Histrio-mastix The players scourge, or, actors tragædie, divided into two parts. Wherein it is largely evidenced, by divers arguments, by the concurring authorities and resolutions of sundry texts of Scripture ... That popular stage-playes ... are sinfull, heathenish, lewde, ungodly spectacles, and most pernicious corruptions; condemned in all ages, as intolerable mischiefes to churches, to republickes, to the manners, mindes, and soules of men. And that the profession of play-poets, of stage-players; together with the penning, acting, and frequenting of stage-playes, are unlawfull, infamous and misbeseeming Christians. All pretences to the contrary are here likewise fully answered; and the unlawfulnes of acting, of beholding academicall enterludes, briefly discussed; besides sundry other particulars concerning dancing, dicing, health-drinking, &c. of which the table will informe you. By William Prynne, an vtter-barrester of Lincolnes Inne.

ACTVS PRIMVS.

IF then all popular Stage-playes, bee thus sinfull hurtfull, execrable, unseemly, unlawfull unto Christians, as I have at large evinced in the prece∣dent part of this my Histrio-mastix, I shall thence inferre these 3. ensuing Corollaries which necessarily issue from it.

First, That the profession of a Play-poet, or the compo∣sing [ 1] of Comedies, Tragedies on such like Playes for pub∣like Players or Play-houses, is altogether infamous and unlawfull.

Secondly, That the very profession of a Stage-player, [ 2] together with the acting of Playes and enterludes, either in publike theaters or private houses; is infamous, Scan∣dalous, and no wayes lawfull unto Christians.

Thirdly•• That it is an infamous shamefull, and unlaw∣full [ 3] practise for Christians to be either spectators or fre∣quenters of Playes or Play-houses.

In briefe; the very penning, acting and beholding of Stage-playes, are infamous, unseemly, unlawfull unto Christians, since Playes themselves are so.

To begin with the first of these•• I shall for the better

clearing of its truth and the avoyding of all mistakes, most willingly acknowledge.

First, that as Poetrey it selfe is an excellent endowmēt, p••culier unto some by (a) 1.1a kind of naturall Genius; so it is likewise lawfull, yea b 1.2 usefull and commendable a∣mong Christians, if righly used: as not onely the divine hymmes recorded in Scripture, together with the fa∣mous ancient Poëms of Tertullian, Arator, Apollina∣ris, Nazianzen, Prudentius, Prosper, and other Christi∣an worthies, with the moderne Distiques of Dubar••as, Beza, Scaliger, Bucanon, Heinsius, Withars, Hall, Quarles, our late Soveraig••e King Iames, with infinite others; but likewise the much applauded verses of Ho∣mer, Pindarus, Virgil, Statius, Silius Italicus, Lucan, Claudian, Horace, Iuuenall, and some parts of Ovid, where he is not obscene, most plentifully evidence; whose Poëms are both approved, read, & highly mag∣nified of all learned Christiās, who both allow & teach them in their publike Schooles. Yea, were not Poetrie and Poets Lawfull, we must then rase out of our Bibles. Acts 17.28. 1 Cor. 15.33. Titus 1.12, 13. where the sentences of Menander, Epimenides, and Aratus, three heathen Poets are not only recited but Canonized too. If any desire any further satisfaction in this point which is so cleare, I shall onely referre them to Ter∣tullian ad Vxorem lib. 1. to St. Basil, de legendis libris Gentilium Oratio: to Nicephorus Callistus Eccle••••a∣sticae Historae. l. 10. c, 26. to the ancient & moderne Com∣mētators on these texts; to Georg Alley Bishop of Exeter,c) 1.3 his poore mans Librarie part 1. Misellanea Praelectio∣nis 4. pag. 165.166. & D. Rainolds Overthrow of Stag••••playes p. 21, 22. who will abundantly satisfie them in this poynt.

Secondly, that it is lawfull to compile: a Poeme in nature of a Tragedie, or poeticall Dialogue, with seve∣rall acts and parts, to adde life and luster to it, especi∣ally, in case of necessitie when as truth should else be

suffocated. Hence d 1.4 Nicephorus and Cassiodor re∣cord of Apolinaris the Elder, that being inhibited by Iulian the Apostate to Preach or teach the Gospell, or to traine the christians children to learning and poetrie, he thereupon translated divers Bookes of Scripture into verse, and composed divers Tragedies in imitation of Eu∣ripides, and sundry Comedies and lyricke verses in imita∣tion of Menander and Pindarus, consisting only of divine arguments and Scripture stories; by which he instructed those to whom he could have no liberty to Preach: the like did Gregory Nazianzen and others in the Primi∣tive Church, upon the same occasion, having no other meanes to defend e 1.5 or propagate religion with appro∣bation or connivance but by such Poëms as these. Hence divers pious Christians likewise in King Henry the 8. and Queene Maries bloudy raigne, being restrai∣ned by Superiour Popish-powers to oppose received errors or propagate the truth and Doctrine of the Gospell in pub∣like Sermons, or polemicall positiue treatises, did covert∣ly ven•• and publish sundry truthes, yea censure sundry Errors, and interpret divers scriptures in Rimes, in Come∣dies, Tragaedies, & Poems like to Playes under the names, the persons of others, whom they brought in discoursing of sundry points of true religion, which could not else bee Preached but by such Poems as these, which the people gladly heard and read, and the Magistrates and popish Priestes conived at at first; till at last King Henry the 8. by the statute of 34. & 35. H. 8. c. 1. f 1.6 and Queene Marie by her expresse Proclamation in the first yeare of her raigne (which the popish Prelates did most strictly execute) Prohibited the setting forth or penning of any songs, Playes, Rimes, or Enterludes, which medled with interpretations of Scripture, contrary to the doctrine esta∣blished in their raignes.g 1.7 Wherefore I shall here ap∣prove

& not condemn, the ancient Tragedy stiled, Chri∣stus passus h 1.8 falsly attributed to Nazianzen) where∣in Christs passion is elegantly desc••phered, together with Bernardinus Ochin his Tragedy of Freewil, Plessie Morney his Tragedie of Ieptha his daughter, i 1.9 Edward the 6. his Comedie de meretrice Babilonica, Iohn Bale his Comedies de Christo & de Lazare, Skeltons Comedies, de Virtute, de Magnificentia, & de bono Ordine, Nich••∣laus Grimoaldus, de Archiprophetae Tragedia, &c. which like Geffry Chaucers & Pierce the Plowmans tales and Dialogues, were penned only to be k) 1.10 read, not acted, [ 3] their subiects being al serious, sacred, divine, not scurri∣lous wanton or prophan, as al modern Play poëms are.

Thirdly, as it is lawfull to pen, so likewise to recite, to read such tragicall or comicall poëms as these, compo∣sed onely to be read, not acted on the Stage. And in truth the Tragedies, Comedies and Play-poëms of anci∣ent times, as those of Sophocles, Euripedes, AEschylus, Me∣nander, Seneca, and others, were onely read or recited by the Poets themselves, or some others of their ap∣pointment before the people, not acted on the Stage by Players, as now they are; it being a great disparagement to Poets to have their Poëms acted, as l 1.11 Horace m 1.12 Diodor••s Siculus and n 1.13 Quintilian testifie. That these ancient Comedies and Tragedies were thus read or re∣cited onely, not played or acted on the Stage, is evi∣dent by the expresse testimonies of Horace: Sermo: l. 1. Satyr. 4. & 10, Epist. l. 2. Epist. 1. & de Arte Po••tica lib. of Iuuenall, Satyr. 1.4. & 8. of Diodorus Siculus. Bibl. hist l. 14. sect. 110. p. 649, 650. of Plutarch, de Audien∣dis Poetis lib. of Plinie: Epist: l. 1. Epist: 13. Epist: l. 2. Epist. 10. l, 3. Epist: 15.18. l. 5. Epist. 3. l. 7. Epist. 17. l. 8. Epist. 21. l. 9. Epist. 27. Of Suetonius in his Octauius sect. 89. Of Quintilian de Oratoribus Dialogus: 1.6.14. of Polydor Virgil, de Invent. rerum, l. 3. c. 13. of Scaliger Poeticis l. 1. c. 7. of Dr. Reinolds, in his Overthrow of Stageplayes p. 22. of Bul••ngerus de Theatro. l. 2. c. 1. p.

339. A.B. with sundry others, who all give testimony to this truth. Which takes of one grand obiection that Players, and Play-poets make to iustifie the Acting, and penning of Stage-playes; that many good men have compiled Playes and Tragedies in former times, of purpose that they might be acted on the Theatre; when as in truth these Playes of theirs were never acted but recited onely, they being composed for Readers, not Spectators, for private studies, not publike Play houses, as our present Stageplayes are.

The sole controversie then is this; Not whether it bee simply unlawfull to penne a Poëm in nature of a Trage∣die or Comedie, which may be done without offence, in case it be pious, serious, good and profitable; not wanton amorous, obscene, Prophane, or heathenish, as most Playes are now: but, whether the profession of a Playhouse-Poet, or the penning of Playes for pub∣like or private Theaters, be warrantable or lawfull? And for my owne particular opinion, I hold it altogether un∣lawfull, for these ensuing reasons.

First, to be an inventer, a contriver of evill, scanda∣lous, [ 1] unprofitable or noxious things, is certainely un∣lawfull unto Christians: witnesse Rom. 1.30, 31. Psal. 31.6. Eccles: 7.29. Prov. 14.22. c. 24.8. and Isay. 55.2. But Stage-playes (as I have o 1.14 already manifested at larg) are evil, scandalous, unprofitable, noxious pastimes yea intolerable mischeifes both in a Church or State. Therefore the inventing and contriving of them must certainely be unlawfull.

Secondly, to be a compiler, an Author of the cer∣taine, [ 2] the common occasions of much wickednesse, sin and lewdnesse, can be no wayes warrantable or lawfull: as is evident by by the 1 Thes. 5.22. 2 Sam. 12.14. and Rom. 1.30. But Stage-playes (as the p 1.15 premises testifie) are the certaine, the common occasions of much wick∣ednesse, vice and lewdnesse: Yea Play-poets and Play-poëms if q 1.16 Cornelius Agrippa may be credited, are

the very greatest entisements to all lecherie, bauderie, vice, and lewdnesse: Vnde Poetae inter lenones principatum fa∣cile obtinuerunt, quo suis lasciuis rithmis alijs{que} fabulis ac amatorijs bucolicis, praeceptiunculis, comaedijsque ex peni∣tissimis Veneris armarijs depromptis laesciuis carminibus, lenocinio functa, pudicitiam omnem subuertit, ac adole∣scentiae bonam indolem, moresque corrumpit. Therefore to be an Author, a compiler of Stageplayes, can bee no wayes warrantable or lawfull unto Christians.

[ 3] Thirdly; To foment men in their sinnes and sinfull courses, to uphold them in their ungodly professions, is without all scruple sinfull and unlawfull: witnesse 1 Tim. 5.22. Hab. 1.15, 16. Ezech. 13.18, 19, 20. But the penning of Playes for Play-houses, foments men in their sinnes & sinfull courses: n 1.17 It fostereth the specta∣tors in their idlenesse, vanity, wantonesse, ribaldry, prodigality, lewdnesse, and the like; it drawes them on to many other sinnes, which else they might eschewe: It supports all publike Actors in their graceles, infa∣mous, ungodly, lewd profession of Acting, and others in their sinfull practise of beholding Stage-playes: if there were no new Playes to act or see, all Players, all Play-haunters would quickly vanish, the Play-poet be∣ing the o 1.18 prime mover in this infernal sphere of lewd∣nesse. Therefore the penning of Playes for Play-houses, [ 4] is without all question very unlawfull.

Fourthly to be a professed factor for the Devill and his instruments; to maintaine his p 1.19 pomps & vanities which we have all renounced in Baptisme, is sinfull and abominable: as the 1 Pet. 5.8, 10. 1 Ioh. 3.8. Ephes. 2. 1, 2. c. 5.11. & Ioh. 8.44. infalliblie evidence. But Stage-poets are professed factors for the Devill and his instru∣ments q 1.20 who are most honoured & delighted with them, now as well as heretofore) and they maintaine (yea forge and pen) the very pompes and workes of the Divell which we have all renoūced in Baptisme; for I have in∣falliblie proved r 1.21Stageplays (which they so seriously

compile) to be the Devills pomps which wee protest a∣gainst in Baptisme: Therefore the profession of a Play-poet even in this respect, is sinfull and abominable.

Fif••ly for men to wast their wits, their parts and [ 5] precious time (with which they might and ought to doe God and men good service) on amorous, filthy, wanton, ridiculous, vaine, prophane, unpro••itable, subiects, which tend not to Gods glorie, to the good of men, or the peace and comfort of their owne soules at last; is altogether unlawfull, see Isay. 55.2. Psal. 7.6. Psal. 4.2. 1 Sam. 12.21. 2 Cor. 5.15. Rom. 12.1, 2. 1 Cor. 6.20. & 10.31, 32, 33. Eccles. 5.16. Luk. 1.74, 75. 2 Pet. 1.10, 11, 12. for proofe of this proposition.) But those who penne Playes for the Stage; doe wast their wits, their parts and precious time, (with which they ought to do God & men good service) on s 1.22 amarous, filthy, wanton, ridiculous, vaine, prophane, unprofitable, (yea sometimes on atheisticall, blasphemous, sacrilegi∣ous, diabolicall, detestable) subiects, (for such for the most part, are all our moderne Playes) which tend not to Gods honor t 1.23 but to his great dishonour, and the De∣vils advantage: which bring no good at all, but exceeding much hurt and mischeife unto others: and no comfort, no peace, but horror and vexation onely to the soules of their composers, who have oft beene so terrified with the sad consideration of those infinite horid sinnes which their Stage-playes have produced both in them∣selves and others, that it hath almost driven them to de∣spair••, and drenched their soules in stoods of brinish teares to wash away their guilt of Play-making: as the me∣morable example of x 1.24 Steven Gosson, and the Author of the third Blast, of retrait from Playes and Theaters, besides a more bloody fresh example, most fully testifie. Therefore the penning of Playes for the Stage is altoge∣ther unlawfull.

Sixtly; for men y 1.25 to bend their wits like bows for lyes, [ 6] and lying fables•• to corrupt and misrepresent true histo∣ries,

and to make their braine a very forge for lying va∣nities, and old-wives fables; is certainly unlawfull a∣mong Christians, who must put away lying fables, and speake nought but truth: See Ephes. 4.25, 29. c. 5.3, 4. 1 Tim. 4.2, 7. and part 1. Act 3. Scene 4. p. 106, 107. accordingly. But Play-poets thus racke and bend their wits like bowes for lyes and lying fables; they corrupt and misrepresent true histories, and make their braines a very forge for lying vanities and old wives Fables: witnes Act 3. Scene 4. p. 106, 107. with the Authors there quoted: witnesse the common prouerbiall speech z 1.26 Permulta canunt mendacia vates, that Play-poets broach verie many lies, that being no Poëm in a 1.27 So∣crates his iudgement, à qua abesset mendacium, in which there i•• not some lye or other couched: witnes b 1.28 Solon who prohibited Thespis either to act or teach Tragedies, inutilem eas falsi loquentiam vocans) because they were but unprofitabl•• lyes•• or vaine common thrid∣bare fabulous figments of Stage-poets extolling vaine & idle things, with many words, as c 1.29 Philo Iudaeus phraseth them. witnesse•• the 3. Blast of Retrait from stage-playes, p. 104. which informes us: That the no∣tablest liar is becom•• the best Poet: ••nd that he who can make the most notorious lye, and disguise falshood in such s••n••, that it may passe unperceived, is hold the best writer, for the strangest Comedie brings greatest delecta∣tion and pleasure. Yea witnesse our own experience, our moderne Playes being nought but amorous ridiculous figments, lies & vanities, or sophisticated stories. The pen∣ning therfore of such stories as these must needs be ill.

[ 7] Seventhly: that profession, or action, which hath no good warrant either from the practise of the Saints; or from the word of God, the square of all our lives and waies, and in the prosecution of which a man cannot proceed with faith, or comfort, nor yet ••eriously pray for, or expect a blessing from God•• must questionles be unwarantabl•••• unlawfull for a Christian:

witnesse, Gal. 5.16, 17, 18. c. 6.15. Psal. 119.9.104, 105. Rom. 14.23. 1 Cor. 11.1. Ehes. 5.1, 5. Psal. 129.7, 8.9. Phil. 4.6, 7, 8. But the profession of a Play-poet, and the composing of Playes for Theaters, hath no warant at all either from the practise of the Saints of God f 1.30 a∣mong whom we read of no professed Play poets or Players of ancient or moderne times, but such onely who upon their true conversion & repentence renounced this their hellish lewd profession: nor yet from the sacred word of God, the square of all our lives and wayes; in which I can∣not so much as find one title, one syllable to iustifie ei∣ther the penning or acting of a Stage-play: so that a man cannot proceed on in them either with faith or comfort, nor yet expect or pray for Gods blessing or as∣sistance on his Playes or Studies, which serve onely to advance the Divills service, and g 1.31 foment mens lusts and vices. Therefore the very profession of a Play-po∣et, and the compiling of Playes for Theaters, must que∣stionlesse be unwarrantable, unlawfull for a Christian.

Lastly, that very profession & function which Chri∣stians, which heathens, which even relenting Play-po∣ets themselves have censured, renounced, condem∣ned, as sinfull and abominable; must undoubtedly bee unlawfull for a Christian: But Christians, heathens, yea and Play-poets themselves have thus censured, renoun∣ced, condemned the profession of a Play poet, and the making of Playes to furnish Play-houses. Witnesse all the fore-quoted Fathers Councels and Christian Writers, who in condemning Playes, have censured their composers, not onely by consequence, but in h 1.32 expresse termes too. Witnesse the i 1.33 Athenians, and k 1.34 Solon, who inhibited the penning of Comedies and Tragedies: together with l 1.35 Plato & m 1.36 Tullie, who banished all Playpoets out of their Republikes, as the effe∣minaters, the corrupters of mens minds and manners, lea∣ding them on to a dissolute, sloathfull, vitious, voluptuous life: Witnesse the n 1.37 Lacedemonians, & Massilienses, who

would never admit the penning or acting of Comedies or Tragedies; together with * 1.38 Gorgias p 1.39 Horace and q 1.40 Iuuenall, who condemne the composing of Playes for the Stage, as a base unworthy thing, unfit for eminent Po∣ets: Yea witnesse the constant practise of all Players and Play-poets in the r 1.41 primitive Church, who upon their true conversion to the faith, renounced these their lewde ungodly professions, and never returned to them more: together with the moderne examples of s 1.42 AEnaeas Sylvius, and t 1.43 Theodorus Beza, who publike∣ly renounced, censured, and bewailed in their riper yeares those wanton amorous playes and poems which they had compiled in their youth•• of u 1.44 M. Stephen Gosson, & the Authour of the 3. Blast of retrait from playes and Theaters; two Eminent English Play••poets Who being deepely wounded in conscie••ce for those Playes they had penned for the Stage, thereupon abandoned this their hellish trade of Play-penning, as incompatible with Christianity or salvation, and by way of holy recompence and revenge, compiled * 1.45 three me∣morable printed Treatises against penning, acting and frequenting Stage-playes, which now are extant to their eternall praise, and to the just condemnation of all those Play poets which persevere in their relen∣ted and reclaimed steps. The penning therefore of Stage-playes for the Theater (which hath no precept, no example for to warrant it in the Scripture or in the Primitive Church) must certainely be sinfull and un∣lawfull unto Chr••stians. All which I would wish our moderne Play-poets to consider. Who being oft times men of eminent parts, and choysest wits, able pithily to expresse what ever they undertake: I shall onely say of them and their poëms as * 1.46 Quintilian doth of Se∣neca & his books, Multae in eo clarae{que} sententiae, multa etiam Elocutionis gratia legenda; sed in eloquendo cor∣rupta plaera{que}, at{que} adeo perniciosissima, quod abundant vitijs. Velles enim suo ingenio dixisse, alieno iudicio, &c. Digna fuit illa naturae quae meliora vellet, quae quod volu∣it fecit. And thus much for the first conclusion.

Notes

• (a) 1.1

  Sponte sua carmen nu••••e∣ros ven••••bat ad apto••, Et quod tentabam scri∣bere versus erat Ouid. Tristium, l. 4. Eleg. 10.
• b 1.2

  Carmine dli superi placan∣tur, carmine manes Hora••. Epist. l. 2. Ep. 1. p. 282. Gaudet e∣nim virtus te∣stes sibi innge∣re Musas, Car∣••en amat, quis quis carmine digna gerit. Claudian pr••sat. in Lib. 3. de Lau∣dibus Sti••iconis p. 193. see Ouid. de ponto lib. 4. Eleg. Plutarch•• de Audiendis poetis lib. Pl••nie epist, l 7. epist. 9 Hora•• carm. l. 4. Ode. 8.
• c) 1.3

  See B. Alley his poore man Librarie•• part 1. fol. 105.106.
• d 1.4

  Edidit quo∣que Eu••ipidem aem••latus, Trag••••o•• actus Pin••ari etiam liram attigit, et comica argu¦menta ad Me∣nandri exem∣p••um tractavit, vniuscuinsque carminis legi∣bus rite serva∣tis, atque ut se∣mel dicā sump∣ta ex di••inis li∣teris materia, a••gumentis eis tractandis, li∣brisque com∣ponendis, nu∣merum ••veli∣carum discipli∣narum aequa∣vit. &c. Nice∣phorus Callist•••••• Ecclesiast. ••ist. l. 10. c. 25. & Cas∣siodorus. Tripar∣tita hist. l. 6. ca. 37. vid, ibid.
• e 1.5

  See 34. & 35. H. 8. c. 1. M. Fox his Booke of Martyrs, 1610. pag, 1281. & Hen. Sta••bridge his exhortato∣rie epistle a∣gainst the pompous Popish Bishops of England. p. 18.
• f 1.6

  M. Fox his bo. of Martyrs, p. 1281.
• g 1.7

  Se Hen. Stalbridge his epist p. 18. accordingly.
• h 1.8

  Se Lewen••l••vii censura huius operis, in Nazi∣anzens works. edit 1571. pa. ••69. & Coci Censura. p. 125. accordingly.
• i 1.9

  See Balaeus de Scriptoribus Briti. contur 8. cap. 66.6••.82.99.100.
• k) 1.10

  See Basil. De Legendislibris Gentilium o∣ra••io. & Nice∣phorus: Eccles. hist. l. 10. c. 25.26.
• l 1.11

  An tu•• de∣mens, Vilibus in ludis dictari ••armina malis? Serm•• l. 1. sect. 10. see here p. 37••.
• m 1.12

  Bibl. hist l. 14. s. 110. pag 649.650. & l. 15. sect. 7. pa. 663.
• n 1.13

  De Ora∣toribus Dialog. sect. 14.
• o 1.14

  See part 1. Act 6. scene 1. to 20. & Act 7. scene 2.3.4.5.
• p 1.15

  See part 1. Act. ••. scene 1. to 20.
• q 1.16

  De vanitate scientiarum. ca. 64.
• n 1.17

  See part. 1. Act. 6. Scene 2. 2, 3,4.5. &c.
• o 1.18

  Se Gossen his Playes confut∣ed Artic. 1. & 4. & Chrysost. Ho. 6. in Math••.
• p 1.19

  See part. 1. p. 55. to 62.
• q 1.20

  See part. 1. Act. 1.2. & 4.
• r 1.21

  See part 1. p. 42. to 62. act. 6 scene 12. & act 7. scene 2. pa 561 to 568. accordingly, & Bulengerus de Circo Roma •••• cap. 46. p. 172. E.
• s 1.22

  See part 1. act. 3. through••out.
• t 1.23

  Se part 1. act. 3. scene 7.
• x 1.24

  See part 1. act. 6. scene 12.19, 20.
• y 1.25

  Ierm. 9.3.
• z 1.26

  Plutar••h de Audendis Poe••tis lib. Tom, 1. pa. 28.29
• a 1.27

  Ibid.
• b 1.28

  Dio∣genis La••••tii•• Solon: p. 46. & Plutarchi So¦lon.
• c 1.29

  Excludant vanas vulgo protritas dam∣natas{que} fabu∣las figmento∣rum po••tico∣rum scenico∣rum{que} res nihi∣li multis verbis exaggeranti∣um. De Iudice. lib. p. 976.
• f 1.30

  See part 1. Act 6. Scene. 12, 14, 20. & Act. 7. throughout.
• g 1.31

  See part 1. Act 6. Scene 2, 4, 5. &c.
• h 1.32

  Cyprian & Tertulliande Spectac. Chry∣sost•• Hom. 6. & 7. in Matth. Philo. Iudaeus. De Monarchia p. 1099. & in Flac••u••. l. p. 1305. Theophi∣lu•• Ant••oche∣nus. here p. 557, 558. Minucius Felix Octavius p. 69, 70. Euse∣bius de praepa∣rat. Evang. l. 4. c. 5. See p. 80. l.
• i 1.33

  See here p. 445 730.
• k 1.34

  See here p. 449.484.51••••
• l 1.35

  See here p. 368 448.
• m 1.36

  See here p. 449.
• n 1.37

  p. 121, 12••.455, 456.920, 92••.
• * 1.38

  See here pag. 449.703.
• p 1.39

  See here p. 370.1. l.
• q 1.40

  Satyr 8. here p. 844.
• r 1.41

  See here p. 561, 567, 571, 572, 574, 575, 577, 582, 617, 626, 652.
• s 1.42

  See his Epistola 97. & 395. See here p. 917, 918. ac∣cordingly.
• t 1.43

  See Theod. Bezae amatoria ab Ipso adolescen∣te edita et ab ipso post dam∣nata. Lut. 1548.
• u 1.44

  See here part 1. Act. 6. Scene. ••••14.20. p. 485, 486. fol. 566•• & 910.
• * 1.45

  Ste∣phen Gosson h••s schoole of Abuse & Plaies confuted in 5. Actions. & the 3. Blast of re∣trait from Playes & The∣aters p. 41. to 57.
• * 1.46

  Instit. Orat. l. 10. c. 1•• p. 570.