"Not long since, then, I held a haplesse Shippe, And dasht my state so stifly gainst the stones, In telling truth I merite meaner blame." He afterwards informs us that his capture was effected by "two lofty sail;" and we may conclude that Heywood and Rowley represented him as having been taken by young Forrest for the purpose of his drama, and not because it was consistent with history. Walton also asserts that he was not the first open the fire, and concludes with these two stanzas: to "Some faithlesse French are pleasd to see, perhaps, Which had his realme and rightes in such regard, But looke abroad, haue care vnto your roades, And cleanse your coastes of such vnseemly toades. "As for myselfe, I owe a due to Death, Is cause that I for some compassion cry: Arnold, whose poetical address comes next in the tract, does not, like Walton, address himself to the " Lordinges whom he imagines listening to his story, but to Heaven : "Ne in furore, oh, my sovereigne God! Reprove me not in wrath, I thee desire," &c. : And afterwards he thus speaks of himself, and of his birthplace and misfortunes : "First then, suppose that you in presence see An aged man, of no great personage, Yet of a minde, as many others bee, More nobly bent than seemed by mine age; "Arnold I hight, by birth a gentleman, Of honest parents, and in Hamshire borne, In th' Irish bogges a soldier to be sworne : He subsequently adds : "This made me first to set my farmes to sale; Amongst my friendes enforced was to rome; But friendes are fiendes, when friendship should be shown; For when my cause they throughly vnderstood, They said they grieved, but could do me no good." What Arnold states in the first of the following stanzas is probably historical: "On seas I met a sort of faithles French, That through a leake their ship had welny lost; But I in pittie sought the same to stench, For which good deed they bad me, fare well frost : To such a case as cooles me at the hart. "Short tale to make, of force I must confesse, Yet lives he not that can in conscience say, This poem is subscribed "Finis. Arnold," as if the real writer did not know the man's Christian name; and the same observation will apply to the effusion attributed to Clinton, which has only "Finis Clinton" at the end of it. Clinton, among other things, says of himself 66 My selfe sometime, not least in Fortune's love, "Besides my selfe who bare so braue a sway? Who durst resist if I did him gainsay? Who more than Clinton scowrd in euery coast? Like the two others, he complains that injustice had been done him in charging him with cruelty; and he dwells upon the malignity of his enemies, observing "Yet such they are as worke my present woe, As vnacquainted with my better deedes, But my good workes are choaked vp with weedes, He ends with the following appeal to the "Lordings," to whom he is offering the excuse and explanation of his conduct: "Loe! Lordings, thus I leaue my last adue what ere of me become. For you to scan, You may belieue what I herein have done: My paine is past, though yet my glasse doth runne. This grieues me most, that many a poore man lackes The gelt that I have giuen the sea by sackes." I am not aware that it is necessary to add anything to the above, beyond the remark, that in the Bodleian Library the tract, from which I have quoted somewhat at large, is considered unique, no other copy of it being known. It would entitle each of these parties to a place in Ritson's "Bibliographia Poetica," where however they are not found, nor in any other work of the same kind that I have been able to consult. I have also searched in vain in Mr. Heber's, Mr. Bright's, and other salecatalogues. OXONIENSIS and a MEMBER. February 21, 1847. ART. III.-Heming's Players in the reign of Henry VIII. The intimate and deeply interesting connection that subsists between the name of Heminge and Shakespeare will, I conceive, render any record, however minute, in which that name occurs, if hitherto unpublished, acceptable to the Shakespeare Society. It appears from Mr. Collier's "Memoirs of the principal actors in the plays of Shakespeare," that nothing is ascertained as to the parentage of John Heminge, the first editor of Shakespeare; neither is any other person of the same name yet known in connection with our early drama, unless such may be the case with the John Hemings of London, Gent, mentioned in the pedigree referred to by Mr. Collier, and who had "of long time been servant to Queen Elizabeth." This supposition would seem to derive some degree of confirmation from a record I have discovered, in which the name of Heminge occurs at the head of a company of players half a century earlier than the editor of Shakespeare is known to have been connected with theatrical affairs, and which, if it do not actually prove that, like Burbage, Heminge was the son of an actor, renders it exceedingly probable. From the year 1532, for about the period of a century, the archives of the municipal corporation of Bristol include notices of the visits of different companies of players to that city. These visits, with a few exceptions, took place annually, and frequently included two or three companies, nearly always described as pertaining to the nobility. Up to the date of the exception which relates to Heminge, there are only two more in which they are otherwise designated, the first in 1353, when they are styled the players that came from London; and in 1536 there is an entry of certain boys that playd in the Yeld hall. The record relating to Heming is thus entered in the Cham |