(Englische Studien,' xv. (1891), pp. 348-9) accepts Beaumont's authorship of The Triumph of Love,' but gives the Induction and The Triumph of Honour to Field. Prof. Gayley ('Francis Beaumont,' p. 303) further assigns to Field three scenes (i., ii. and vi.) of The Triumph of Love.' I go further still, claiming for Field the whole of both "Triumphs," as well as the Induction. If the two authors collaborated in the same piece, I should have little faith in the ability of any critic to distinguish them by the characteristics of their verse, and as I find in every scene of The Triumph of Love suggestions of Field's vocabulary and imagery, I see no reason for assuming that Beaumont had any share at all in the Four Plays in One. Moreover there is, as will be seen, strong presumptive evidence that they belong to a considerably later date than is usually assigned to them, and it is more than probable that they were not written until after Beaumont's death.

66

If a critic with a knowledge of Beaumont's characteristics as intimate as Prof. Gayley's cannot find Beaumont's hand in the Induc

tion or The Triumph of Honour,' one may rest satisfied that there are substantial grounds for rejecting his authorship. But the reason given by Prof. Gayley (Op. cit., | p. 302) for attributing them to Field can hardly be called satisfactory. After remarking that they are full of polysyllabic Latinisms such as Field uses, he adds:

"Beaumont

never uses: 'to participate affairs,' torturous engine,' &c., and they are marked by simpler Fieldian expressions, wale,' gyv'd,' blown man,'' miskill,' vane,'' lubbers,' 'urned,' and a score of others not found in Beaumont'sjundoubted writings."

It is true that not one of these words or expressions is used by Beaumont. But the first two, though they occur in Field's 'A Woman is a Weathercock,' do not occur in either of the two "Triumphs," while the ether words (with the sole exception of “vane," which is significant) occur in the "Triumphs but not in any of Field's undoubted writings, and to call them "Fieldian expressions is merely to beg the question. On the other hand basilisk," noted by Prof. Gayley as one of the few words slightly suggestive of Beaumont, is equally characteristic of Field, who has it twice in A Woman is a Weathercock' and once in Amends for Ladies.'

66

What led me to the conclusion that 'The Triumph of Honour' and 'The Triumph of Love had been wrongly attributed to

written by the author of Acts III. and IV. of 'The Queen of Corinth,' in which Beaumont's collaboration has never been alleged and is, indeed, all but impossible, since Act III. contains an allusion to Coryat'sGreeting,' not published until 1616, the year of Beaumont's death. The two Triumphs are so closely related to these two acts of 'The Queen of Corinth that. I propose first to show that they are by the same hand, and afterwards to identify that hand as Field's.

66

66

In sc. ii. of The Triumph of Honour," Martius, the Roman general, makes advances to Dorigen, the chaste wife of the Duke of Athens, and she reproaches him for his violation of friendship, hospitality, and all the bonds of sacred piety eloquent speech that contains these lines :— When men shall read the records of thy valour, Thy hitherto-brave virtue, and approach (Highly content yet) to this foul assault Included in this leaf, this ominous leaf,

in an

They shall throw down the book, and read noThough the best deeds ensue.

more

In Act IV. sc. ii. of The Queen of Corinth, Euphanes, the Queen's favourite, says to the Corinthian general Leonides :

:

.when posterity Shall read your volumes fill'd with virtuous acts, And shall arrive at this black bloody leaf, what follows this Shall be quite lost, for men will read no more. Deciphering any noble deed of yours

There are only two possible explanations of the resemblance between these passages; either both were written by the same man or one is a deliberate imitation of the other. Any doubt as to the correct inference to be drawn will soon be dispelled if the two "Triumphs" and the acts of 'The Queen of Corinth referred to are compared more closely.

To begin with the Induction, the Queen of Portugal in her first speech thus addressesthe king:

Majestic ocean, that with plenty feeds
Me, thy poor tributary rivulet;

Curs'd be my birth-hour, and my ending day,
When back your love-floods I forget to pay.
In Act III. sc. ii. of 'The Queen of Corinth'
Euphanes says to his mistress :-

Five fair descents I can decline myself
From fathers worthy both in arts and arms.
and with the couplet that concludes one of
Cornelius's speeches in the latter half of the

Scene:

. Yet when dogs bark, or when the asses bray, The lion laughs; not roars, but goes his way. compare the observation of Crates in The Queen of Corinth,' III. i. ::-

.the lion should not Tremble to hear the bellowing of the bull. In sc. ii. there is the speech of Dorigen containing the striking parallel with that of Euphanes in IV. ii. of 'The Queen of Corinth' already noted.

:

In se. iii. Dorigen uses the word "ante.date" in the sense of "anticipate Yet why kneel I For pardon, having been but over-diligent Like an obedient servant, antedating My lords command?

So also Euphanes in 'The Queen of Corinth,
III. i. :—

You need not thank me, Conon, in your love
You antedated what I can do for you.
The word is not used by Beaumont.

In The Triumph of Love,' just before Gerrard's entry in sc. ii., Benvoglio says to

Ferdinand :

Apart from the parallels I have noted, they are so exactly alike in style and metre, and so much more intimately connected with one another than with any play to which Field's name is attached, that it is impossible to arrive at any other conclusion than that they were written practically contemporaneously. If 'The Queen of Corinth' cannot be dated before 1617, it is to that year, or one very close to it, that the Four Plays in One" belong.

The direct clues to Field in 'The Triumph of Honour' and 'The Triumph of Love,' if not quite so plain as those connecting these plays with The Queen of Corinth, are yet clear enough.

66

To take first the vocabulary-test, of the words noted as characteristic of Field, we find the exclamations "pish and "hum" and the word 'transgress in the Induction; "pish occurs again in the second 'Triumph " and "hum" thrice in the first and twice in the second. Either "continent " or "continence "appears in all three cf Field's acknowledged plays. The latter is to be met with in sc. ii. of The Triumph of Love' :you have over-charged my breast With grace beyond my continence; I shall burst. in a context which suggests a passage in 'A Woman is a Weathercock,' I. i. :...to conceal it [a secret] Will burst your breast; 'tis so delicious, And so much greater than the continent.

"Innocency (Field shows a marked preference for the quadrisyllabic form of the word) appears twice in 'The Triumph of Love' (sc. iv. and v.), "integrity" once in each play, and transgress twice in Triumph of Honour,' and once in 'The Triumph of Love.'

The

In sc. ii. of The Triumph of Honour 'ap66 the pears vane" metaphor. See the second speech of Martius :—

....the wild rage of my blood Doth ocean-uke o'erflow the shallow shore That the least breath from her turns every way. Of my weak virtue; my desire's a vane

It is not used by Beaumont, Fletcher or Massinger. One would expect it from the author of A Woman is a Weathercock,' who has it in 'The Fatal Dowry,' II. ii. :Virtue strengthen me! Thy presence blows round my affection's vane: You will undo me if you speak again.

:

In the same scene of The Triumph of
Honour' Martius says to Dorigen :—
thy words

Such silken lines, and silver hooks, that I
Do fall like rods upon me; but they have
Am faster snar'd.

Compare these lines from the song (A Dialogue between a Man and a Woman') in 'The Fatal Dowry,' II. ii. :—

Set "Phoebus" set; a fairer sun doth rise
From the bright radiance of my mistress' eyes
Than ever thou begatt'st: I dare not look;
Each hair a golden line, each word a hook,
The more I strive, the more still I am took.

In his last speech in sc. iii. of 'The Triumph of Honour' Sophocles thus apostrophizes the deity

:

Thou that did'st order this congested heap
When it was chaos, 'twixt thy spacious palms
Forming it to this vast rotundity,
Dissolve it now, shuffle the elements
That no one proper by itself may stand.

In III. i. of 'The Fatal Dowry' Charalois says to Romont :

Had I just cause, Thou know'st I durst pursue such injury Through fire, air, water, earth, nay were they all Shuffled again to chaos.

In sc. v. of The Triumph of Love' for the curious application of the adjective "female" in the expression "female tears (Benvoglio's last speech):

,,

Come, turn thy female tears into revenge. compare "female hate in Amends for Ladies,' III. ii., where Lord Proudly, who suspects that his sister is in Ingen's custody, exclaims:

.be she lost, The female hate shall spring betwixt our names Shall never die.

Finally, in the last scene of 'The Triumph of Love,' Gerrard observes that ....the law

Is but the great man's mule, he rides on it And tramples poorer men under his feet Which is much the same as what Strange says of the law in 'A Woman is a Weathercock,' II. i, except that he compares it, not to a mule, but to an ass :—

.....some say some men on the back of law May ride and rule it like a patient ass. H. DUGDALE SYKES.

Enfield.

(To be continued.)

HARBORNE OR HARBRON FAMILY. (See 3 S. iv. 471; 9 S. iii. 308, 372; iv. 89, 275.) -The following references to printed books, containing references to members of this family, may prove useful to some reader or future reader. The name in its many variants appears to be derived from the place-name Harborne in the Midlands, and from Hartburn on the Tees, for the northern

p.

British Record Society, Index Library vol. iv. pp. 3, 20, 24, 97; vol. v., bundle H. 5 No. 38; H. 14, No. 16; H. 21, No. 62; H. 23, No. 34; H. 37, No. 22; H. 38, No. 18; H. 48, No. 67a; H. 57, No. 57; H. 62, No. 30; H. 72, No. 57; H. 73, No. 13; H. 77, No. 53; H. 80, No. 35; H. 88, No. 49; H. 116, No. 180; H. 117, No. 14; H. 118, No. 141; H. 119, No. 149; H. 120, Nos. 1, 68, 149; vol. vii. pp. 54, 533; vol. x. p. 252 (2), vol. xviii. p. 143; vol. xxxiii. p. 57. Pap, worth, pp. 304, 835. Burke's 'Gen. Armoury,' 454. 377. 'Genealogists' Guide,' p. Fairbairn's 'Crests, Biog. Dict. English Catholics,' p. 121. Yorks Arch. Soc. Re; cords Papers Index Marriage Lic. x. 194xiv. 491, 492. Northumberland and Durham Parish Reg. Soc. Middleton St. George, Bishop Middleham. 'Cal. State Papers Compounding,' vol. i. pp. 89, 2080; vol. iv. pp. 92, 672, 2797, 2798. Directory N. and E. Yorks, 1823. Yorks Par. Reg. Soc. Marks by the Sea, Kirkleatham, Terrington. Grant-James, The History of the Church of St. Germain Marske by the Sea. Harl. Soc. Pub., vols. i. 5, 12, 15, 46, and Grantees of Arms. 'Cal. State Papers, Venice,' 1581-91, many references. 'Domestic," 1825-26, p. 345; 1547-80, p. 697; 1063-10, p. 479; 1640-1, p. 326. Gent.'s Mag., lxxx. ii. 198; xxxvx. 609; lvi. 996; xlii. 542; 44th and 45th Annual Report Dep. Keeper Pub. Rec., 'State Papers, Letters and Papers Henry 8th,' p. 867. Surtees Soc Pub., vol. ii. p. 77; vol. ii. p. 186; vol. xv. p. 77; vol. xxxviii. ii. p. 49; vol. xxi. pp. 184, 185, 186, 187, 188, 193, 194, 195, 196; vol. xxii. pp. 56, 124, 130; lx., xxx., lxix., vol. cxxv. (Bolden Boke); vol. xcvii. pp. 47, 77, 120, 137, 239, 243; vol. iii. pp. 13, 15, 22, 25, 57, 66, 234–235. Surtees, History of Durham.' Victoria County History of Durham. Cal. Com. Adv. Pub. Money, Domestic, part 1, 1642–56, p. 167. Cotman, vol. ii. p. 46. Nat. Dict. Biog., vol. xxiv. Marquis of Salisbury's Coll. Hist. MSS., part 4, pp. 104, 61, 258; part 8, p. 185; part 9, p. 57; part 10, p. 214. Parish Reg. Soc. Pubs. Stratford-on-Avon, Monk Fryston, Yorks, Rowington (Warwick) Solihull. The Reg. of Richard de Kellawe; Cath Rec Soc., vol. xii. p. 78; vol. xviii. pp. 79, 76. Washington Irving, Life of George Washington. Lansdowne MSS. Index. Index Charters and Rolls British Museum.

There are also many records in Readmarshall, co. Durham, Parish Reg., but