of knowledge, and yield so much application to study, entitles him to hold some rank in literature.  In poetry he has no name, perhaps because he did not apply himself to it; so true is the observation that a great poet is seldom any thing else.  Poetry engages all the powers of the mind, and when we consider how difficult it is to acquire a name in a profession which demands so many requisites, it will not appear strange that the sons of Apollo should seldom be found to yield sufficient attention to any other excellence, so as to possess it in an equal degree.

[Footnote 1:  Langbaine’s Lives, p. 340.]

* * * * *

THOMAS HEYWOOD

Lived in the reign of Queen Elizabeth and King James I. He was an actor, as appears from the evidence of Mr. Kirkman, and likewise from a piece written by him called, The Actor’s Vindication.  Langbaine calls his plays second rate performances, but the wits of his time would not permit them to rank so high.  He was according to his own confession, one of the most voluminous writers, that ever attempted dramatic poetry in any language, and none but the celebrated Spaniard Lopez de Vega can vie with him.  In his preface to one of his plays he observes, that this Tragi-comedy is one preserved amongst two hundred and twenty, “in which I have had either an entire hand, or at least a main finger.”  Of this prodigious number, Winstanley, Langbaine, and Jacob agree, that twenty-four only remain; the reason Heywood himself gives is this; “That many of them by shifting and change of companies have been negligently lost; others of them are still retained in the hands of some actors, who think it against their profit to have them come in print, and a third, that it was never any great ambition in me to be voluminously read.”  These seem to be more plausible reasons than Winstanley gives for their miscarriage; “It is said that he not only acted himself every day, but also wrote each day a sheet; and that he might lose no time, many of his plays were composed in the tavern, on the backside of tavern bills, which may be the occasion that so many of them are lost.”  That many of our author’s plays might be plann’d, and perhaps partly composed in a tavern is very probable, but that any part of them was wrote on a tavern bill, seems incredible, the tavern bill being seldom brought upon the table till the guests are going to depart; besides as there is no account of Heywood’s being poor, and when his employment is considered, it is almost impossible he could have been so; there is no necessity to suppose this very strange account to be true.  A poet not long dead was often obliged to study in the fields, and write upon scraps of paper, which he occasionally borrowed; but his case was poverty, and absolute want.[1] Langbaine observes of our author, that he was a general scholar, and a tolerable linguist, as his several translations from Lucian, Erasmus, Texert,