PR 
 
 
 
PR 
 
The Authorship of A Warning for 
 Fair JVomen 
 
 BY 
 
 JOSEPH QUINCY ADAMS, JE. 
 
 [Reprinted from the PuificaftOTU q/' tKt Modem Langwigt Anoeiation a/ 
 Ameriea, xxviii, 4.] 
 
 The Modern LA.NOuAaE Association of Amebica 
 1913 
 S 
 
A.t-g'fM'f 
 
 W 
 
Cornell University 
 Library 
 
 The original of tiiis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924013127349 
 
THE AUTHORSHIP OF A WARNING 
 FOR FAIR WOMEN 
 
 A Warning for Fair Women was published anonymously 
 in 1599, with the statement on the title-page that it had been 
 "lately diuerse times acted by the right Honorable the Lord 
 Ohamberlaine his Seruants." The attribution of the play 
 by Edward Phillips to John Lyly is too absurd for serious 
 consideration.^ Almost as absurd is Collier's attribution 
 of the -play to Shakespeare.^ Fleay suggested Thomas 
 Lodge,* though not without hesitation, for he adds the 
 warning: " I cannot state too emphatically that any attri- 
 bution of this play to Lodge is conjectural, and founded 
 less on positive evidence than on the method of exhaus- 
 tion." The "method" referred to is ,thus explained: 
 " The other writers for the Chamberlain's men at this 
 time were Shakespeare and Jonson. Objectors to my 
 hypothesis of Lodge's authorship may adopt one of these, 
 or (the usual resource) imagine some unknown playwright 
 not elsewhere heard of." But Lodge was probably not 
 engaged in play-writing at this time ; so that according to 
 
 '^ Theatrum Poetarum (1675), p. 113. Phillip's attributions of 
 anonymous plays were usually due to his misunderstanding of certain 
 early catalogues of plays. Winstanley, in The Lives of the Most 
 Famous English Poets (1687), p. 98, blindly repeats, as was his 
 custom, the attribution of Phillips. The attribution was again re- 
 peated by Wood, Athenm Owonienses, 1691 (ed. Bliss, 1813, 1, p. 676). 
 Bond, in his edition of Lyly, does not discuss the attribution; appar- 
 ently he regarded it as unworthy of notice. 
 
 ' Eist. Eng. Dram. Poet., iii, pp. 52-4; II, p. 441. Collier, however, 
 felt sure of his attribution. Of one scene he says : " Aut Shake- 
 speare, aut diabolus." 
 
 'Biog. Chron. Eng. Drama, n, pp. 54-5. Cf. also his Ohron. Hist, 
 of the Life and Work of Wm. Shah., pp. 35, 136, 297. 
 
 594 
 
ATJTHOBSHIP OF A WAENIITG FOB FAIE WOMEN 595 
 
 Fleay's " method " we should be forced to choose between 
 Shakespeare and Jonson. 
 
 Naturally Fleay's conjecture has not been favorably 
 received by scholars.^ Professor Ward, in his History of 
 English Dramatic Literature, i, p. 418, sees " no sufficient 
 reason for noticing " such a " conjectural attribution to 
 Lodge " of a play which hardly falls " within the period 
 of his ascertained dramatic activity " ; and the writers in 
 The Cambridge History of English Literature entirely 
 ignore it. After a prolonged study of A Warning, and 
 a comparison of it with the extant plays of Lodge, I can 
 discover no points of similarity either in manner or in 
 spirit. To me the attribution to Lodge seems quitei as 
 improbable as the attribution, to Lyly, 
 
 Thus, the three persons hitherto suggested for the au- 
 thorship of the play fail to satisfy, and none has been 
 even, tentatively accepted by scholars. Yet A Warning 
 assuredly was written by a dramatist of ability and 
 experience. Its editor, Richard Simpson, says : ^ "It is 
 perhaps the most noteworthy of a whole class of plays, 
 those, namely, which dramatize murders " ; and Professor 
 Ward (C. H. E. L., vi, p. 109) describes it as " a notable 
 play of its kind." ISo inexperienced hand could have 
 turned the thin and dull pamphlet of 1573 ' into such a 
 well-constructed and effective tragedy. We must, I take 
 
 ^Schelling, in his Elizabethan Drama, i, p. 346, says: "This play 
 has been attributed, solely on internal evidence, to Lodge," by M. E. 
 N. Fraser, in an unpublished thesis. University of Pennsylvania, 
 1898. I have sought in vain for the " internal evidence " here re- 
 ferred to : Qy. for " internal " Schelling meant to say " external,'' 
 i. e., Fleay's argument. 
 
 'The School of Shakespeare, u, p. 211. 
 
 'A Brief Discourse of the Late Murther of Master Cfeorge Scmn- 
 4ers, London, 1573. 
 
596 JOSEPH QUINCY iLDAMS, JB. 
 
 it, look for the author among the better known playwrights 
 of 1595-8. 
 
 No one, so far as I -can discover, has suggested as the 
 author of the play the versatile and industrious Thomas 
 Heywood. Yet on reading A Warning immediately after 
 a year's close study of Heywood's works, I felt convinced 
 that he was responsible for its composition. Of Hey- 
 wood's life at this early period we know little, and that 
 little we are forced to glean from Henslowe's Diary. Mr. 
 Greg, in his Commentary on the Diary, under " Hay- 
 wood," says (p. 284) : " He was probably employed as 
 a writer by the Admiral's men as early as 1594. He is 
 first mentioned as an author 14/29 Oct. 1596 when Hens- 
 lowe lent certain of the Admiral's men 30s. ' for hawodes 
 bocke.' He was again writing for the same company in 
 the winter of 1598-9." So far as we know, however, he 
 did not become a regular actor for the Admiral's men until 
 March 25, 1598, when he bound himself to Henslowe for 
 a period of two years. Possibly before that date he was 
 free to sell a play to any other company ; it is even possible 
 that his relations with Shakespeare's company led Hens- 
 lowe to engage him in a regular capacity. At any rate, 
 if enough internal evidence is produced to show that 
 Heywood, in all likelihood, wrote A Warning, no very 
 serious objection can be raised from the rather slender 
 information we have concerning his relations with Hens- 
 lowe before 1598. 
 
 My reasons — at least such reasons as are tangible and 
 can be put on paper — for believing that Heywood wrote 
 A Warning are as follows: 
 
 1. In 1597-8, Heywood was an experienced play- 
 wright, well able to turn the meagre prose pamphlet of 
 The Late Murther of Master George Saunders into so 
 
AUTHOESHIP OF A WAENING FOE FAIE WOMElf 597 
 
 good a drama as A Warning. He had already written 
 several successful plays, including the Ages, and his extra- 
 ordinary skill in handling domestic tragedy was shortly 
 to be revealed in A Woman Killed with Kindness. 
 
 2. The play belongs to a type — the domestic drama — 
 in which Heywood was peculiarly at home. The Rev. 
 Eonald Bayne, writing in The Gamhridge History of 
 English Literature, v, p. 362, says of A Warning: " It is 
 so steeped in English lower class sentiment and feeling 
 that it will always possess interest and value." Now it is 
 precisely this element that Heywood contributed in full 
 measure to his plays. On this point another scholar, 
 Professor Ward, in the Same volume (C H. E. L., vi, pp. 
 107-8) says: "In a period of the national history when 
 the middle classes were beginning to assert themselves in 
 the social system of the country ... it could hardly be 
 but that room should have been found in the drama for 
 exposition of the middle class point of view, middle class 
 morality and middle class humanity. . . . Shakespearie, 
 whose muse was at home on the throne of kings, in the 
 strife of battlefields, or in communion with nature in 
 her moods of elemental agitation or of woodland cabn . . . 
 was not responsive to this movement, and, indeed, appears 
 to have been very imperfectly aware of it. . . Jonson, and 
 his school — including Middleton — on the other haind, 
 treated such griefs and their agents or victims from the 
 point of view of critical superiority. . . . Heywood, in 
 many ways specially attracted and suited to this genre, 
 is the only Elizabethan dramatist of note who attained to 
 eminence in it." Thus in its full and sympathetic reve- 
 lation of lower class sentiment and feeling, A Warning 
 bears the stamp of Heywood's peculiar genius. 
 
 3. The style of A Warning is throughout strongly 
 suggestive of Heywood. There is the same general level 
 
598 JOSEPH QUINCT ADAMS, JB. 
 
 of excellence, the same easy-flowing, tHough rarely in- 
 spired, blank verse, the same lack of rich or violent ima- 
 gery, or of attempts at the Marlovian " mighty line." 
 It is hard to be specific in a matter of this sort. I appeal, 
 however, with confidence to students of Heywood, who, 
 I am sure, will recognize in A Warning the eveiii flow of 
 the "prose Shakespeare." 
 
 Certain tricks of style can be more readily pointed to, 
 Buch as frequent patches of rhyme, the free mixture of 
 prose and verse, the fondness for balance and for euphu- 
 istic passages. Compare the patch of rhyme in A Warn- 
 ing, I, 242-272, with similar patches in any of Heywood's 
 earlier plays. Note the euphuistic coloring of the follow- 
 ing passage in A Warning (i, 4Y1-4Y5) : ^ 
 
 If he be firm, she's fair; if he bountiful 
 She's beautiful; if he loyal, she's lovely; 
 If he in all the city for a man 
 Be the most absolute, she in all the world 
 Is for a woman the most excellent. 
 
 Again (i, 154-5) : 
 
 Let your good nature hide 
 The blame of my bad nurture. 
 
 Heywood is childishly fond <jf such balaaicing with 
 alliteration. Still more artificial and complicated is the 
 following passage in A Warning (ii, 752-59) : 
 
 If you can crave it of me with a tongue 
 
 That hath not bin prophande with wicked vowes, 
 
 'Here, and throughout this paper, the numerals refer to the acts 
 and lines in Richard Simpson's edition of A Wa/ming, in TAe School 
 of Shakespeaire, 1878, vol. ii. The numerals after the plays of Hey- 
 wood refer to the volumes and pages in Pearson's reprint of Hey- 
 wood, 6 vols., 1874; those after H. M. O., to the pages in Hazlitt's 
 Dodsley, vol. ix; those after Captives, to the pages in Bullen's Old 
 Plays, vol. IV. 
 
AUTHOESHIP OF A WARNING FOE FAIB 'WOMEH' 
 
 Or think it in a heart did never harbour 
 
 Pretence of murther, or put forth a. hand 
 
 As not contaminate with shedding bloud. 
 
 Then will I willingly graunt your request; 
 
 But oh! your hand, your heart, your tongue, and eye. 
 
 Are all presenters of my misery! 
 
 Heywoqd amuses himseK in a similar way in Loves 
 Mistress (v, pp. 117-8) : 
 
 I never saw his face, know not his shape, 
 
 Yet have I touched his eyes, and felt his hamds. 
 
 Oft have I kissed his cheeks, more oft his Ups; 
 
 Eyes, hands, Ups, cheeks, and face so charmed my touch 
 
 That I have sworn, save his, there were none such. 
 
 Again in A Woman Killed with Kindness (v, p. 327) : 
 
 I am mad, and know not at what, 
 I could swagger, but know not with tehom, 
 I am at odds with myself, and know not why, 
 I Shall be pacified, and cannot tell when, 
 I would faine have a wife, but cannot tell where, 
 ■ I would fasten on Luce, but cannot tell how. 
 How, where, when, why, whom, what — 
 Feeding sure makes me lean, and fasting fat. 
 
 See also Sow a Man May Choose (ed. Haz. Dod., pp. 
 38-9). 
 
 Again, Heywood is fond of filling up a line with repe- 
 tition : 
 
 Stabs, hangs, impoisons, smothers, cutteth throats. 
 
 — Warning, I, 44. 
 Scale, batter, mount, assault, sack, and deface. 
 
 —B. A. (m, p. 223). 
 Fire, vengeance, blood, death, murder, spoil, and rape. 
 
 — /. A. (rn, p. 389). 
 Disgrac't, despis'd, discarded, and cast off. 
 
 —W. W. H. (V, p. 330). 
 
 Such tricks of style could he further illustrated; hut the 
 space is not at my disposal, and the reader may easily 
 
600 JOSEPH QUINCY ADAMS, JR. 
 
 mark them for himself. The numerous parallels in 
 phraseology I have recorded under section 9. 
 
 4. The choruses, perhaps the most original and striking 
 feature of A 'Warning, suggest the choruses in Heywood's 
 early plays. In these plays, as in A 'Warning, the Chorus 
 appears at certain intervals to comment on the action, to 
 introduce and explain the dumb shows, and to help along 
 the play by narration. In manner, the choruses of A 
 Warning and of Heywood's plays are almost identical. 
 The Chorus speaks first, then announces the dumb show: 
 
 As by this following shew shall more appears. 
 
 — "Warning, n, 880. 
 
 We will make bold to explaino it in dumbe show. 
 
 —Four P. (n, p. 176). 
 
 Now of his death the generall intent 
 Thus Xragedie doth to your eyea present. 
 
 — Warning, n, 409-10. 
 
 What happen'd them if your desire to know, 
 To cut off words, we'll act it in dumb show. 
 
 —F, U. W, (n, p. 387). 
 
 After explaining the dumb show, the Chorus suggests 
 to the imagination of the audience part of the story that 
 the playwright chooses to omit. Thus: 
 
 Suppose him on the water now, for Woolwich, 
 
 For secret business with his bosom friend; 
 
 From thence, as fatal destiny conducts him. 
 
 To Mary-Cray, by some occasion call'd. — Warmng, n, 307-400. 
 
 Imagine now these Princes under saile, 
 
 Stearing their course as far as high-rear'd Troy. 
 
 —B. A. (m, p. 203). 
 
 Thinke Jupiter return'd to Greet in hast. — G. A. (m, p. 71 ) . 
 
 Imagine Bess and Spencer under sail. — F. M. W. (n, p. 386). 
 
 Suppose her . . . — F. M. W. (n, p. 319). 
 
 Your suppositions now must lend us aid. — S. A. (in, p. 97). 
 
AXTTHOESHIP OF A WAENING FOE FAIB WOMEN 601 
 
 Moreover, the objective attitude assumed by the Chorus 
 towards the play (with frequent references to " acts," 
 "scenes," "curtains," etc.) is similar: 
 
 Yet what I am I will not let you know 
 
 Until my next ensuing scene shall show. — Warning, i, 90-1. 
 
 Must help to fill the sceane. — Warning, n, 884. 
 
 Now Meleager next must fill our stage. — B. A. (m, p. 184). 
 
 For from their fortunes all our Scene must grow. 
 
 —Four P. (n, p. 176). 
 
 But now we come unto the dismal act. — Warning, ii, 6. 
 
 Our last act comes. — B. A. (m, p. 239). 
 
 And in these sable curtains shut we up 
 
 The comic entrance to our direful play. — Warning, n, 7-8. 
 
 Now do we draw the curtain of our scene 
 To speak of Shore and his fair wife again. 
 
 —K. Ed. IV. (I, p. 119). 
 
 5. The pronounced objection that the playwright had 
 to his theme is significant. He did not approve of the 
 material he was dramatizing (it may well have been 
 an assigned task), and he humbly apologizes for it. At 
 the outset he says (i, 87) : 
 
 I sigh to think my subject too well known. 
 
 And at the end, he confesses the deficiencies in his play : 
 
 The reason is, that now of truth I sing, 
 And should I adde, or else diminish aught. 
 Many of these spectators then could say 
 I have committed error in my play. 
 ' Bear with this true and home-borne Tragedy, 
 
 Yeelding so slender argument and scope 
 To build a matter of importance on. 
 
 This peculiar attitude towards the subject — ^the editor 
 of the play calls especial attention to it — a*, once sug- 
 
602 JOSEPH QUINCT ADAMS^ JE. 
 
 gested to me Heywood, who on one other occasion (and, 
 so far as we know, only one) made use of a similar theme. 
 In The Witches of Lancashire ^ he celetrated " a true 
 and home-bom" theme that had been the subject of prose 
 pamphlets ; and to his audience he apologizes in the same 
 way (ii, p. 169) : 
 
 Corrantoes failing, and no foot post late 
 
 Possessing us ■with Newes of forraine State, 
 
 No accidents abroad worthy Relation 
 
 Arriving here, we are foro'd from our owne Nation 
 
 To ground the Scene that's now in agitation. 
 
 The Project unto many here well knowne; 
 
 Those Witches the fat laylor brought to Towne. 
 
 An Argument so thin, persons so low. 
 
 Can neither yield much matter, nor great show. 
 
 Expect no more than can from such be rais'd; 
 
 So may the Scene pass pardon'd though not prals'd. 
 
 Heywood's opinion of what constituted proper argu- 
 ment for a drama (given in his Prologue to A Challenge 
 for Beauty), has, perhaps, some significance in connection 
 wtih the two apologies quoted above : 
 
 For where before great Patriots, Dukes and Kings 
 Presented for some high facinorous things. 
 Were the Stage-Subject; now we strive to fly 
 In their low pitch who never could soar high. . . . 
 I only wish that they would sometimes bend 
 To memorize the valours of such men 
 Whose very names might dignifie the Pen. 
 
 Exactly this he had been doing in the Ages, written 
 immediately before A Warning; and this he strove to do 
 in most of his plays. 
 
 6. A Warning is conspicuous for its sincere and whole- 
 
 ' The play was slightly touched up by Richard Brome for a r«- ,; 
 vival. For Brome's small share in the play, see 0. E. Andrews, inA 
 Mod. Lang. Notes, June, 1913, vol. xxvm, p. 163. 
 
AUTHOESHIP OF A WAENING FOE FAIH WOMEN 603 
 
 some Christianity. A certain amount of goodly admo- 
 nition might be expected from the theme of " a cruel and 
 unnatural murther " ; and the prose pamphlet that the 
 play dramatizes records the penitence of the guilty parties 
 before their execution. Yet the playwright goes beyond 
 the author of the pamphlet in his sympathy and earnes.t- 
 ness. We feel that he was genuinely interested in the 
 salvation of his characters. Such naive piety is thoroughly 
 characteristic of Heywood, more so, perhaps, than of any 
 other Elizabethan playwright.^ Mr. BuUen speaks of " the 
 charm of that hearty ' Christianism ' which is never absent 
 ,from Heywood's work." It is present in abundance in 
 A Warning. Such passages as the following may readily 
 be matched in the plays of Heywood : ^ 
 
 Yet God is greater than thy conscience, 
 And he can' save when al the world condemns. 
 
 — Warning, u, 1250-1. 
 
 And yet we may obtaiae forgivenes. 
 If we wil seeke it at our Saviour's hands. 
 But if we wilfully shut up our hearts 
 Against the holy spirit that knockes for entrance. . . . 
 
 — Warning, n, 1577-80. 
 
 Allied to this " hearty Christianism " is the custom of 
 using Biblical quotations and imagery.* For example: 
 
 He doth stand 
 
 Like to an Angel with a firy sworde 
 
 To barre mine entrance at that fatall door. 
 
 — Warning, n, 717-718. 
 
 ^ It is noticeably absent in Shakespeare. 
 
 ' See, for example, the concluding scenes in the life of Jane Shore 
 {K. Ed. IV.), or the repentant scenes in A Woman Killed with 
 Kindness. 
 
 ' See my article, " Thomas Heywood and How a Man may Ohoose 
 a Oood Wife from a Bad," in Englische Siudien, xvf, p. 43. 
 
604 JOSEPH QUINCT ADAMS, JE. 
 
 Youre soule shall flnde a place 
 
 In Abraham's bosome. — Wa/ming, n, 1610-1611. 
 
 'Twill raise up to you 
 
 A crowne of glory in another world. — Wcunwng, n, 1614-1615. 
 
 7. The wholesome personality of Heywood may be 
 discovered in almost every scene in the play. The prose 
 pamphlet gives no indication as to the character of San- 
 ders, the London merchant ; yet the play endows him with 
 all those fine qualities which Heywood gives to the class. 
 For example, Sanders says {Warning, i, 517-18) : 
 
 I do not use, thou know'st, to break my word. 
 Much less my bond. 
 
 Cf. Heywood, I. K. N. M. (i, p. 252) : 
 
 MeT. You keep your word. 
 Oreaham, Else should I ill deserve 
 
 The title that I wear; a merchant's tongue 
 Should not strike false.' 
 
 Again, in the playwright's treatment of George Browne, 
 the murderer of the unsuspecting Sanders, we detect the 
 personality of Heywood. The pamphlet concerns itself 
 mainly with narrating his crime, but the play lays em- 
 phasis upon the nobler qualities in Browne's nature, and 
 the sufferings of that better nature outraged by this one 
 crime. As the editor of The Warning puts it : " The 
 playwright (or some one having a hand in the play) has 
 contrived to give several touches to the chief character, 
 Browne, which tend to the making of that character a hero 
 of Tragedy rather than a mere malefactor — a process more 
 completely — indeed, quite completely, and most sublimely 
 
 'Cf. also: 
 
 You are a souldier, and a gentleman. 
 ' And should speak all truth. — F. M. W. (n, p. 408). 
 
AUTHORSHIP OF A WARNING FOR FAIR WOMEN 605 
 
 — exemplified in the character of Macbeth." A much 
 closer parallel than Macbeth would be Heywood's 
 Dalavill, in The English Traveller, or Wendol, in A 
 Woman Killed with Kindness. In a lower degree, the 
 same qualities are noticeable in Heywood's other villains, 
 for example in Sextus, of The Bape of Lucrelce, in 
 Edward, who wronged Jane Shore, in Kin^ Edward lY., 
 or in Lord Aveme, who murdered Friar John in Th& 
 Captives. 
 
 Again, one discovers Heywood the man in the wonder- 
 fully sympathetic picture of childhood, in A Warning, ii, 
 683-732. Compare this with Heywood's representation 
 of a small boy in /. K. N. M. (i, pp. 219-20). Observe 
 that in each case the boy addresses the strange man as 
 " Gaffer " ; that the man addresses the boy as " sweet 
 boy " and " pretty boy " ; that in each case there is a 
 reference to whipping (" Youle be ierkt " — Warning, ii, 
 724 ; " I shall be soundly whipt "— /. K. N. M., p. 219) ; 
 and that in each case a childish bribe is offered. 
 
 Outside of character portrayal, too, the wholesome per^ 
 sonality of Heywood is to be discovered. Note, for ex- 
 ample, the idea of hospitality: 
 
 &ent. Sir, this house of yours; you come but to your own; 
 And what else I call mine is wholly yours, 
 So much I do endear your love, sweet Master Sanders. 
 
 — Warning, n, 72-4. 
 
 This conception of hospitality is characteristic of Hey- 
 wood: 
 
 Sir, a word with you: 
 I know you, sir, to be a Gentleman 
 In all things; your possibilities but mean; 
 Please you to use my table, and my purse, 
 They arc yours. — W. K. K. (ii, p. 104). 
 
606 JOSEPH QUINCT ADAMS, JE. 
 
 Call my house your own 
 
 And all I have, sweet lady, at your will. 
 
 —K.Ed. IV. (I, p. 149). 
 
 I would have you 
 
 Think this your home, free as your father's house 
 
 And to command it, as the Master on't; 
 
 Call boldly here, and entertain your friends 
 
 As in your own possessions. — Eng. T. (it, p. 10).^ 
 
 8. Certain anecdotes are told in A Warning to illus- 
 trate the idea that " murder will out." These anecdotes 
 reappear with fuller details in Heywood's Apology for 
 Actors, and, so far as I am aware, nowhere else.^ I quote 
 first from A Warning, ii, 1062-1066 : 
 
 I have heard it told, that digging up a grave, 
 Wherein a man had twenty yeeres bin buryed. 
 By finding of a naile knockt in the scalpe. 
 By due enquiry who was buried there. 
 The murther yet at length did come to light. 
 
 Heywood, who seems to have been thoroughly familiar 
 with the story, tells it in full. I quote a part of his nar- 
 rative: * 
 
 In this agony she some few days languished, and on a time, as 
 certaine of her well disposed neighbours came to comfort her, one 
 amongst the rest being church-warden: to him the sexton posts, 
 to tell him of a strange thing happening to him in the ripping 
 up of a grave: See here (quoth he) what I have found; and shewes 
 them a faire skull, with a great nayle pierst quite through the 
 braine-pan: But we cannot conjecture to whom it should belong, 
 nor how long it hath laine in the earth, the grave being confused, 
 and the flesh consumed. At the report of this accident, the woman, 
 out of the trouble of her afflicted conscience, discovered a former 
 murder; for 12 yeares ago, by driving that nayle into that skull, 
 being the head of her husband, she had treacherously slaine him. 
 
 *Cf. also Heywood, iv, p. 67; iv, p. 68. 
 
 ' Shakespeare's vague reference in Bamlet, ll, ii may be a recol- 
 lection of one of the anecdotes in A Wmming. 
 ' Shakespeare Society Publications, 1841, p. 59. 
 
ATJTHOBSHIP OF A WAENING FOK FAIE WOMEJST 607 
 
 In A Earning, ii, 1076-87, appears also the followiiig 
 anecdote : 
 
 He tell you, sir, one more to quite your tale. 
 
 A woman that had made away her husband. 
 
 And sitting to behold a tragedy. 
 
 At Iiinne,^ a towne in Norfolke, 
 
 Acted by Players travelling that way, — 
 
 Wherein a woman that had murtherd hers 
 
 Was ever haunted with her husband's ghost. 
 
 The passion written by a feeling pen. 
 
 And acted by a good tragedian, — 
 
 She was so mooved with the sight thereof. 
 
 As she eryed out, ' the play was made by her,' 
 
 And openly confess [eid] her husband's murder. 
 
 This story, too, reappears in Heywood's Apology with 
 fuller details : ^ 
 
 At Lin, in Norfolke, the then Earl of Sussex players acting the 
 old History of Feyer Francis, and presenting a. woman who, in- 
 satiately doting on a yong gentleman, ( the more securely to enjoy 
 his affection) mischievously and secretly murdered her husband, 
 whose ghost haunted her; and, at divers times in her most solitary 
 and private contemplations, in most horrid and feareful shapes, 
 appeared and stood before her. As this was acted, a towne's-woman 
 (till then of good estimation and report) finding her conscience 
 (at this presentment) extremely troubled, suddenly skritohed and 
 cried out. Oh ! my husband, my husband ! I see the ghost of my 
 husband fiercely threatning and menacing me! At which shrill and 
 unexpected outcry, the people about her, moov'd to a strange amaze- 
 ment, inquired the reason of her clamour, when presently, un-urged, 
 she told them that seven yeares ago she, to be possest of such a 
 gentleman (meaning him), had poysoned her husband. 
 
 The author of A Warning tells a third story to illustrate 
 th,e strange ways in which murder comes to light; but 
 since this story has nothing to do with the theatre, Hey- 
 wood can make no use of it in his Apology for Actors. 
 
 ' /. e., King's Lynhe. 
 'Ibid., pp. 57-8. 
 
608 
 
 JOSEPH QtriNCY ADAMS, JE, 
 
 ■ Of course these stories, and others, may have been known 
 to the actors and playwrights, but the reappearance of 
 both of these together, and in the same versions, lends 
 considerable probability to the assignment of the play to 
 Heywood. 
 
 9. Knally, in minute details of composition — ^ways of 
 thinking, sentence structure, and those colorless phrases 
 that go into the make-up of sentences — ^the close student 
 of Heywood will, I think, feel the presence of that writer's 
 " hand and head." If there are not many striking paral- 
 lelisms in thought and phrase, the reader must remember 
 that the playwright was engaged in turning " true " events 
 into dramatic form. A study of the prose pamphlet shows 
 that he so keenly felt his duty to present the facts truly 
 that he gave his inventive genius very little liberty. 
 It is to be noted, too, that Heywood (if he be the author) 
 had no chance to introduce his favorite comic character, 
 the clownish servant, and the sort of humor that accom- 
 panied this type. 
 
 Yet, in spite of these obstacles, I have been able to 
 bring together some evidence of Heywood's style. That 
 most of the phrases I quote appear in the works of other 
 writers, is of little moment. The significant fact is that 
 all of these phrases appear in both A Warning and in the 
 acknowledged plays of Heywood. I may add that none of 
 them, so far as I can discover, appears in the two ac- 
 knowledged plays of Lodge. 
 
 Here Mistress Drury this same ring is yours, 
 Wear't for my sake. — Warning, i, 241-2. 
 
 Here's a ring, weare't for my sake. — TT. H. H. (v, p. 287). 
 
 Browne. Heark ye, my friend, 
 
 Are not you servant' unto Mistress Drury? 
 
 Rob. Yes, indeed, f orsooth, . f or fault of a, better. 
 
 — Warning, i, 124-7. 
 
AUTHOESHIP OF A WAENING FOE FAIE WOMEN 609 
 
 8pi. Well sirrah, then thou must be my hangman? 
 Chub. I, by my troth, sir, for fault of a better. 
 
 —K. Ed. 17. (I, p. 38). 
 
 Or of my nose bleeding this morning; for as I was washing 
 my hands my nose bled three drops. — Warning, n, 559-60. 
 
 Rio. What, bleeds your grace! 
 
 Ed. I, two drops and no more. — K. Ed. IV. (I, p. 154). 
 
 And with a lucky arm, sluice out his life. — Warning, n, 96-97. 
 
 But here's a knife . . . shall slice [= sluice?] out my life. 
 
 —W. K. K. (n, p. 145). 
 
 But, questionless, some power, or else prayer 
 Of some religious friend or other, guards him. 
 
 — Warning, n^ 373-4. 
 But some power 
 Is my good Maister, and preserves me still. 
 
 —Fowr P. (n, p. 186. Cf. n, p. 864). 
 
 Oh, maister Doctor, were my breast transparent 
 That what is figurde there might be perceiv'd. 
 
 — Warning, n, 1635-6. 
 
 As I could wish my breast to be transparent 
 And my thoughts written in great letters there 
 The world might reade the secrets of my soule. 
 
 —K. Ed. IV. (I, p. 133). 
 
 For this [idea] will hammer so within her head as . . . 
 
 — Warning, I, 705. 
 
 The careful thoughts that hammer in my brain. 
 
 —P. M. E. (n, p. 66). 
 
 There more hammers beating in my brain . . . more ideas 
 than . . . —I. A. (m, p. 369). 
 
 Strikes such a terror to my guilty conscience. 
 
 — Warning, n, 713. 
 
 Have strucke such terror to my soule. — Warning, n, 1544. 
 
 It strikes a terror ... to scorch my blood up. 
 
 —W. K. K. (ir, p. 149). 
 
 And to strike greater terror to the world. 
 
 —B. of L. (V, p. 187). 
 
610 JOSEPH QUINOY ADAMS, JB. 
 
 I trust sir when my mistress hath obtained your suit 
 Vou'll suit me in a cast suit of your apparell. 
 
 — Warning, I, 287-8. 
 Cap. Pray, what's your suit? 
 Host. Only for a cast suit. 
 Cap. Anjd thou shalt have the suit I last put oflf. 
 
 R.E. L.8. (VI, p. 62). 
 
 Heaven will stil take due revenge on murther. 
 
 —Warning, rr, 1415. 
 
 What due revenge I ought to take.— JET. Ed. IV. (i, p. 128) . 
 
 Who was it that thundered in mine ears. — Warning, n, 517. 
 
 The voice of death still thunders in mine ears. 
 
 —G. A. (in, p. 48). 
 
 Bean. What shall I bring from London? 
 
 Bar. A fool's head. 
 
 Bean. A calf's head's better meat. — Wa/miMg, n, 165-7. 
 
 In The Iron Age (iii, p. 274), Helen of Troy speaks 
 of the " worth and beauty " of her face, whereupon the 
 clown remarks aside : " I had rather have a good calf's 
 face." 
 
 I kept my childbed chamber at that time, 
 Where 'twas not meete that he, or any man. 
 Should have accesse. — Wamimg, n, 1340-3. 
 
 This thought was in Heywood's mind while he was 
 writing The Golden Age. A Lord, dispatched by Saturn 
 to the " child-bed " room of Sibilla, is denied access (in, 
 p. 17) : " Forbeare, sir, for this place is priviledg'd, and 
 only free for women." 
 
 I am as well resolv'd to goe to death 
 
 As if I were invited to a banquet. — Warning, n, 1619-20. 
 
 I should have gone contented to my grave 
 As to my bed; to death, as to my sleep. 
 
 —Eng. T. (iv, p. 13). 
 
 I would it lay in me to helpe you sir. — Warning, I, 470. 
 
ATJTHOESHIP OP A WAENINO FOB FAIB WOMEN 611 
 
 Would it lay in me to pleasure him. — F. L. S. (Vi, p. 405). 
 
 Spoke like a champion of the holy Crosse! 
 
 — Warning, n, 1624. 
 
 Spoke like a gallant, spoke like a gentleman! 
 
 —P. M. E. (n, p. 13). 
 
 I will revenge me on these tising eyes 
 
 And teare them out for being amorous. — Warning, n, 662-3. 
 
 First, I'll rend these eyes out 
 
 That sotted with the love of Omphale . . . 
 
 —B. A. (m, p. 245). 
 
 The same idea is repeated in The Silver Age (iii, p. 
 148), and in The Iron Age (iii, p. 386). 
 
 That you have won to stoop unto the lure. 
 
 — Warning, I, 406. 
 
 Your duty cannot stoop but to her lure. 
 
 —F. M. W. (n, p. 40). 
 
 The phrase is very common in Heywood. 
 
 The very stones 
 That lie within the streetes cry out for vengeance. 
 
 — Warning, n, 766-7. 
 
 The very senselesse stones here in the walles 
 Breake out in teares. — K. Ed. IV. (i, p. 154). 
 
 But here I give to each of you a booke 
 Of holy meditations. — Warning, n, 1680-1. 
 
 And next receive this book . . . These holy meditations. 
 
 —K. Ed. IV. (I, p. 167). 
 He cleere my conscience, 
 And make the truth iipparent to the world. 
 
 — Warning, n, 1568-9. 
 Now discharge thy conscience; 
 Lay open thine offences to the world. — K. Ed. IV. (I, p. 53). 
 
 Thereby to save me in the world to come. — Warning, n, 1665. 
 
612 JOSEPH QUINCY ADAMS, JB, 
 
 Heaven will not clear it in the world to come. 
 
 —W. K. K., (n, p. 1S5). 
 
 Then, too, a filthy whining ghost .... 
 Comes screaming, like a pig half stick'd. 
 And cries Vindietaf — Warning, i, 47-50. 
 
 His murderd ghost is come from Hell 
 On earth to cry V indicia I — Cap., 102. 
 
 Mercy I aske of God . . . 
 
 And of al men and women in the world. 
 
 Whom by my foule example I have griev'd. 
 
 — Warning, n, 1655-00. 
 Lo. Just. God forgive ye both! 
 
 Brown. Amen, my Lord; and you, and al the world. 
 
 — Warning, n, 1231-2. 
 
 For which vile deed I mercy beg of Heaven, 
 
 Next of the World, whom I offended too. — Gap., 213. 
 
 There's for thee to drink. — Warning, I, 303. 
 
 There is some few coins for thee to drink. 
 
 —K. Ed. IV. (I, p. 55). 
 
 For my sake drink this. — Warning, I, 483. 
 
 Drink that for my sake.— Cop., 198, K. Ed. IV. (I, p. 123). 
 
 In the case of blood 
 
 God's justice hath bin stil miraculous. 
 
 — Warning, u, 1060-1. 
 Murder is a sin 
 Which often is miraculously reveal'd. — Pop., 202. 
 
 And may be tempered easily, like wax. — Warning, i, 403. 
 
 You find her pliant? 
 
 As a thing of wax. — C. f. B. (v, p. 38). 
 
 Murther and death sit on my fatal hand. — Warning, ii, 108. 
 
 I never saw three faces in whose looks 
 Did ever sit more terror or more death. 
 
 —K. Ed. IV. (I, p. 152). 
 
 It is my love. O how the dusky night 
 
 Is by her coming forth made sheen and bright! 
 
 — Warning, n, 340-1. 
 
ATTTHOESHIP OF A WAENINQ FOE FAIE WOMEN 613 
 
 You sacred stars [i. e., women] 
 
 That add bright glory to the sable night. 
 
 —F. M. E. (II, p. 7).' 
 
 Th' affrighted ladies light the darkest rooms 
 With their bright beauties. — G. A. (ni, p. 23). 
 
 Browne, coming to court Mistress Sanders as she sits 
 before her husband's shop, says : 
 
 Yonder she sits to light this obscure street, 
 Like a bright diamond worn in some dark place. 
 
 — Warning, l, 308. 
 
 Similarly, King Edward, coming in disguise to court Jane 
 Shore as she sits before her husband's shop, says : 
 
 Oh, rare perfection of rich Nature's work! 
 
 Bright twinkling spark of precious diamond. 
 
 Of greater value than all India! 
 
 Were there no sun . . etc. — K. Ed. IV. (i, p. 64). 
 
 The two scenes, I may add, are quite similar throughout, 
 and the same situation is repeated in W. W. H. {y, p. 
 284). 
 
 Shall keep you in your hood and gown of silk. 
 
 And when you stir abroad, ride in your coach. 
 
 And have your dozen men all in a livery 
 
 To wait upon you. — Warmmg, i, 650-3. 
 
 Where's all your servants! 
 Where is your gowne of silk, your periwigs? 
 
 —K. Ed. IV. (I, p. 168). 
 
 I be his pilot? whither, canst thou tell? 
 
 — 'Warning, I, 383. 
 
 The phrase " canst thou tell " thrown in after a ques- 
 tion is very common in Heywood: 
 
 When, canst thou tell? (l, 88; IV, 125; V, 139; VI, 365). 
 
 "Cf. Warning, n, 98: "Oh sable night." 
 
614 JOSEPH QUINCY ADAMS, JB. 
 
 With what, con yeou tell? — W. of L. (iv, p. 234). 
 
 Whick way, con yeow tell? — W. of L. (iv, p. 183). 
 
 Whither, canst thou tell?— 2?'. M. W. (n, p. 276). 
 
 This is somewhat like. — Warmng, I, 653. 
 
 Why this is somewhat like. — W. W. B. (v, p. 303). 
 
 I marry this was somewhat to th' purpose. 
 
 —L. M. (T, p. 125). 
 
 About the matter you wot of. — Warning, n, 358. 
 
 The matter you wot of.—/. K. N. M. (l, p. 279). 
 
 Concerning that you wot of. — Wwrnimg, I, 427. 
 
 The thing you wot of. — G. A. (rn, p. 70). 
 
 If the thing you wot of. — M. W. L. (iv, p. 163). 
 
 Her wickednesse, the bawd unto her sinne. 
 
 — Warning, n, 1443. 
 
 That door, that's bawd unto my shame. 
 
 —W. K. K. (n, p. 137). 
 
 Too faire a creature for so fowle an act. 
 
 — Wamimg, n, 1020. 
 
 Oh that so foule a name 
 
 Sould be applied to so faire a garment! 
 
 —-K. Ed. IV. (1, p. 165). 
 
 This is illustrative of Heywood's fondness for balancing 
 with alliteration. 
 
 And had a finger in her husband's bloud. 
 
 —Warning, n, 422. 
 
 In which I have had either an entire hand, or at the least 
 a maine finger. — Eng. T. (rv, p. 5). 
 
 Are not my deeds ugly? 
 Then let my faults be written in my face. 
 
 — Warning, n, 665-6. 
 
 On whose white brows thy shame is charaeter'd. 
 
 —W. K. K. (II, p. 140). 
 
AUTHOESHIP OF A WAENING FOB FAIB WOMBW 615 
 
 As were it writ upon thy brow. — M. W. L. (iv, p. 108). 
 
 If God were pleased that it should be so. 
 
 — Warning, i, 655. 
 
 'Twas God's good wil it should be so. — Warning, u, 1107. 
 
 God hath laid this cross upon our heads,' 
 
 Might had he pleasd, have . . — W. K. K. (n, p. 155). 
 
 As kind a peate as London can afford. — Wwmvng, i, 188. 
 
 What sweet can earth afford? — Warning, I, 504. 
 
 A fitter place the town affords not. — Warning, u, 93-4. 
 
 The stereotyped phrase with " affords " is almost an 
 obsession with Heywood, and the student of his style will 
 note the ahove occurrences of the phrase with interest. 
 Cf.: ' 
 
 England affords nonis such. — /. K. N. li. (I, p. 296). 
 
 The world affords no place. — I. A. (m, p. 374). 
 
 Scarce can the world afford a richer prize. 
 
 —Four P. (II, p. 221). 
 
 England affords not a more compleate virgin. 
 
 / —B. K. L. S. (VI, p. 42). 
 
 Allied to the preceding (in general idea) is: 
 
 0, Earth hath seldom such a creature seen. 
 
 ■—Warning, i, 476. 
 
 Cf.: 
 
 But the world yields not so divine a creature. 
 
 —R. of L. (V, p. 212). 
 
 One more rare Earth yielded not. — S. A. (m, p. 146). 
 
 Above what earth can yield.— f. M. W. (n, p. 379). 
 
 Occurrences of this phrase in Heywood could be mul- 
 tiplied several times. 
 
 It is not millions that can ransome thee. 
 
 — Warning, II, 500. 
 
616 JOSEPH QUINOT ADAMS, JE. 
 
 The word " millions " is often employed by Heywood 
 to indicate a large number. Of.; 
 
 No discovery of yourselves for a million. 
 
 —W. W. of H. (V, p. 308). 
 
 And would not send her to prison for a million. 
 
 —A. K. N. M. (I, p. 209). 
 
 I would not . . . for a million. — F. M. W. (n, p. 402 ).> 
 
 Tt is not millions that can ransom thee. 
 
 — Warning, n, 500. 
 
 All the gold in Cheapside cannot ransom her. 
 
 —K. Ed. IV. (I, p. 16). 
 
 Kil him? Yea, were his life ten thousand lives. 
 Not any sparke or cinder of the same 
 Should be vnquencht in bloud at thy request. 
 
 g, n, 441-3. 
 
 But thou hast kill'd a man, whom to have sav'd, 
 Had I a thousand lives, I'd lose them all. 
 
 — O. /. B. (v, p. 61).* 
 
 For all this world I would not. — Warning, n, 1051. 
 
 Not for the world. 
 
 —Four P. (II, p. 184) ; F. M. W. (II, p. 380). 
 Not for a world. — C. f. B. (v, p. 33). 
 
 Al the world's wealth could not intioe me too't. 
 ' —Warning, II, 1128 (Cf. also ll, 492; n, 537). 
 
 Al London's wealth . should not. — Warning, n, 862. 
 
 I'de not change it for the wealth of Italy. 
 
 —F. M. W. (n, p. 402). 
 
 That more contents me than the wealth of Spain. 
 
 —C. f. B. (v, p. 37). 
 
 The phrase was a favorite one with Heywood. 
 
 > Cf. I will not wrong her for a thousand pound. — Warning, i, 211. 
 >Cf. also I, 67; n, 127, 140, 146, 273, 324, 357, 364, 383; v, 192; 
 etc. 
 
AtJTHOESHIP OP A WAEimirG FOE FAIE WOMEW 617 
 
 Beare with this true and home-borne Tragedy 
 Yeelding so slender argument and scope 
 To build a matter of importance on. 
 
 — Wa/mmg, n, 1704-6 (Epilogue). 
 
 They [i. e., foreign playwrights] do not build their projects 
 [i. e., plays] on that ground. — G. f. B. (v, p. 3) (Prologue). 
 
 Not only is the general idea similar, but the phrase 
 " to build upon " is exceedingly common in Heywood, 
 for it is one of his stock ways of expressing himself. 
 It appears again in A Warning, i, 435 : 
 
 ^ Thy trust it is I build upon. 
 Of. Heywood: 
 
 Whose loyalty we now must build upon. 
 
 —R. K. L. 8. (VI, p. 30). 
 
 I build upon thy council. — I. A. ( m, p. 410). 
 
 I do build upon your secrecy. — F. M. E. (n, p. 36). 
 
 On her behaviour I will build my fate. 
 
 —F. M. W. (n, p. 290). 
 
 Likewise in Cap., 135, 182; i, 145; ii, 45, 124, 224; 
 III, 43, 293, 324, 399, 40Y ; iv, 64, 103 ; v. 172 ; vi, 402 ; 
 etc. 
 
 Or think it in a heart did never harbour. 
 
 — Warnmg, il, 754. 
 
 The dearest thoughts that harbour in this breast. 
 
 —K. Ed. IV. (I, p. 130). 
 
 How like a fatal comet did that light 
 
 With this portentous vision fright mine eyes! 
 
 — Warning, n, 134. 
 
 And these shall like a bloody meteor show. 
 More dreadful than Orion's flaming locks, 
 T'affright the Giants that oppress the earth. 
 
 —S. A. (in, pp. 131-2). 
 
 7 
 
618 JOSEPH QUINCT ADAMS, JE. 
 
 Like a blazing comet that foretells the fall of princes. 
 
 —Four P. (n, p. 212). 
 
 It shows like a red meteor in the troubled air. 
 
 —Fowr P. (n, p. 212). 
 
 He doth not live dare charge me with it. 
 
 — Wa/rnmg, n, 1028. 
 
 Breathes there any living dares say . . . — B. M. C, p. 80. 
 
 There lives not in this land 
 
 Can touch me with the thought of murther. 
 
 — Warning, n, 943-4. 
 
 Than you, air! he lives not. — F, M. E. (n, p. 27). 
 
 There lives not one more free and sociable. 
 
 —F. L. 8. (VI, p. 366). 
 Pretus. Treason! Our guard. 
 
 Perseus. Lives there a man, the tyrant Pretus dead . . . 
 
 —S. A. (m, p. 94). 
 Lives there a King that would . . 
 
 —K. Ed. IV. (I, p. 65). 
 
 Liv'd there such a, creature, would not . . . 
 
 —0. f. B. (V, p. 31). 
 Soules health. — Warning, n, 1593. 
 
 This not uneommon phrase appears frequently in Hay- 
 wood; see K. Ed. IV.. (i, p. 54), W. W. H. (v, p. 351), 
 H. M. C. (p. 15), etc. 
 
 Must wade through blood t' obtain my vile desire. 
 
 — Warning, ii, 101. 
 
 This idea is very frequent in Heywood: 
 
 And my desire 
 
 Shall wade with thee through blood. — B. A. (iii, p. 219). 
 
 Like-wise 0. A. (m, p. 8), F. M. W. (ii, p. 357), R. of 
 L. {v, p. 186), etc. 
 
 Were they ten, mine arme is strong enough. 
 
 — Warning, n, 461. 
 
AUTHOBSHIP OF A WAENING FOB FAIE WOMEN 619 
 
 Were you teii| knights. — W. H. H. (v, p. 342). 
 Wert thou ten Hectors. — 7. A. (m, p. 294). 
 
 In A Warning, Browne says to Misstress Drury that 
 
 unless he can enjoy Mistress Sanders he will die, and he 
 
 begs her to help him. She responds (i, 254-6) : 
 
 This I say — 
 
 I cannot make a man. To cast away 
 
 So goodly a creature as yourself were sin. 
 
 Accordingly she grants his request. ' The same idea ap- 
 pears in one of Heywood's plays, but I am unable to locate 
 the passage. Note, however, the following: 
 
 That claim we, as we're men, we would but live; 
 Then take not from us what you cannot give. 
 
 —G. A. (m, p. 74). 
 
 A hundred thousand pound cannot make a man. 
 
 — /. K. N. M. (I, p. 321). 
 
 The author of A Warning refers to the interior of the 
 theatre as a "round." This is quite natural, yet it is 
 at least worth noting that Heywood was fond of the idea : 
 
 All this fair circuit. — Warning, l, 83. 
 
 Many now in this Round. — Warnmg, I, 88. 
 
 Tliis theatre round.— 0. /. B. (v, p. 66). 
 
 If then the world a theatre present, 
 
 As by the roundness it appears most fit. — Apology (p. 13). 
 
 Within this circumference. — Four P. (n, p. 166). 
 
 In his speech from the scaffold, Browne says {Warning, 
 
 n, 1447-8): 
 
 Vile world, how like a monster come I soyld from thee! 
 How have I wallowed in thy loathsome filth, etc. 
 
 No authority for this appears in the prose pamphlet. But 
 Heywood was fond of making his characters at the point 
 of death address with reproaches the "World personified. 
 
620 JOSEPH QUINCY ADAMS, JE. 
 
 Thus, in 0. f. B. (v> p, 68), Bonavide, at the moment of 
 execution, says: 
 
 Farewell, world, 
 Growne so corrupt . . . 
 
 And in 7. A. {in, p. 421), Egistus, dying, says: 
 Vain world, farewell! 
 
 In L. M. (v, p. 100), Psiche, standing on top of a rock 
 
 and ready for death, says : " Vain world, adieu." In 
 
 K. Ed. IV. (i, p. 181), Shore, on the point of death, 
 
 apostrophizes the world: 
 
 " world, what are thou ? man, even from his birth 
 Finds nothing else but misery on earth, 
 Thou never (World) scorndst me so much before; 
 But I, vain World, do hate th^e ten times more. 
 I am glad I see approaching death so nie; 
 World, thou hatest me: I, thee, vain World, defile.' 
 
 I have not recorded here all the similarities in phrase- 
 ology or in ideas that I have observed, and another student 
 of the play, I have no doubt, could point out many more. 
 However, I have given enough, I hope, to show that the 
 lines in A Warning may have come from the brain of 
 Heywood. I am confident that the scholar, in passing 
 from a reading of Heywood's plays to a reading of A 
 Warning, will be unconscious of any change in style. 
 Indeed, there is, it seems to me, less difference of style 
 between this play and the typical work of Heywood than 
 is to be found between some of Heywood's acknowledged 
 plays. If we grant that Heywood at some time during 
 the years 1595-8 was free to write for the Lord Cham- 
 berlain's servants, I see no reason why A Warning should 
 not be assigned to his pen. 
 
 Joseph Quiwct Adams, Jr. 
 'Likewise, on page 183, he exclaims: "Oh unconstant World! " 
 
Cornell University Library 
 
 PR2411.W28A21 
 
 The authorship of A warning for fair worn 
 
 3 1924 013 127 349 
 
'^^ W^j'