cambridge university press two - the devil’s law-case a ......978-0-521-03511-8 - the works of...

This is the second volume to appear in the Cambridge edition of the works ofJohn Webster. Volume one contains The White Devil and The Duchess of Malfi,and this volume has The Devil’s Law-Case, A Cure for a Cuckold, and Appius andVirginia. While The Devil’s Law-Case and A Cure for a Cuckold are available inmodernized versions, Appius and Virginia has not been edited since early in thetwentieth century. Furthermore, this Cambridge critical edition preserves theoriginal spelling of all the plays, and incorporates the most recent editorial schol-arship, including valuable information on Webster’s share in the collaborativeplays, and new critical methods and textual theory. In particular, the editionintegrates theatrical aspects of the plays with their bibliographical and literaryfeatures in a way not previously attempted in a scholarly edition of a Jacobeandramatist. The edition presents all Webster’s plays (with the exception of thosecollaborative plays already published in the Cambridge editions of Dekker, andBeaumont and Fletcher under the editorship of Fredson Bowers), and provides abrief biography, an account of the Webster canon, illustrations, and a critical andtheatrical history of each play. The edition will be of interest to scholars and stu-dents of drama and English literature, and to theatre practitioners and historians.

© Cambridge University Press www.cambridge.org

Cambridge University Press978-0-521-03511-8 - The Works of John Webster: An Old-Spelling Critical Edition, VolumeTwo - The Devil’s Law-Case a Cure for a Cuckold Appius and VirginiaEdited by David Gunby, David Carnegie and MacDonald P. JacksonFrontmatterMore information

http://www.cambridge.org/0521035112http://www.cambridge.orghttp://www.cambridge.org

THE WO�KS OF

JOHN WEBSTE�

VOLUME TWO




THE WO�KS OF

JOHN WEBSTE�

An Old-Spelling Critical Edition

Edited by

David Gunby

David Carnegie

MacDonald P. Jackson

VOLUME TWO

THE DEVIL’S LAW-CASEA CU�E FO� A CUCKOLD

APPIUS AND VI�GINIA




CAMBRIDGE UNIVERSITY PRESS

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org

Information on this title: www.cambridge.org/9780521260602

© Cambridge University Press 2003

This publication is in copyright. Subject to statutory exception

and to the provisions of relevant collective licensing agreements,

no reproduction of any part may take place without the written

permission of Cambridge University Press.

First published 2003

This digitally printed version 2007

A catalogue record for this publication is available from the British Library

ISBN 978-0-521-26060-2 hardback

ISBN 978-0-521-03511-8 paperback




Contents

List of illustrations page ix

General preface to Volume two xi

General textual preface xiii

Acknowledgements xviii

List of abbreviations xx

THE DEVIL’S LAW-CASE

Date 3

Critical introduction 5

Theatrical introduction 36

Textual introduction 59

The Devil’s Law-Case 75

Press variants 167

Lineation 170

Commentary 176

Sources 259

A CU�E FO� A CUCKOLD

Date 263




A Cure for a Cuckold 303

Press variants 380

Lineation 382

Commentary 387

Sources 439

vii




APPIUS AND VI�GINIA

Date 443




Appius and Virginia 501

Press variants 579

Lineation 581

Commentary 583

Sources 640

Corrigenda Volume one: music 643

contents

viii




Illustrations

1. Sir Edward Coke in the robes of Lord Chief Justice, c. 1613–16 page 40

(attributed to Paul Van Somer). By permission of the Masters

of the Bench of the Honourable Society of the Inner Temple

(Photograph: Photographic Survey, Courtauld Institute of Art)

2. Inigo Jones’s drawings, probably for the Cockpit in Drury Lane 47

(the Phoenix). By permission of the Provost and Fellows of

Worcester College, Oxford

3. A judicial combat, with lists and raised judges. (The Bodleian 48

Library, University of Oxford, E 6.1. Art opp. p. 111)

4. Title-page of The Devil’s Law-Case (1623). (By permission of 75

the Folger Shakespeare Library)

5. Ignoramus, a lawyer, with pen-box and inkhorn (1630 284

engraved frontispiece from Ignoramus by George �uggle).

(By permission of the Syndics of Cambridge University Library)

6. Title-page of A Cure for a Cuckold (1661). (By permission of the 303

Folger Shakespeare Library)

7. �enaissance �oman costume (drawing based on Shakespeare’s 478

Titus Andronicus, attributed to Henry Peacham). (�eproduced

by permission of the Marquess of Bath, Longleat House,

Warminster, Wiltshire, Great Britain)

8. Officers with halberds, and musicians (1628 title-page woodcut 479

from The Counter-�att by �[obert] S[peed]). (By permission of

the British Library, C.71.b.15)

9. A stage fool’s costume, with long coat (‘guarded’with 480

horizontal bands of cloth) and hat with coxcomb (1634 title-

page woodcut from A Maidenhead Well Lost by Thomas

Heywood). (By permission of the British Library, C.34.c.51)

10. ‘Virginius Killing his Daughter’ (engraving by Georg Pencz, 482

c. 1546). (British Museum, collection reference E.4.255)

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11. ‘Advance your Pike’; pike drill in three ‘Motions’ (engravings 484

from The Military Art of Trayning [1622]). (By permission of the

British Library, C.27.a.21)

12. Title-page of Appius and Virginia (1654). (By permission of the 501

Folger Shakespeare Library)

list of illustrations

x




General preface to Volume two

This, the second volume of the Cambridge edition of The Works of JohnWebster, is devoted to three plays from the last decade of Webster’s career:The Devil’s Law-Case, A Cure for a Cuckold, and Appius and Virginia. Ofthese, two were written in collaboration—A Cure for a Cuckold withThomas Heywood and William �owley and Appius and Virginia withHeywood—while the third constitutes Webster’s sole unaided essay inthe tragicomic mode. All have considerable merits, and close acquain-tance has convinced the editors that all three deserve not only thedetailed scholarly attention given them, but also the opportunity to provethemselves on the stage in productions by professional companies. It is tobe hoped that these will follow their appearance in this volume.

The editing of the plays in Volume two has proceeded along the lineslaid down initially for the edition, with each editor taking primaryresponsibility for one aspect of the editing process, but all three jointly aswell as severally responsible for the outcomes. The only parts of thevolume for which editors take individual responsibility are those creditedto them: the Critical, Theatrical, and Textual introductions. And evenhere there has been considerable consultation, with editors reading andcommenting on each others’work.

The aim of the editors has been to work by consensus, and this hasrarely been difficult. As in Volume one, however, there has been noattempt to disguise the rare instances where there is disagreement—as forinstance over a textual crux in The Devil’s Law-Case, where two of theeditors have published notes arguing diametrically opposed solutions.Such rare differences the notes record.

Again, as in Volume one, there is no separation of textual, literary, andtheatrical notes, since the rationale for the edition is the interdependenceof these three aspects of play texts. The collation, however, is providedseparately.

The General preface to Volume one referred to what was then a majordifficulty arising from the publishing of this edition seriatim: how to referto works by Webster not in that volume. With the appearance of thissecond volume that problem is much diminished, but where reference ismade to works not yet published the same solution is adopted as in

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Volume one: use of the lineation of the Lucas edition, as (e.g.) AQL(Lucas) I.i.150–1. To save space abbreviation has again been widelyemployed, both for works by Webster and for other works referred tomore than twice. A List of abbreviations is found on pp. xx–xxi. Where,in the Commentary, reference is made to another editor (e.g., Lucas orWeis) or to Dent without further detail, such reference is to the appropri-ate passage in their volumes.

Finally, it is with sadness that we record the death, in late 1996, ofAntony Hammond, co-editor of Volume one, colleague, and friend.Tony died soon after the publication of the volume to which he had con-tributed so much, but before cancer struck him down he had also doneconsiderable work on Volume two, and particularly on The Devil’s Law-Case. Tony’s brusque manner masked gentleness and generosity, andthese qualities we miss, along with his wit, his enthusiasm, and his exper-tise—in fine wine and opera as in matters bibliographic.

Tony’s replacement in the editorial team—one Tony enthusiasticallyendorsed when he knew he would be unable to continue—is anotherNew Zealander, Mac Jackson of the University of Auckland, a bibliogra-pher of great experience and reputation whose most recent work hasbeen on the Oxford edition of Thomas Middleton. The transition hasbeen a smooth one, and the team’s range of skills has been most fortu-nately enlarged—given the presence in Volume two of two collaborativeworks—by Mac’s expertise in determining authorship. Thanks to hiswork, building on that, earlier, of others such as Gray, Lucas, and Lake, itseems possible to argue with confidence not only who share withWebster the credit for A Cure for a Cuckold and Appius and Virginia, butalso, with some degree of precision, what their shares are.

general preface to volume two

xii




General textual preface

MacDonald P . Jackson

Basic principles and procedures remain those set forth in Volume one,but some further discussion seems in order. The three plays included herepresent a few problems of their own, not encountered in the editing ofThe White Devil and The Duchess of Malfi, and, for certain details, ourinterpretations of the original guidelines need clarification.

A significant modification to the format of Volume one involves thecollation of departures from the lineation of the quartos that serve asfoundation texts. Both the 1623 Quarto of The Devil’s Law-Case and the1661 Quarto of A Cure for a Cuckold have so much prose printed as verse,misaligned verse, and verse printed as prose that we have preferred not toclutter the collation notes at the foot of each page with the record of oureditorial changes to lineation, but to consign the relevant data to specialsections. This in turn means that, whereas prose ‘set erroneously as versein the copy-text’ was ‘not collated in detail’ in Volume one1—a quarto’suse of verse being signalled in a general way, without any indications ofits line divisions—in Volume two we have included specific informationabout line endings, dealing with one speech at a time. Although Appiusand Virginia requires far less adjustment to its lineation than the other twoplays, we have, for the sake of consistency, treated it in the same way.

To save space in collating lineation changes, we have attached ‘a’ or ‘b’to certain line-numbers to denote the first or second part of a line sharedbetween speakers: in the few cases where this practice might lead toambiguity, the opening and closing words of the passage under consider-ation have been given in the lemma. The formula ‘This ed.’ has not beenused: any change to the foundation text’s lineation that is not attributedto a previous editor originates with us. Thus the entry for A Cure for aCuckold, II.iv, that reads ‘38–9] verse . . . not | Q’ signals that our decisionto print as prose has not been anticipated by earlier editors and that theQuarto prints as verse and divides after ‘not’. In such entries, punctua-tion after words ending lines and spelling and typography of these words(in respect of ‘u’ and ‘v’, for example) are those of our edition, not of thefoundation text. Lineation in quartos and other editions is indicated by

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line endings only. Although the main object is to record our own devia-tions from the quartos and our indebtedness to our predecessors, we havealso collated a few plausible arrangements that we have not adopted.

Some of our decisions on how to arrange the verse have been affectedby our attributions of authorship in collaborative plays. A Cure for aCuckold was published as by John Webster and William �owley, but ourown investigations have confirmed Lucas’s findings that ThomasHeywood contributed both to this comedy and to Appius and Virginia,published under Webster’s name alone. Heywood’s blank verse is moreregular than Webster’s, and �owley’s habit of at times dealing out ten-syllable lines with scant regard for patterns of stress has influenced ourlineation in A Cure for a Cuckold, at II.iv.114–18 and V.ii.62–7, forexample.

In the Quarto of Appius and Virginia verse lines start with lower-caseletters unless a capital is used for some other reason—to begin a new sen-tence or to highlight a noun or other significant word. We have capital-ized all verse lines, both in Appius and Virginia and in the other two plays,making the alterations silently even when stray lines in The Devil’s Law-Case or A Cure for a Cuckold have anomalously been set in the originalquartos without capitals. Naturally our relineation of the foundationtexts also leads to the silent alteration of lower case to upper case whenour change is from quarto prose to verse, and from upper case to lowercase when our change is from quarto verse to prose.

‘Silent emendation is one of the icebergs that may wreck even themost titanic edition’, declared Antony Hammond and DoreenDelVecchio in introducing the subject in Volume one.2 A few words maybe added to their account of this edition’s ‘silent’ modifications to theoriginal texts. The most important of these concern speech prefixes andstage directions. As explained in Volume one, speech prefixes have beenregularized, abbreviated forms having been expanded. Where thespeaker is not in doubt and no typographical error occurs in the quarto,these adjustments to speech prefixes have not been collated. We havesettled upon one particular form of the name: ‘Oppius’, for example, inAppius and Virginia, rather than the ‘Opius’ which he becomes from B4r

to C1r (our I.iii) and from H2v to H3r (our V.i) and, in a stage direction,on I1v (our V.iii); and, in the same play, ‘Marcus Clodius’, rather than the‘Marcus’ or ‘Clodius’, which, in full or abbreviated forms, he is also called.Similarly, uncontentious spelling variants of names in stage directions(such as ‘Anabel’ on B2r in A Cure for a Cuckold), instead of the usual‘Annabel’) have been silently regularized. The punctuation of speech

general textual preface

xiv




prefixes has also been silently standardized: sporadic anomalies in thequartos—a comma or colon or the absence of any punctuation mark—have not been collated. On the rare occasions when a stage directionlacks a closing full stop in the foundation quarto, one has been provided.The expansion of unambiguous abbreviations in stage directions has notbeen collated, except where changes to their punctuation or placing havealso been made.

Akin to stage directions are the scene headings that we have addedwithin square brackets: [I.ii], and the like. All three plays in Volume twoare divided into acts but not into scenes. Scene headings are collatedwhen there is nothing corresponding to them in the relevant quarto.Thus Dyce has been credited with each scene division that he intro-duced.

One addition should be made to Volume one’s list of silent normaliza-tions of punctuation, such as the replacement of black-letter and italicstops with roman.3 The varying lengths of dashes in the quartos seemquite arbitrary, bearing no relation to function. Choices appear to havebeen made mainly according to compositorial preference and, moresignificantly, the numbers and lengths of dashes in a compositor’s case oftype at any given time and the amount of space available in a particularline. In this volume we have standardized the length of the dash, ratherthan attempting to imitate the quarto variations in this purely typograph-ical feature.

In A Cure for a Cuckold and Appius and Virginia the first word of eachact’s dialogue begins with a very large capital followed by one of normalsize. This edition prints a normal capital followed by a lower-case letter.

Worth repeating is Volume one’s statement that while changes ofpunctuation to the text have been collated, consequent changes in case(such as capitalization after the replacement of a colon with a full stop)have not, and that throughout this edition ‘lowercase after final ?/! issilently capitalized’.4 One kind of regularization of the foundationtexts—specified in the General textual introduction to Volume one—hasgiven rise to much careful deliberation. ‘The exclamatory question markhas been replaced with the modern exclamation mark where it seemsclear that an exclamation with no interrogative content was intended, onthe grounds that the distinction between the two marks was still in theprocess of being established at the time Webster’s works were firstprinted.’5 In distinguishing between quarto question marks that are gen-uinely interrogative and question marks that are essentially exclamatory,and are therefore silently replaced by exclamation marks in this edition,

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we have been guided by our sense of how the dialogue would mostappropriately unfold in performance.

The scholar who scrutinizes our collation notes will observe thatadjustments to punctuation are more frequent than in most othertwentieth-century old-spelling editions. This is partly because we wantThe Works of John Webster to be used by directors and actors, and, whileacknowledging the fluidity of seventeenth-century syntax, have tried toclarify the shape of some of the longer speeches, so that they are morereadily comprehensible than they appear in the quartos. Like all old-spelling editors, we have corrected foundation-text punctuation when itis patently wrong or misleading—when a comma ends a speech or acompositor has misunderstood a sentence and supplied stops that hewould not have set had he interpreted the meaning rightly. But we havealso made punctuation heavier or lighter when such changes resultin clear gains in intelligibility and would have done so even for aseventeenth-century reader. In making adjustments we have aimed notto obscure the nature of a quarto’s early modern punctuation, but tobring it a little closer to its own best standards.

Our interest in the theatrical qualities of these plays has also motivateda much fuller supplementation of the foundation texts’ stage directionsthan previous editors have attempted. This process has been carriedfurther than in Volume one. Our intention has been to help readersrecreate in the mind’s eye and ear the plays in performance on the pre-�estoration stage. Editors, mulling over the text line by line, can oftendeduce details about who is being addressed, what actions are being per-formed, what properties are visible, when characters must enter or exit,and so on, that a spectator would experience directly and immediately inthe theatre, but that may remain obscure to a reader unwilling to under-take the slow process of reconstruction. The spectator observes that inThe Devil’s Law-Case, II.i.197–201, Ariosto addresses first Julio and then�omelio. A reader works out that Ariosto switches his attention in thisway, and can do so only after pondering the sentences. By adding, insquare brackets, ‘to Julio’ and ‘to �omelio’ we try to make reading the playsmore closely resemble hearing and viewing them staged. In the same playCrispiano’s entry with Ariosto at the beginning of III.i is recorded in theQuarto, but a reader will not visualize him as ‘disguised as a merchant’—though the subsequent dialogue makes his costume clear—without thestimulus of the words we have appended. Directions have, however, beenaugmented or amended only when we are confident that the dialoguedemands the staging indicated. We have been anxious to avoid anything


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unduly ‘prescriptive’. When alternative ways of presenting the dialogue,or of realizing the text in performance, are feasible, we have canvassed thepossibilities in the Commentary.

Also mentioned in Volume one was that tildes ‘have been expanded,and collated’ and ampersands expanded (and collated) ‘when there is evi-dence that they have been used to save space, but not elsewhere’.6 InVolume two we have expanded (and collated) all tildes and ampersands,finding a distinction between ampersands ‘used to save space’ and otherampersands too difficult to draw. Most ampersands and tildes occur intight lines, but even when they occur in well-spaced lines or lines endingagainst the right-hand margin in white space rather than lettering there isusually reason to suspect that the compositor has set them as an aid to jus-tifying the line of actual type.

Likewise, in almost always preserving the spacing of contractions(whether ‘I’m’ or ‘I ’m’, for example), we have been aware that the lessusual forms may have been chosen by the compositor for purposes ofjustification, but have altered the spacing (and recorded the alteration inthe collation notes) only when what the quarto prints is so anomalous asto seem plainly not authorial.

Indeed, among the most conspicuous differences between our textsand Lucas’s is our much greater willingness to preserve orthographycommon in the seventeenth century but regularized, and in fact mod-ernized, by Lucas, even though his also was an old-spelling edition: forexample, ‘a kin’, ‘some what’, ‘over hear’t’, ‘yester day’, ‘president’ (for‘precedent’), ‘too’ (for ‘to’), and such contractions as ‘e’m’ and ‘or’e’ (for‘over’), in which the placing of the apostrophe is ‘illogical’ but notunusual in the period. LION: Drama has been invaluable in revealing theprevalence of certain forms that Lucas preferred to emend. Nor have wefollowed Lucas in supplying apostrophes to possessives from which theyare absent in the foundation texts: the meaning is seldom in the leastambiguous, and any difficult locutions are glossed in the Commentary.

Finally, in the lists of Press variants, line references ignore headlines,but otherwise count all lines of type, including lines of quads that leavewhite space.

1. Webster, I, 43.2. Ibid., I, 42.3. Ibid., I, 42–6.4. Ibid., I, 45.5. Ibid., I, 44.6. Ibid., I, 44 and 48.

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Acknowledgements

As with Volume one of this edition, our debt to previous editors is great,especially to F. L. Lucas’s edition of The Complete Works of John Webster(London, 1927).

Thanks for research grants, leave, fellowships, and equivalent supportare due to the Universities of Auckland and Canterbury, and VictoriaUniversity of Wellington, and to the Marsden Fund, administered by the�oyal Society of New Zealand, for a major supporting grant (and PaulFroggatt of Victoria Link for keeping tabs on the money). Visiting fel-lowships have generously been granted by the Centre for �eformationand �enaissance Studies at Victoria University, University of Toronto;Clare Hall, Cambridge; Massey College, University of Toronto; StCatherine’s College, Oxford; Trinity College, University of Toronto;and Trevelyan College, University of Durham.

We are again grateful to the librarians and staff of our own universitiesmentioned above, and of all the libraries where we have consulted texts,theatre archives, and other material, to Oxford University ComputingServices, and to the Folger Shakespeare Library for permission to repro-duce title-pages of the three plays. We also reiterate the thanks made inVolume one to the professional theatres and practitioners who haveassisted our research.

To our research assistants Cassandra Fusco, Nicole Jackson, DavidLawrence, Pauline Neale, Anna �enton-Green, David Watkins and espe-cially to Hester Lees-Jeffries, we owe a great debt. Many colleagues andfriends have supported our work, among whom mention should bemade of Herbert Berry, Elizabeth Brennan, Katherine Duncan-Jones,Colin Gibson, Konrad Eisenbichler, Claus Ejlertsen, Jim Fowler, PaulFroggatt, Andrew Gurr, Michael Hattaway, David Hoeniger, TrevorHoward-Hill, Paulina Kewes, Kim Kippen, Soon-Ai Low, JeanMacIntyre, Brian Parker, �ichard Proudfoot, Jennifer Shennan, TimStretton, Hans Werner, and Claire Worley. In addition, of course, wehave imposed on our own colleagues and students, and particular thanksmust go the student casts and crews who have undertaken productions ofthese seldom-performed plays. To our families and friends, as always, ourheartfelt gratitude.

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Special mention must be made of the invaluable contribution as musicconsultant for the edition of Professor Peter Walls, who saved us frommany egregious errors.

We acknowledge also the patience and support of the staff ofCambridge University Press, particularly Sarah Stanton and MargaretBerrill.

The sad death of Tony Hammond, our co-editor for Volume one,must not obscure his contribution to this volume, for which he didnearly all the textual collation, and particularly for his early work inaddressing the lineation problems in The Devil’s Law-Case. We alsoacknowledge the immense support we received since the inception ofthe edition from Don McKenzie, whose death was a heavy blow.

David Gunby, Department of English, University of Canterbury,Christchurch, New Zealand

David Carnegie, School of English, Film and Theatre,Victoria University of Wellington, New Zealand

MacDonald P. Jackson, Department of English,University of Auckland, New Zealand

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acknowledgements




List of abbreviations

Volume I of this edition is cited as Webster, I. Unless otherwise noted, allcitations from classical works are from Loeb Classical Library editions,and all biblical quotations from the Geneva Bible. Shakespeare referencesuse abbreviated titles without authorship citation (see under‘Shakespeare’ below). Works prior to the eighteenth century are pub-lished in London unless specified otherwise.

I . WO�KS BY WEBSTE�

a . ABB�EVIATIONS

See Webster canon (Webster, I, xxxii–xxxiv) for full titles, chronology,and publication details. Webster is referred to in the Commentary as W.‘Stage direction’ is abbreviated as SD. �eferences to works by Webster notcontained in vols. I and II of this edition are signalled as being to theLucas edition lineation: e.g., AQL (Lucas) I.i.150–1.

AddM W’s Additions to The MalcontentAQL Anything for a Quiet LifeAV Appius and VirginiaCC A Cure for a CuckoldChar. CharactersDLC The Devil’s Law-CaseDM The Duchess of MalfiFMI The Fair Maid of the InnIndM Induction to The MalcontentKWW Keep the Widow WakingMonC A Monumental ColumnMonH Monuments of HonourNHo Northward HoOde OdeProg. Progeny of . . . Prince JamesQV Qualis VitaSP A Speedy Post

xx




STW Sir Thomas WyattToAM To . . . Antony MundayToTH To . . . Thomas HeywoodWD The White DevilWHo Westward Ho

b. P� INCIPAL EDITIONS OF WEBSTE�

Editions are cited by editor and, where necessary, date.

Brennan 1975 Elizabeth M. Brennan, ed., The Devil’s Law-Case,New Mermaids (London, 1975)

Dilke Charles Wentworth Dilke, Old English Plays, 6 vols.(London, 1814–15)

Dollimore and Jonathan Dollimore and Alan Sinfield, eds., TheSinfield Selected Plays of John Webster (Cambridge, 1983)

Dyce 1 Alexander Dyce, ed., The Works of John Webster, 4 vols.(London, 1830)

Dyce 2 Alexander Dyce, ed., The Works of John Webster(London, 1857)

Gunby 1972 D. C. Gunby, ed., John Webster: Three Plays(Harmondsworth, 1972)

Hazlitt William Hazlitt, ed., The Dramatic Works of JohnWebster, 4 vols. (London, 1857)

Lucas F. L. Lucas, ed., The Complete Works of John Webster, 4vols. (London, 1927)

Shirley Frances A. Shirley, ed., The Devil’s Law-Case, �egents�enaissance Drama (Lincoln, Neb., 1971)

Thorndike Ashley H. Thorndike, ed., Webster and Tourneur (NewYork, 1912)

Weis �ené Weis, ed., The Duchess of Malfi and Other Plays(Oxford, 1996)

2 . F�EQUENTLY-QUOTED AUTHO�S

With authors for whom reference is made to several plays or other works,the author’s name only may appear in this list, followed by the edition(s)cited. Thus, e.g., a note in the Commentary to Jonson, Sejanus may be

xxi

list of abbreviations




amplified by reference in this list to Ben Jonson, ed. C. H. Herford andPercy and Evelyn Simpson, 11 vols. (Oxford, 1925–52).

Alexander Sir William Alexander, The Monarchicke Tragedies(1607). The individual plays are cited as follows: TheAlexandraean Tragedie (Alex. Trag.) and Julius Caesar(Jul. Caes.). Act and scene numbers are followed bysignature references

Bartholomaeus, Anglicus Bartholomaeus, Batman uppon Bartholome, hisBatman Booke De Proprietatibus �erum, tr. Francis Batman

(1582)

Beaumont Francis Beaumont and John Fletcher, The DramaticWorks in the Beaumont and Fletcher Canon, gen. ed.Fredson Bowers, 10 vols. (Cambridge, 1966–96)

Browne, Works The Works of Sir Thomas Browne, ed. Sir GeoffreyKeynes, 4 vols. (London, 1964)

Cal. S. P. Dom. Calendar of State Papers, Domestic Series: Charles I, ed.(Charles I) John Bruce, William Douglas Hamilton, and S. C.

Lomas, 23 vols. (London, 1858–97)

Cal. S. P. Dom. Calendar of State Papers, Domestic Series: James I, ed.( James I) Mary Anne Everett Green, 6 vols. (London,

1856–72)

Campion, Works The Works of Thomas Campion, ed. Walter �. Davis(London, 1969)

Chamberlain, The Letters of John Chamberlain, ed. N. E. McClure,Letters 2 vols. (Philadelphia, 1939)

Chapman The Plays of George Chapman: The Comedies, ed. AllanHoladay (Urbana, 1970)The Plays of George Chapman: The Tragedies, ed. AllanHoladay (Cambridge, 1987)The Poems of George Chapman, ed. Phyllis B. Bartlett(New York, 1962)

Dekker The Dramatic Works of Thomas Dekker, ed. FredsonBowers, 4 vols. (Cambridge, 1953–61). Nondramaticworks of Dekker are cited from early printed editions

de Serres, Jean de Serres, A General Inventorie of the Historie ofGeneral France unto 1598, tr. E. Grimeston (1607)Inventorie


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Donne John Donne, The Epithalamions, Anniversaries andEpicedes, ed. W. Milgate (Oxford, 1978)John Donne, The Elegies and The Songs and Sonets, ed.Helen Gardner (Oxford, 1966)

Drayton, Works Michael Drayton, Works, ed. J. William Hebel et al.,corrected ed., 5 vols. (Oxford, 1961)

Earle, John Earle, Microcosmographie (1628)Microcosmographie

Fletcher Francis Beaumont and John Fletcher, The DramaticWorks in the Beaumont and Fletcher Canon, gen. ed.Fredson Bowers, 10 vols. (Cambridge, 1966–96).

Ford John Ford, The Broken Heart, ed. T. J. B. Spencer,�evels Plays (Manchester and Baltimore, 1980)

Gerard, Herball John Gerard, The Herball or Generall Historie of Plantes(1597)

Guazzo, Civile Stefano Guazzo, The Civile Conversation of M. SteevenConversation Guazzo, tr. G. Pettie (1581)

Guevara, Diall Antonio de Guevara, The Diall of Princes . . . With theFamous Booke of Marcus Aurelius, tr. T. North (1557)

Hall, Characters Joseph Hall, Characters of Vertues and Vices: In TwoBookes (1608). Characters written after 1608 arequoted from The Works of Joseph Hall (1625)

Harrison, William Harrison, ‘Description of England’, in‘Description’ �aphael Holinshed, Chronicles (1587)

Henslowe, Diary Henslowe’s Diary, ed. �. A. Foakes and �. T. �ickert(Cambridge, 1961)

Herrick, Works The Poetical Works of �obert Herrick, ed. L. C. Martin(Oxford, 1956)

Heywood Individual plays and other works by ThomasHeywood are, unless otherwise noted, cited from thefirst published edition, with act and scene numbers ofthe plays followed by signature references. This is adeparture from the practice in Vol. I of citing fromShepherd’s 1874 Works.

Heywood and A Critical Edition of Fortune by Land and Sea by Thomas�owley Heywood and William �owley, ed. Herman Doh (New

York, 1980)

xxiii

l ist of abbreviations




Jonson Ben Jonson, ed. C. H. Herford and Percy and EvelynSimpson, 11 vols. (Oxford, 1925–52)

Kyd The Works of Thomas Kyd, ed. Frederick S. Boas(Oxford, 1901)

Livy, �omane Titus Livius, The �omane Historie, tr. PhilemonHistorie Holland (1600)

Lodge, Works The Complete Works of Thomas Lodge, ed. EdmundGosse, 4 vols. (London, 1883; repr. New York, 1963)

Lyly The Complete Works of John Lyly, ed. �. W. Bond, 3vols. (Oxford, 1902)

Marlowe The Complete Works of Christopher Marlowe, ed.Fredson Bowers, 2nd ed., 2 vols. (Cambridge, 1981)

Markham, Gervase Markham, Cavelarice; Or the English HorsemanCavelarice (1607)

Marston John Marston, Antonio and Mellida, ed. W. �eavleyGair, �evels Plays (Manchester and New York, 1991)John Marston, The Malcontent, ed. G. K. Hunter,�evels Plays (London, 1975)John Marston, The Wonder of Women, or the Tragedy ofSophonisba, ed. William Kemp (New York, 1970)

Marston, Poems The Poems of John Marston, ed. Arnold Davenport(Liverpool, 1961)

Massinger The Plays and Poems of Philip Massinger, ed. PhilipEdwards and Colin Gibson, 5 vols. (Oxford, 1976)

Matthieu, Pierre Matthieu et al., ‘Continuation’ of Jean de ‘Continuation’ Serres, A General Inventorie of the Historie of France unto

1598 . . . Continued out [of] the Best Authors, tr. E.Grimeston (1607). [See also de Serres]

Matthieu, Pierre Matthieu, The Heroyke Life and Deplorable DeathHenry IV of Henry the Fourth, tr. E. Grimeston (1612)

Middleton Thomas Middleton, A Chaste Maid in Cheapside, ed.�. B. Parker, �evels Plays (London, 1969)[Thomas Middleton], The �evenger’s Tragedy, ed. �. A.Foakes, �evels Plays (London, 1966). [Authorship inthis edition ascribed to Cyril Tourneur]Thomas Middleton, Women Beware Women, ed. J. �.Mulryne, �evels Plays (London, 1975)


xxiv




Middleton and Thomas Middleton and William �owley, A Fair �owley Quarrel, ed. �. V. Holdsworth, New Mermaids

(London, 1974)Thomas Middleton and William �owley, TheChangeling, ed. N. W. Bawcutt, �evels Plays (London,1958)

Montaigne, Michel de Montaigne, The Essayes or Morall, PolitickeEssayes and Militarie Discourses, tr. J. Florio (1600)

Montreux, Nicolas de Montreux, Honours Academie. Or theHonours Famous Pastorall of Julietta, tr. �. Tofte (1610)Academie

Moryson, Fynes Moryson, An Itinerary Written by Fynes Moryson Itinerary Gent. (1617)

Nashe, Works The Works of Thomas Nashe, ed. �. B. McKerrow, 4vols. (London, 1910)

North’s Plutarch Sir Thomas North, tr., The Lives of the Noble Greciansand �omanes . . . by Plutarch [ed. specified in citation]

Overbury, Sir Thomas Overbury, New and Choise Characters, of Characters Severall Authors (1618 ed. unless otherwise specified)

Pepys, Diary The Diary of Samuel Pepys, ed. �obert Latham andWilliam Matthews, 11 vols. (London, 1970‒83)

Pliny, Nat. [Caius Plinius secundus] The Historie of the World, tr. Historie Philemon Holland (1601)

Scot, Disc. �eginald Scot, The Discoverie of Witchcraft, Wherein the Witchcraft Lewde Dealing of Witches is Notablie Detected, the

Knaverie of Conjurors (1584)

Selden, Duello John Selden, The Duello, or Single Combat (1610)

Shakespeare William Shakespeare, The �iverside Shakespeare, ed. G.Blakemore Evans et al. (Boston, 1974). Play titles,without Shakespeare’s name, are abbreviated as in AComplete and Systematic Concordance to the Works ofShakespeare, ed. Marvin Spevack, 9 vols. (Hildesheim,1968–80)

Sidney, Works The Complete Works of Sir Philip Sidney, ed. AlbertFeuillerat, 4 vols. (Cambridge, 1912–26)

Stow, Annales John Stow, The Annales of England . . . Continued unto1614, by E. Howes (1615)

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J. W., The Valiant Scot by J. W.: A Critical Edition, ed. George Valiant Scot F. Byers (New York and London, 1980)

Topsell, Historie Edward Topsell, The Historie of Foure-footed Beastes(1607)

3 . F�EQUENTLY-QUOTED C� ITICAL WO�KS

Works are normally cited throughout by author (and, where necessary,date).

Abbott E. A. Abbott, A Shakespearean Grammar (London, 1870)

Bawcutt N. W. Bawcutt, ed., The Control and Censorship ofCaroline Drama: The �ecords of Sir Henry Herbert, Masterof the �evels 1623–73 (Oxford, 1996)

Bentley Gerald Eades Bentley, The Jacobean and Caroline Stage,7 vols. (Oxford, 1941–68)

Bliss Lee Bliss, The World’s Perspective: John Webster and theJacobean Drama (Brighton, 1983)

Boklund 1970 Gunnar A. Boklund, ‘The Devil’s Law-Case: An Endor a Beginning?’, in Brian Morris, ed., John Webster(London, 1970)

Bradley David Bradley, From Text to Performance in the ElizabethanTheatre: Preparing the Play for the Stage (Cambridge, 1992)

Brooke �upert Brooke, John Webster and the Elizabethan Drama(London, 1916)

Brown 1954 John �ussell Brown, ‘The Printing of John Webster’sPlays (I)’, Studies in Bibliography [hereafter SB] vi(1954), pp. 117–40

Brown 1956 John �ussell Brown, ‘The Printing of John Webster’sPlays (II)’, SB viii (1956), pp. 113–27

Brown 1962 John �ussell Brown, ‘The Printing of John Webster’sPlays (III)’, SB xv (1962), pp. 57–69

Cary M. Cary, A History of �ome Down to the �eign ofConstantine, 2nd ed. (London, 1960)

Carnegie David Carnegie, ‘Seldon’s Duello as a Source forWebster’s The Devil’s Law-Case’, N&Q, n.s. xlvi(1999), pp. 260–2


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Carnegie and David Carnegie and David Gunby, ‘The Devil’s Law-Gunby Case 2.1.149–51’, Explicator lvii (1998), pp. 17–20Carnegie and David Carnegie and MacD. P. Jackson, ‘The Crux in Jackson A Cure for a Cuckold: a Cryptic Message, a Doubtful

Intention, and Two Dearest Friends’, ML� xcvi(2001), pp. 14‒20

Chambers E. K. Chambers, The Elizabethan Stage, 4 vols.(Oxford, 1923)

Courtade Anthony E. Courtade, The Structure of John Webster’sPlays (Salzburg, 1980)

Cunnington Phillis Cunnington and Catherine Lucas, Occupational and Lucas Costume in England (London, 1967)Dent �. W. Dent, John Webster’s Borrowing (Berkeley and Los

Angeles, 1960)Dent 1984 �. W. Dent, Proverbial Language in English Drama

Exclusive of Shakespeare, 1495–1616 (Berkeley, 1984)Dessen Alan C. Dessen, Elizabethan Stage Conventions and

Modern Interpreters (Cambridge, 1984)Dessen and Alan C. Dessen and Leslie Thomson, A Dictionary of Thomson Stage Directions in English Drama, 1580–1642

(Cambridge, 1999)Foakes �. A. Foakes, Illustrations of the English Stage 1580–1642

(London, 1985)Forker Charles �. Forker, Skull Beneath the Skin: The

Achievement of John Webster (Carbondale, Ill., 1986)Gardiner Samuel �. Gardiner, History of England from the

Accession of James I to the Outbreak of the Civil War1603–1642, 10 vols. (London, 1883–4)

Goldberg Dena Goldberg, Between Worlds: A Study of the Plays ofJohn Webster (Waterloo, 1987)

Gosse Edmund Gosse, Seventeenth-Century Studies (London,1885)

Greg, W. W. Greg, A Bibliography of the English Printed DramaBibliography to the �estoration, 4 vols. (London, 1939–59).

�eferences for plays are to numbered entries, notpages

Greg, W. W. Greg, Dramatic Documents from the Elizabethan

xxvii

l ist of abbreviations




Documents Playhouses, 2 vols.: Facsimiles, Commentary (Oxford,1931)

Griffin �obert P. Griffin, John Webster: Politics and Tragedy(Salzburg, 1972)

Gurr 1992 Andrew Gurr, The Shakespearean Stage, 1574–1642, 3rded. (Cambridge, 1992)

Gurr 1996 Andrew Gurr, The Shakespearian Playing Companies(Oxford, 1996)

Henke 1975 James T. Henke, �enaissance Dramatic Bawdy (exclusiveof Shakespeare), 2 vols. (Salzburg, 1975)

Henke 1988 James T. Henke, Gutter Life and Language in the Early‘Street’ Literature of England (West Cornwall, Conn.,1988)

Hoeniger F. David Hoeniger, Medicine and Shakespeare in theEnglish �enaissance (Newark, Del., 1992)

Hoy 1980 Cyrus Hoy, Introductions, Notes and Commentaries toTexts in ‘The Dramatic Works of Thomas Dekker’, 4 vols.(Cambridge, 1980)

Jackson 1985 MacD. P. Jackson, ‘John Webster and ThomasHeywood in Appius and Virginia: a BibliographicalApproach to the Problem of Authorship’, SB xxxviii(1985), pp. 217–35

Jackson 1998 MacD. P. Jackson, ‘The Compositors of Appius andVirginia (1654)’, Publications of the Bibliographical Societyof America xcii (1998), pp. 535–40

Jackson 1999 MacD. P. Jackson, ‘Latin Formulae for Act Endings inEarly Modern English Plays’, N&Q, n.s. xlvi (1999),pp. 262–5

Jowitt Jowitt’s Dictionary of English Law, 2nd ed., ed. JohnBurke (London, 1977)

Kiernan V. G. Kiernan, The Duel in European History (Oxford,1988)

King 1965 T. J. King, ‘Staging of the Plays at the Phoenix in Drury Lane, 1617–42’, Theatre Notebook xix (1965), pp.146–66


xxviii




King 1992 T. J. King, Casting Shakespeare’s Plays: London Actorsand Their �oles, 1590–1642 (Cambridge, 1992)

Kusunoki Akiko Kusunoki, ‘A Study of The Devil’s Law-Case:With Special �eference to the Controversy overWomen’, Shakespeare Studies (Tokyo) xxi (1982–3),pp. 1–33

Linthicum M. Channing Linthicum, Costume in the Drama ofShakespeare and His Contemporaries (Oxford, 1936)

LION: Drama Literature Online: English Drama [database online] (Belland Howell; Ann Arbor, Mich., 2000 [version currentOctober 2000])

LION: Poetry Literature Online: English Poetry [database online] (Belland Howell; Ann Arbor, Mich., 2000 [version currentOctober 2000])

Lockyer �oger Lockyer, The Life and Political Career of GeorgeVilliers, First Duke of Buckingham, 1592–1628 (London,1981)

MacIntyre Jean MacIntyre, Costumes and Scripts in the ElizabethanTheatres (Edmonton, 1992)

MS� Malone Society �eprintsMurray Peter B. Murray, A Study of John Webster (Philadelphia,

1964)Nares, Glossary �obert Nares, A Glossary; Or, Collection of Words,

Phrases, Names and Allusions to Customs, Proverbs, etc. . . .in the Works of English Authors, particularly Shakespeareand his Contemporaries, ed. James O. Halliwell andThomas Wright (London, 1872)

OCD M. Cary et al., eds., The Oxford Classical Dictionary(Oxford, 1949)

OED Oxford English DictionaryParker, �. B. Parker, ed., Shakespeare, The Tragedy of Coriolanus Coriolanus (Oxford, 1994)Partridge 1955 Eric Partridge, Shakespeare’s Bawdy (London, 1955)Partridge 1984 Eric Partridge, A Dictionary of Slang and

Unconventional English, 8th ed., ed. Paul Beale(London, 1984)

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Pearson Jacqueline Pearson, Tragedy and Tragicomedy in the Playsof John Webster (Manchester, 1980)

�anald Margaret Loftus �anald, John Webster (Boston, 1989)�eynolds George Fullmer �eynolds, The Staging of Elizabethan

Plays at the �ed Bull Theater 1605–1625 (New York,1940; repr. New York, 1966)

�onan Clifford �onan, ‘Antike �oman’: Power, Symbology andthe �oman Play in Early Modern England, 1585–1635(Athens, Ga., 1995)

�ubinstein Frankie �ubinstein, A Dictionary of Shakespeare’s SexualPuns and Their Significance (London, 1984)

Seiden Melvin Seiden, The �evenge Motive in WebstereanTragedy (Salzburg, 1973)

Shakespeare’s Shakespeare’s England, 2 vols. (Oxford, 1916)England

STC Alfred W. Pollard and G. �. �edgrave et al., A Short-Title Catalogue of Books Printed . . . 1475–1640, 2 vols.,2nd ed. (London, 1976)

Stoll, Periods Elmer Edgar Stoll, John Webster: The Periods of HisWork as Determined by his �elations to the Drama of hisDay (Boston, 1905)

Stone, Crisis Lawrence Stone, The Crisis of the Aristocracy 1558–1641(Oxford, 1965)

Sugden Edward H. Sugden, A Topographical Dictionary to theWorks of Shakespeare and His Fellow Dramatists(Manchester, 1925)

Sykes H. Dugdale Sykes, notes cited by Lucas

Taylor Gary Taylor, ‘The Structure of Performance: Act-Intervals in the London Theatres, 1576–1642’, inGary Taylor and John Jowett, Shakespeare �eshaped,1606–1623 (Oxford, 1993), pp. 3–50

Tilley Morris Palmer Tilley, A Dictionary of the Proverbs inEngland in the Sixteenth and Seventeenth Centuries (AnnArbor, Mich., 1950)

Wiggins Martin Wiggins, ‘Notes on Editing Webster’, N&Q,n.s. xxxxii (1995), pp. 369–77


xxx




Wing Donald Goddard Wing et al., Short-Title Catalogue ofBooks Printed . . . 1641–1700, 4 vols., 2nd ed. (NewYork, 1972–98)

Wymer �owland Wymer, Webster and Ford (New York, 1995)

Young Alan Young, Tudor and Jacobean Tournaments (London,1987)

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