ars over Jerusalem," 1593, a long pious discourse. V. "The
unfortunate traveller," 1594; "Lenten Stuffe," 1599. VI. "The tragedie
of Dido," 1594 (in collaboration with Marlowe); "Summers last will and
testament," a play by Nash alone.

His "Isle of dogs" is lost, having been suppressed as soon as performed.
The troubles Nash got into on account of this unlucky play are thus
commemorated by him: "The straunge turning of the Ile of Dogs from a
commedie to a tragedie two summers past, with the troublesome stir which
hapned about it is a generall rumour that hath filled all England, and
such a heavie crosse laide upon me as had well neere confounded mee."
("Lenten Stuffe," vol. v. p. 199).

[262] "The unfortunate Traveller," vol. v. p. 93; "Lenten Stuffe," vol.
v. p. 262.

[263] "Pierce Penilesse," "Works," vol. ii. pp. 60, 61.

[264] "The unfortunate Traveller, or the Life of Jack Wilton," "Works,"
vol. v. p. 60, and Prefatory letter to Greene's "Menaphon."

[265] Greene's "Groats-worth," "Works," vol. i. p. 143; Mere's "Paladis
Tamia"; "Merchant of Venice," act v. sc. 1.

[266] "Pierce Penilesse," "Works," vol. ii. p. 92.

[267] "Histrio-mastix," 1633, 4to, p. 215. Coryat reports on hearsay
(1608) that women had already appeared at that date on the English
stage; but he is careful to note that he had never personally witnessed
this extraordinary phenomenon; and he adds that he was greatly
astonished to see in Italy women perform their parts in a play "with as
good a grace, action and gesture and whatsoever convenient for a player
as ever I saw any masculine actor" ("Crudities," London, 1776, vol. ii.
p. 16).

[268] "Strange newes of the intercepting certaine letters," 1592,
"Works," vol ii. p. 267.

[269] "Lenten Stuffe," vol. v. pp. 226, 244, 216.

[270] "Works," vol. v. p. 231.

[271] Preface to "Christ's teares," edition of 1594, "Works," vol. iv.
p. 6.

[272] Prefatory letter to Greene's "Menaphon."

[273] "Anatomie of Absurditie," 1589, "Works," vol. i. p. 37.

[274] "The unfortunate Traveller, or the Life of Jack Wilton," 1594,
"Works," vol. v.

[275] In these cases, Nash, or rather his hero (for Nash does not
himself make use of this language which he in no way admired, but only
puts it into the mouth of his self-confident good-for-nothing as the
finishing touch to his portrait), adopts Lyly's style entirely,
alliteration and all: "The sparrow for his lecherie liveth but a yeere,
he for his trec