is probable that his true metier, and that which best suited the See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy, ingenuity and wit of which his See also:

• GENIUS (from Lat. genere, gignere)

genius was compounded, was pamphlet-See also:

• SPINNING (from O. Eng. spinnen, to spin, cf. Ger. spinnen, &c., the Teut. root is seen, to draw out, cf. span, spider)

spinning and story-telling rather than dramatic See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . It should be added that, euphuist as Greene was, few of his contemporaries in their lyrics warbled See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-notes which like his resemble Shakespeare's in their native freshness . Curiously enough, as Mr Churton See also:

• COLLINS, ANTHONY (1676-1729)
• COLLINS, JOHN CHURTON (1848-1908)
• COLLINS, MORTIMER (1827-1876)
• COLLINS, WILLIAM (1721-1759)
• COLLINS, WILLIAM (1787–1847)
• COLLINS, WILLIAM WILKIE (1824–1889)

Collins has pointed out, Greene, except in the two pamphlets written just before his death, never refers to his having written plays; and before 1592 his contemporaries are equally silent as to his labours as a playwright . Only four plays remain to us of which he was indisputably the See also:

• SOLE (Solea)

sole author . The earliest of these seems to have been the Comicall See also:

• HISTORY

History of Alphonsus, King of Ar7agon, of which See also:

• HENSLOWE, PHILIP (d. 1616)

Henslowe's See also:

• DIARY

Diary contains no trace . But it can hardly have been first acted long after the production of See also:

• MARLOWE, CHRISTOPHER (1564-1593)
• MARLOWE, JULIA [SARAH FRANCES FROST] (1870– )

Marlowe's Tamburlaine, which had, in all probability, been brought on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage in 1587 . For this play, " comical " only in the negative sense of having a happy ending, was manifestly written in emulation as well as in direct imitation of Marlowe's tragedy . While Greene cannot have thought himself capable of surpassing Marlowe as a tragic poet, he very probably wished to outdo him in " business, " and to equal him in the rant which was sure to bring down at least part of the house . Alphonsus is a history proper—a dramatized See also:

• CHRONICLE (from Gr. Xpovos, time)

chronicle or narrative of warlike events . Its fame could never equal that of Marlowe's tragedy; but its composition showed that Greene could seek to See also:

• RIVAL

rival the most popular See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, without falling very far See also:

• SHORT, FRANCIS JOB (1857– )

short of his See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model . In the See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

Honourable History of Friar Bacon and Friar See also:

• BUNGAY

Bungay (not known to have been acted before See also:

• FEBRUARY

February, 1592, but probably written in 1589) Greene once more attempted to emulate Marlowe; and he succeeded in producing a masterpiece of his own . Marlowe's See also:

• DOCTOR (Lat. for " teacher ")

Doctor Faustus, which doubtless suggested the composition of Greene's comedy, reveals the mighty tragic genius of its author; but Greene resolved on an altogether distinct treatment of a cognate theme .

Interweaving with the popular tale of Friar Bacon and his wondrous doings a charming See also:

• IDYL, or IDYLL (Gr. ei5i XXeov, a descriptive piece, from ethos, a shape or style; Lat. idyllium)

idyl (so far as we know, of his own invention), the story of See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• EDWARD

Edward's love for the See also:

• FAIR

Fair Maid of Fressingfield, he produced a comedy brimful of amusing See also:

• ACTION

action and genial fun . Friar Bacon remains a dramatic picture of English Elizabethan life with which The Merry Wives alone can See also:

• VIE

vie; and not even the ultra-classicism in the similes of its diction can destroy the naturalness which constitutes its perennial See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm . The History of Orlando Furioso, one of the Twelve Peeres of France has on unsatisfactory See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence been dated as before 1586, and is known to have been acted on the 21st of February 1592 . It is a See also:

• FREE

free dramatic See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of See also:

• ARIOSTO, LODOVICO (1474-1533)

Ariosto, See also:

• HARINGTON, SIR JOHN (1561—1612)

Harington's See also:

• TRANSLATION

translation of whom appeared in 1591, and who in one passage is textually quoted; and it contains a large variety of characters and a superabundance of action . Fairly lucid in arrangement and fluent in style, the treatment of the madness of Orlando lacks tragic See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power . Very few dramatists from See also:

• SOPHOCLES (495-406 B.c.)

Sophocles to Shakespeare have succeeded in subordinating the See also:

• GROTESQUE

grotesque effect of madness to the tragic; and Greene is not to be included in the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list . In The Scottish Historie of James IV . (acted 1592, licensed for publication 1594) Greene seems to have reached the See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax of his dramatic See also:

• POWERS, HIRAM (1805-1873)

powers . The " See also:

• HISTORICAL

historical " See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of this play is pure pretence . The story is taken from one of See also:

• GIRALDI, GIGLIO GREGORIO [LILIus GREGORIUS GYRALDUS] (1479-1552)
• GIRALDI, GIOVANNI BATTISTA (1504-1573)

Giraldi Cinthio's tales . Its theme is the illicit See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion of King James for the chaste See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady See also:

• IDA (d. 559)

Ida, to obtain whose hand he endeavours, at the See also:

• SUGGESTION

suggestion of a villain called Ateukin, to make away with his own wife . She escapes in doublet and See also:

• HOSE (a word common to many Teutonic languages; cf. Dutch, hoes, stocking, Ger. Hose, breeches, tights; the ultimate origin is unknown)

hose, attended by her faithful See also:

• DWARF (A.S. dweorg, D. dwerg, Icel. dvergr)

dwarf; but, on her father's making war upon her husband to avenge her wrongs, she brings about a reconciliation between them .

Not only is. this well-constructed story effectively worked out, but the characters are vigorously drawn, and in Ateukin there is a See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of Iago . The fooling by Slipper, the See also:

• CLOWN (derived by Fuller, in his Worthies, from Lat. colones, a husbandman; but apparently connected with " clod " and with similar forms in Teutonic and Scandinavian languages)

clown of the piece, is unexceptionable; and, lest even so the play should hang heavy on the See also:

• AUDIENCE (from Lat. audire, to hear)

audience, its action is carried off by a " pleasant comedie "—i.e. a prelude and some dances between the acts—" presented by Oboram, King of Fayeries," who is, however, a very different See also:

• PERSON, OFFENCES AGAINST THE

person from the See also:

• OBERON (Fr. Alberon, Auberon, Ger. Alberich, i.e. rich, Goth. reiks, " ruler "—cf. Lat. rex—and O.H. and M.H. Ger. pl. elbi, elbe, " elves," pl. alp)

Oberon of . A Midsummer See also:

• NIGHT

Night's See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream . See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George-a-Greene the Pinner of See also:

• WAKEFIELD
• WAKEFIELD, GILBERT (1756-1801)

Wakefield (acted 1593, printed 1599), a delightful picture of English life fully worthy of the author of Friar Bungay, has been attributed to him; but the See also:

• EXTERNAL

external evidence is very slight, and the See also:

• INTERNAL

internal unconvincing . Of the comedy of Fair Em, which resembles Friar Bacon in more than one point, Greene cannot have been the author; the question as to the priority between the two plays is not so easily solved . The conjecture as to his supposed See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in the plays on which the second and third parts of Henry VI. are founded has been already referred to . He was certainly See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint author with Thomas See also:

• LODGE
• LODGE, EDMUND (1756-1839)
• LODGE, H
• LODGE, HENRY CABOT (1850– )
• LODGE, SIR OLIVER JOSEPH (1851– )
• LODGE, THOMAS (c. 1558–1625)

Lodge of the curious drama called A Looking Glasse for London and England (acted in 1592 and printed in 1594)—a dramatic See also:

• APOLOGUE (from the Gr. &rroXoyos, a statement or account)

apologue conveying to the living See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation of English-men the warning of See also:

• NINEVEH (Heb. m}'?, in classical authors Nivos, Ninus; LXX. Ntsetni, Nnveun: Assyrian Nind or Ninua)

Nineveh's corruption and prophesied See also:

• DOOM (Old Eng. dOm, a word common to Tent. languages for that which is set up or ordered, from " do," in its original meaning of " place "; cf, Gr. &Ass, from stem of ri'rust)

doom . The See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson was frequently repeated in the streets of London by the " Ninevitical motions " of the puppets; but there are both See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire and See also:

• WEALTH

wealth of See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language in Greene and Lodge's See also:

• ORATORY (Lat. oratorio, sc. ors; from orare, to speak or pray)

oratory . The comic See also:

• ELEMENT (Lat. elementum)

element is not absent, being supplied in abundance by See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam, the clown of the piece, who belongs to the family of Slipper, and of Friar Bacon's servant, See also:

• MILES, NELSON APPLETON (1839— )

Miles . . Greene's dramatic genius has nothing in it of the intensity of Marlowe's tragic muse; nor perhaps does he ever equal Peele at'' his best . On the other hand, his dramatic See also:

• POETRY

poetry is occasionally ' animated with the breezy freshness which no artifice can simulate . He had considerable constructive skill, but he has created no character of commanding power—unless Ateukin be excepted; but his personages are living men and women, and marked out from one another with a vigorous but far from See also:

• RUDE, FRANCOIS (1784–1855)

rude hand .

His comic See also:

• HUMOUR (Latin humor)

humour is undeniable, and he had the See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of See also:

• LIGHT

light andgraceful See also:

• DIALOGUE

dialogue . His diction is overloaded with classical See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament, but his versification is easy and fluent, and its See also:

• CADENCE (through the Fr. from the Lat. cadentia, from cadere, to fall)

cadence is at times singularly sweet . He creates his best effects by the simplest means; and he is indisputably one of the most attractive of early English dramatic authors . Greene's dramatic See also:

• WORKS

works and poems were edited by See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander See also:

• DYCE, ALEXANDER (1798–1869)
• DYCE, WILLIAM (1806–1864)

Dyce in 1831 with a life of the author . This edition was reissued in one See also:

• VOLUME

volume in 1858 . His See also:

• COMPLETE

complete works were edited for the Huth Library by A . B . See also:

• GROSART, ALEXANDER BALLOCH (1827-1899)

Grosart . This issue (1881–1886) contains a translation of See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas Storojhenko's monograph on Greene (See also:

• MOSCOW (Russian Moskva)
• MOSCOW, (Russian Moskva)

Moscow, 1878) . Greene's plays and poems were edited with introductions and notes by J . Churton Collins in 2 vols . (Oxford, 1905); the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general introduction to this edition has superseded previous accounts of Greene and his dramatic and lyrical writings .

An account of his pamphlets is to be found in J . J . See also:

• JUSSERAND, JEAN ADRIEN ANTOINE JULES (1855- )

Jusserand's English Novel in the Time of Shakespeare (Eng. trans., 1890) . See also W . Bernhardi, Robert Greenes Leben and Schriften (1874); F . M . See also:

• BODENSTEDT, FRIEDRICH MARTIN VON (1819–1892)

Bodenstedt, in 'Shakespeare's Zeitgenossen and ihre Werke (1858); and an introduction by A . W . See also:

• WARD
• WARD, ADOLPHUS WILLIAM (1837- )
• WARD, ARTEMUS
• WARD, EDWARD MATTHEW (1816-1879)
• WARD, ELIZABETH STUART PHELPS (1844-1911)
• WARD, JAMES (1769--1859)
• WARD, JAMES (1843– )
• WARD, JOHN QUINCY ADAMS (1830-1910)
• WARD, LESTER FRANK (1841– )
• WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
• WARD, WILLIAM (1766-1826)
• WARD, WILLIAM GEORGE (1812-1882)

Ward to Friar Bacon and Friar Bungay (Oxford, 1886, 4th ed., 1901) . (A . W .