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 See also:

• MIDDLETON
• MIDDLETON, ARTHUR (1742–1787)
• MIDDLETON, CONYERS (1683–1750)
• THOMAS MIDDLETON (c. 1570-1627)

MIDDLETON (c. 1570-1627)  , See also:

• ENGLISH

English dramatist, son of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• MIDDLETON
• MIDDLETON, ARTHUR (1742–1787)
• MIDDLETON, CONYERS (1683–1750)
• MIDDLETON, THOMAS (c. 1570-1627)

Middleton, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born about 1570, probably in See also:

• LONDON

London . There is no See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof that he studied at either university, but he may be safely identified with one of the 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 Middletons entered at See also:

• GRAY
• GRAY (or GREY), WALTER DE (d. 1255)
• GRAY, ASA (1810-1888)
• GRAY, DAVID (1838-1861)
• GRAY, ELISHA (1835-1901)
• GRAY, HENRY PETERS (1819-18/7)
• GRAY, HORACE (1828–1902)
• GRAY, JOHN DE (d. 1214)
• GRAY, JOHN EDWARD (1800–1875)
• GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
• GRAY, ROBERT (1809-1872)
• GRAY, SIR THOMAS (d. c. 1369)
• GRAY, THOMAS (1716-1771)

Gray's See also:

• INN

Inn in 1593 and 1596 respectively . He began to write for the See also:

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

stage with The Old See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

Law, in the See also:

• ORIGINAL

original draft of which, if it See also:

• DATES

dates from 1599 as is generally supposed, he was certainly not associated with William See also:

• ROWLEY, WILLIAM (c. 1585-c. 1642)

Rowley and See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip See also:

• MASSINGER, PHILIP (1583-1640)

Massinger, although their names appear on the See also:

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

title-See also:

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

page of 1656 . By 1602 he had become one of Philip See also:

• HENSLOWE, PHILIP (d. 1616)

Henslowe's established playwrights . The pages of Henslowe's See also:

• DIARY

Diary contain notes of plays in which he had a See also:

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

hand, and in the See also:

• YEAR

year 1607–1608 he produced no less than six comedies of London See also:

• LIFE

life, which he knew as accurately as See also:

• DEKKER (or DECKER), THOMAS (c. 1570-1641)
• DEKKER, EDWARD DOUWES (182o-1887)
• DEKKER, JEREMIAS DE (1610-1666)

Dekker and was content to paint in more realistic See also:

• COLOURS, MILITARY

colours . In 1613 he devised the See also:

• PAGEANT

pageant for the See also:

• INSTALLATION

installation of 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 See also:

• MAYOR (Lat. major, greater)
• MAYOR, JOHN EYTON BICKERSTETH (1825– )

Mayor, See also:

• SIR

Sir Thomas Middleton, and in the same year wrote an entertainment for the opening of the New See also:

• RIVER

River in See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of another Middleton . From these facts it may be reasonably inferred that he had influential connexions . He was frequently employed to celebrate civic occasions, and in 162o he was made See also:

• CITY (through Fr. cite, from Lat. civitas)

city chronologer, performing the duties of his position with exactness till his See also:

• DEATH

death . The most notable event in his career was the See also:

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

production at the Globe See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre in 1624 of a See also:

• POLITICAL

political See also:

• PLAY

play, A See also:

• GAME

Game at See also:

• CHESS

Chess, satirizing the policy of the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court, which had just received a rebuff in the See also:

• MATTER

matter of the See also:

• SPANISH

Spanish See also:

• MARRIAGE

marriage, the English and Spanish personages concerned being disguised as the See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

White See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight, the See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

Black 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, and so forth . The play was stopped, in consequence of remonstrances from the Spanish See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador, but not until after nine days' performances, and the dramatist and the actors were summoned to See also:

• ANSWER (derived from and, against, and the same root as swear)

answer for it . It is doubtful whether Middleton was actually imprisoned, and in any See also:

• CASE
• CASE, JOHN (d. 1600)

case the king's anger was soon satisfied and the matter allowed to drop, on the plea that the piece had been seen and passed by the 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 the See also:

• REVELS, MASTER OF THE

revels, Sir 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:

• HERBERT (FAMILY)
• HERBERT, GEORGE (1593-1633)
• HERBERT, HENRY WILLIAM
• HERBERT, SIR THOMAS (1606-1682)

Herbert . Middleton died at his 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 at Newington Butts, and was buried on the 4th of See also:

• JULY

July 1627 .

He worked with various authors, but his happiest collaboration was with William Rowley, this See also:

• LITERARY

literary See also:

• PARTNERSHIP (earlier forms, partener, parcener, from Late Lat. partionarius for partitionarius, from partitio, sharing, pars, part)

partnership being so See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close that F . G . Fleay (Biog . Chron. of the See also:

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

Drama) treats the dramatists together . The plays in which the two collaborated are A See also:

• FAIR

Fair See also:

• QUARREL

Quarrel (printed 1617), The See also:

• WORLD

World Lost at See also:

• TENNIS (sometimes called royal tennis, and, in America, court tennis)

Tennis (1620), an ingenious masque, The See also:

• CHANGELING

Changeling (acted 1624, printed 1653), and The Spanish Gipsie (acted 1623, printed 1653) . The See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• INTEREST

interest of the Fair Quarrel centres in the See also:

• MENTAL

mental conflict of See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain Agee, the problem being whether he should fight in See also:

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

defence of his See also:

• MOTHER

mother's honour when he no longer believes his quarrel to be just . The underplot, dealing with Jane, her concealed marriage, and the physician, which is generally assigned to Rowley, was suggested by a See also:

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

story in See also:

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

Giraldi Cinthio's Hecatommithi . The Changeling is the most powerful of all the plays with which Middleton's name is connected . The See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot is See also:

• DRAWN

drawn from the 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 of Alsemero and See also:

• BEATRICE

Beatrice-See also:

• JOANNA (1479-1555)

Joanna in See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds's Triumphs of See also:

• GOD

God's Reveng against Murther (bk. i., hist. iv.), but the story, black as it is, receives additional horror in Middleton's hands . The famous See also:

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

scene in the third See also:

• ACT (Lat. actus, actum)

act between Beatrice and De See also:

• FLORES

Flores, who has murdered Piracquo at her instigation, is admirably described by See also:

• SWINBURNE, ALGERNON CHARLES (1837–1909)

Swinburne: " That See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of incredulous amazement that the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man whom she has just instigated to the See also:

• COMMISSION (from Lat. commissio, committere)

commission of See also:

• MURDER

murder ` can be so wicked ' as to have served her end for any end of his own beyond the pay of a professional See also:

• ASSASSIN (properly Hashish n, from Hashish, the opiate made from the juice of hemp leaves)

assassin, 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 worthy of the greatest dramatist that ever lived . . . . That she, the first criminal, should be honestlycollaborators .

With Thomas Dekker he wrote The Roaring Girle, or Moll Cut-See also:

• PURSE (Late Lat. bursa, adapted from Gr. Gupta, hide, skin; possibly O. Eng. pusa, bag, has influenced the change from b to p)

Purse (1611) . The See also:

• FRONTISPIECE (through the French, from Med. Lat. frontispicium, a front view, frons, frontis, forehead or front, and specere, to look at; the English spelling is a mistaken adaptation to " piece ")

frontispiece represents Moll herself in man's attire, indulging in a See also:

• PIPE

pipe of See also:

• TOBACCO

tobacco . She was drawn or idealized from life, her real name being See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary See also:

• FRITH (or FRYTH), JOHN (c. 1503-1533)
• FRITH, WILLIAM POWELL (1818-19og)

Frith (1584-1659?), who was made to do See also:

• PENANCE (Old Fr. penance, fr. Lat. poenitentia, penitence)

penance at St See also:

• PAUL
• PAUL (PAULUS)

Paul's See also:

• CROSS

Cross in 1612 . " Worse things, I must confess," says Middleton in his See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface, " the world has taxed her for than has been written of her; but 'tis the See also:

• EXCELLENCY (Lat. excellentia, excellence)

excellency of a writer to leave things better than he finds 'em." In the play she is the See also:

• CHAMPION (Fr. champion, Late Lat. campio from campus; a field or open space, i.e. one " who takes the field " or fights; cf. Ger. Kampf, battle, and Kampfer, fighter)

champion of her See also:

• SEX (Lat. sexes; possibly connected with secure, to cut)

sex, and is equally ready with her See also:

• SWORD (0. Eng. sweord; ultimately from an Indo-European root meaning to wound)

sword and her wits . Middleton is also credited with a 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 Thomas Dekker's Honest Whore (pt. i., 1604) . The See also:

• WITCH

Witch, first printed in 1778 from a unique MS., now in the Bodleian, has aroused much controversy as to whether See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare borrowed from Middleton or See also:

• VICE

vice versa . The dates of both plays being uncertain, there are few definite data . The distinction between the two conceptions has been finely drawn by See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• LAMB (a word common to Teutonic languages; cf. Ger. Lamm)
• LAMB, CHARLES (1775–1834)

Lamb, and the question of borrowing is best solved by supposing that what is See also:

• COMMON

common to the incantations of both plays was a matter of common See also:

• PROPERTY

property . The Mayor of Quinborough was published with Middleton's name on the title-page in 1661 . See also:

• SIMON, ABRAHAM (1622-1692)
• SIMON, JULES FRANCOIS (1814–1896)
• SIMON, RICHARD (1638–1712)
• SIMON, SIR JOHN (1816–1904)
• SIMON, THOMAS (c. 1623-1665)

Simon, the comic mayor, is not a very prominent See also:

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

character in the plot, which deals with Vortiger, Hengist, Horsus and Roxena among other characters . One of its editors, Mr See also:

• HAVELOCK, SIR HENRY (1795-18J7)

Havelock See also:

• ELLIS (originally SHARPE), ALEXANDER JOHN (1814-189o)
• ELLIS, GEORGE (1753-1815)
• ELLIS, ROBINSON (1834- )
• ELLIS, SIR HENRY (1777-1869)
• ELLIS, WILLIAM (1794 – 1872)

Ellis, thinks the proofs of its authenticity as Middleton's See also:

• WORK

work very slender . It is generally supposed to have been a very See also:

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

early work subjected to generous revision .

The plays of Middleton still to be mentioned may be divided into romantic and realistic comedies of London Life . Dekker had as wide a knowledge of city See also:

• MANNERS, CHARLES (1857– )

manners, but he was more sympathetic in treatment, readier to idealize his subject . Two New Playes . Viz.: More Dissemblers besides See also:

• WOMEN

Women . Women beware Women, of which the former was licensed before 1622, appeared in 1657 . The plot of Women beware Women is a See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double intrigue from a See also:

• CON

con-temporary novel, Hyppolito and See also:

• ISABELLA (1451-15o4)
• ISABELLA, ISABEAU

Isabella,, and the genuine See also:

• HISTORY

history of Bianca Capello and See also:

• FRANCESCO
• FRANCESCO, 210

Francesco de See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici . This play, which ends with a See also:

• MASSACRE

massacre appalling even in Elizabethan drama, may be taken as giving the measure—no mean one—of Middleton's unaided See also:

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

power in tragedy . The remaining plays of Middleton are: Blurt . Master-See also:

• CONSTABLE (0. Fr. connestable, Fr. connetable, Med. Lat. comestabilis, conestabilis, constabularius, from the Lat. comes stabuli, count of the stable)
• CONSTABLE, ARCHIBALD (1774-1827)
• CONSTABLE, HENRY (1562-1613)
• CONSTABLE, JOHN (1776-1837)
• CONSTABLE, SIR MARMADUKE (c. 1455-1518)

Constable . Or the Spaniards See also:

• NIGHT

Night-walke (1602) ; Michaelmas Terme (1607), described by A . C . Swinburne as an excellent Hogarthian See also:

• COMEDY

comedy; The See also:

• PHOENIX
• PHOENIX (Gr. 4oivt )

Phoenix (1607), a version of the Haroun-al-Raschid See also:

• TRICK

trick; The Famelie of Love (16o8) ; A Trick to catch the Old-one (anonymously printed, 16o8) ; Your Five Gallants (licensed 16o8) ; A Mad World, my Masters (16o8); A Chast Mayde in Cheapside (printed 1630), notable for the picture of Tim, the See also:

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

Cambridge student, on his return See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home; Anything for a Quiet Life (c .

1617, printed 1662); No Wit, No Help like a Woman's (c . 1613, printed 1657) ; The Widdow (printed 1652), on the title-page of which appear also the names of See also:

• BEN (from Old Eng. bennan, within)

Ben See also:

• JONSON

Jonson and 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 See also:

• FLETCHER, ALICE CUNNINGHAM (1845– )
• FLETCHER, ANDREW
• FLETCHER, GILES (c. 1548-1611)
• FLETCHER, GILES (c. 1584-1623)
• FLETCHER, JOHN WILLIAM (1729-1785)
• FLETCHER, PHINEAS (1582-1650)

Fletcher, though their collaboration may be doubted . Eleven of his masques are extant . A tedious poem, The See also:

• WISDOM, BOOK OF, or WISDOM OF SOLOMON (Sept. Io4ia IaXwµwvos; Lat. Vulg. Liber sapientiae)

Wisdom of See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon paraphrased, by Thomas Middleton, was printed in 1597, and Microcynicon, Six Snarling Satires by T . M . Gent, in 1599 . Two See also:

• PROSE

prose See also:

• PAMPHLETS

pamphlets, dealing with London life, See also:

• FATHER

Father Hubbard's Tale and The Black See also:

• BOOK

Book, appeared in 1604 under his See also:

• INITIALS (Lat. initialis, of or belonging to a beginning, initium)

initials . His non-dramatic work, however, even if genuine, has little value . shocked as well as physically horrified by See also:

• REVELATION, BOOK OF

revelation of the real See also:

• MOTIVE (from Lat. movere, to move)

motive which impelled her See also:

• ACCOMPLICE (from Fr. complice, conspirator, Lat. complex, a sharer, associate, complicare, to fold together; the ac- is possibly due to confusion with " accomplish," to complete, Lat. complere, to fill up)

accomplice into See also:

• CRIME (Lat. crimen, accusation)

crime, gives a lurid streak of tragic See also:

• HUMOUR (Latin humor)

humour to the lifelike interest of the scene; as the pure infusion of spontaneous See also:

• POETRY

poetry throughout redeems the whole work from the See also:

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

charge of vulgar subservience to a vulgar See also:

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

taste for the presentation or the contemplation of criminal horror." See also:

• LEIGH
• LEIGH, EDWARD (1602–1671)

Leigh See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt thought that the character of De Flores, for effect at once tragical, probable and poetical, " surpassed anything with which he was acquainted in the drama of domestic life." The underplot of the piece, though it is based on the humours of a madhouse, has genuine comic flashes . The Spanish Gipsie has a double plot based on the Fuerza de la sangre and the Gitanilla of Cervantes Much has been said on the collaboration of Middleton with Rowley, who was much in demand with See also:

• FELLOW

fellow-dramatists, especially for his experience in See also:

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

low comedy . These plays, even in scenes where the See also:

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

evidence in favour of one or other of the collaborators is clear, rise to excellence which neither dramatist was able to achieve alone .