I unfortunately omitted to make any notes on the spot, I was unable to pronounce definitely on the subject without further investigation. I have this day re-examined the original together with G. C. Moore Smith, and can state definitely that, while the signature on the title-page is certainly «Jhō Kyde», that at the end is unquestionably Tho. kydde.» Thus the signature as printed by Boas is substantially though not formally correct. It may also be remarked that the signature occurs below and not above the word «Finis», as represented. The signature is in a contemporary hand, different from that of the signature on the title-page, but bearing no resemblance to that of the letter to Puckering (Boas' Kyd, frontispiece). I have some familiarity with the forgeries of the late J. P. Collier, and have no hesitation in pronouncing the signature ancient. The writer thereof must. however, for the present at least remain unknown. W. W. Greg.

Jonsoniana.

Durch die Liebenswürdigkeit des Mr. Bernard Quaritch, der mir den seltenen Band auf kurze Zeit zur Einsicht sandte, ist es mir endlich möglich geworden, Allot's England's Parnassus1) nach Auszügen aus Jonson zu durchblättern. Beim Aufsuchen der Stellen haben mir Crawfords Zettel für seine Jonson Concordance zur Verfügung gestanden, wofür ich ihm auch hier bestens danke. Die Verweise hinter dem Text beziehen sich auf die Quartoausgaben von Ev. Man in und out in den «Materialien».

p. 9 (Art): Art has an enemy cald ignorance. EO 339.

p. 86 (Famine): Meano cates are welcome still to hungry guests. EO 290.

p. 106 (Frugality): He that will thriue, must thinke no courses vile. EO 898. p. 169 (Life): No life is blest that is not grac't with loue. EO 2517. p. 189 (Love): Tis folly by our wisest worldlings prou'd,

(If not to gaine by loue) to be belou'd. EO 3051.

1) Englands Parnassus: or The choysest Flowers of our Moderne Poets, with their Poeticall comparisons. Descriptions of Bewties, Personages, Castles, Pallaces, Mountaines, Groues, Seas, Springs, Rivers, &c. Whereunto are annexed other various discourses, both pleasaunt and profitable. [Vignette] Imprinted at London for N. L. [] C. B. and T. H. 1600. 8° A-Kk = 510 SS. Als Vignette ist der Block gebraucht, den der Linge'sche Druck vom Jahre 1600 in Jonsons Ev. Man out («<Materialien », Bd. 17) aufweist. Das Buch ist nur wenigen Herausgebern bekannt Schick und Boas gebrauchten es für Kyd da auch der Collier'sche Neudruck kaum aufzutreiben ist.

p. 200 (Marriage): Offer no loue rights, but let wiues still seeke them. For when they come vnsought, they sildom like them. EO 1586. p. 258 (Riches): Wealth in this age will scarcely looke on merit. EO 836. p. 266 (Sin): Man may securely sinne, but safely neuer.

Für die Chronologie von Jonsons Werken ist dieser Vers von Wichtigkeit, da er beweist, daß die Epode «Not to know vice at all» in «The Forest» (Fol. 1616, p.830; Giff.-Cunningh. III, p. 269 ff.), deren Schluß er bildet, vor 1600 entstanden sein muß.1)

Dasselbe gilt von der Strophe, die wir bei Allot unter «Patience> auf S. 225 finden, und die erst in der Fol. 1640 in The Underwood». S. 193 veröffentlicht wurde als Teil der «Ode to James Earl of Desmond», der der Herausgeber die Bemerkung «writ in Queene Elizabeths time, since lost, and recovered» mit auf den Weg gab. Die var. lect. sind nicht uninteressant.

Let Brontes and blacke Steropes

Sweat at the Forge their hammers beating

An houre) will come, they must affect their ease 3),
Though but while mettall's) heating.

And after all their') Etnean ire,
«Gold that is perfect will out-liue the fire.
«For Fury wasteth,

As Patience lasteth.

«No armor to the Mind: «He is shoot-fire")
From Iniury,

That is not hurt; not hee, that is not hit:

So Fooles we see,

Oft scape their 7) Imputation, more through luck, then wit.)

Bei der relativen Zuverlässigkeit von Allot's Texten aus Jonson entbehren auch die Varianten der beiden folgenden Stücke nicht ganz des Interesses. Sie sind Ev. Man in his Hum. entnommen und den ihnen zu Grunde liegenden Text mag der Herausgeber bei einer Aufführung gehört haben (term'd gegen call'd in Z. 2), wenn er ihn nicht gar dem Raubdruck entnommen hat, den das SR. unterm 4. August 1600 («Materialien», Bd. 10, Einleitung) erwähnt (??).

1) Zum erstenmal gedruckt 1601 in R. Chester's Love's Martyr or Rosalin's Complaint (Hazlitt, Handbook, pp. 99-100).

2) Pyracmon's houre Fol.

3) to give them ease Fol.

4) the mettal's Fol.

5) the Fol.

") shot free Fol.

7) an Fol.

$) Collier hat diese Strophe nicht identifiziert.

p. 143 (Jealousie): A new disease? I know not, new, or old;

But it may well be term'd 1), poore mortall plaine.")

For like the3) pestilence, it doth infect

The houses of the braine: first it begins

Solely to worke vpon the phantasie,

Filling her seat with such pestiferous aire,

As soone corrupts the judgement, and from thence
Sends like contagion to the memorie,

Still each of other taking like *) infection,
Which as a searching") vapour spreads it selfe,
Confusedly through euery sensiue part,

Till not a thought or motion in the minde,

Be farre) from the blacke poyson of suspect. EI 770.

p. 145 (Jealousie): . . . Where iealousie is bred 7),

Hornes in the mind, are worse then hornes in ) the hed. EI 2987.
Die drei letzten Stücke schließlich waren unseres Wissens bisher

gänzlich unbekannt:

p. 211 (Murder): Those that in blood such violent pleasure haue, Seldome descend but bleeding to their graue.

p. 233 (Peace): Warres greatest woes and miseries increase,

Flowes from the surfets which we take in Peace.

p. 258 (Riches): Gold is a sutor, neuer tooke repulse,

Löwen.

1) call'd Q.

It carries Palme with it (where e're it goes)
Respect, and obseruation; it vncouers
The knottie heads of the most surly Groomes,
Enforcing yron doores to yeeld it way,
Were they as strong ram'd vp as Aetna gates.
It bends the hams of Gossip Vigilance,

And makes her supple feete, as swift as winde.
It thawes the frostiest, and most stiffe disdaine:
Muffles the clearnesse of Election,

Straines fancie vnto foule Apostacie.

And strikes the quickest-sighted Iudgement blinde.
Then why should we dispaire? dispaire? Away:
Where Gold's the Motiue, women haue no Nay.

W. Bang.

2) poore mortals Plague Q. Der Gegensatz zu new or old in der ersten Zeile scheint in der zweiten Zeile doch ein Adjektiv zu verlangen: «ob's alt oder neu ist, weiß ich nicht, jedenfalls ist's einfach tötlich»? Wenn wirklich Ben selbst hier später geändert hat, wird es wohl sein, weil er sich an poor stieß.

3) a Q.

*) catching the Q. Still each to other giuing the infection Fol.

5) subtle Fol.

) free Q. farre ist wohl nur Druckfehler.

7) fed Q.

$) on Q.

The Fortune Theatre, 1600.

(From the London «Tribune», Oct. 12, 1907.)

The accompanying drawings, ground-plan, and section of the Fortune Theatre in Golden-lane have been executed, at my suggestion, by Mr. Walter H. Godfrey, in accordance with the contract between Henslowe and Alleyn of the one part, and Peter Street, carpenter, of the other part, signed on Jan. 8th, 1599-1600, and preserved at Dulwich College. The larger of the two drawings is taken from such a low point of view that the projection of the stage, and the slope of the stage-roof or "shadow" do not quite clearly appear. Therefore I suggested that Mr. Godfrey should make a slight sketch from the point of view of the first gallery, in which these features would be evident at a glance. Hence the smaller drawing.

The Henslowe-Street contract is very clear and explicit up to a certain point. It gives us all the main dimensions of the building and of the stage. It fails us, as we shall see, just where it might have been most instructive; but that is no reason why we should not clearly visualize its data so far as they go. I am glad that an English architect should have been the first to undertake this task, or at any rate to publish the result. America and Germany have in many ways got far ahead of us in the study of the Elizabethan theatre. I trust that scholars in both countries will recognize in Mr. Godfrey's work a serious contribution from England.

In one respect the Fortune was not a typical building. All the other "public" or unroofed theatres seem to have been round or octagonal; but the Fortune contract sets out by specifying that "the frame of the howse is to be sett square." It then proceeds:

«The frame . . . is to conteine fower-score foote of lawful assize everye waie square withoute, and fiftie five foote of like assize everye waie within. . . and the saide frame to containe three stories in heighth, the first or lower storie to conteine twelve foot in heighth, the seconde storie eleaven foot, and the third or upper storie nyne foote. All which stories shall conteine twelve foote and a half in breadth througheoute besides a juttey forwardes in either of the saide twoe upper stories of tenne ynches of lawful assize; with fower convenient divisions for gentlemens roomes [boxes], and other sufficient and convenient divisions for twoe-pennie roomes; with necessarie seates to be placed and sett as well in those roomes as througheoute all the rest of the galleries.»>

So far all is pretty plain sailing; but now comes a very disappointing passage, in which it is stipulated that the building is to be provided with suche like steares, conveyances and divisions, withoute and within, as are made and contryved in and to the late erected plaie

howse on the Banck called the Globe; with a stadge and tyreinge

howse to be made, erected and sett upp within the saide frame: with a shadowe or cover over the saide stadge: which stadge shall be placed and sett, as alsoe the stearecases of the said frame, in

The Fortune Theatre, from the "Yard."