force him to trial
in Scotland. The truth is that Jacobitism was so rife in high places
that they whose duty it would be to prosecute him feared what might
happen if he were brought to the bar.

Finally, in February 1700/01, Payne was released. He made his way to the
Stuart court at St. Germain, whose incorruptible secret agent he had
been for twelve years. It was fitting that the last information we have
of him during his life is derived from his "Brief memorial by way of
preface to some proposals for your Majesty's service," a detailed letter
of advice instructing the exiled king how he might yet recapture his
throne (printed in _Original Papers; containing the Secret History of
Great Britain_, 1775, I, 602-5). When last heard from, Payne had yet
another conspiracy planned and ripened, to submit to his sovereign's
approval.

Payne's _Fatal Jealousy_ has intrinsic merit. If he had written more
works for the theater, he might have been remembered with Southerne and
possibly with Otway. But for the scholar this tragedy will be chiefly
interesting for the Shakespearean influences to be found in it.
Evidently Payne held Shakespeare in great reverence, and the result is
that _The Fatal Jealousy_ is one of the earliest examples of the return
to the Shakespearean norm in tragedy after the interlude of the heroic
play. Payne ridicules the love and honor theme in _The Morning Ramble_
where he makes Rose say (p. 54):

Love and Honour are the two great Wheels, on which all business
moves. The Tradesman cheats you upon his Honour, and like a Lord
swears by that, but that he particularly loves you, you should
not have it so. No Tragedy, Comedy, Farse, Demi-Farse, or Song
nowadayes, but is full of Love and Honour: Your Coffee-drinking
Crop-ear'd Little Banded-Secretary, that pretends not to know more
of Honour than it's Name, will out of abundance of Love be still
sighing and groaning for the Honour of the Nation.

The speaker of the Epilogue to _The Fatal Jealousy_ pointedly reminds
the audience that they have listened to a genuine tragedy and not to an
heroic play. Its author has not relied on the "rules of art," but hopes
he may have succeeded by some "Trick of Nature."

Most obvious of the Shakespearean influences is the jealousy theme in
which Don Antonio is modelled on Othello, Caelia on Desdemona, and
Jasper on Iago. My colleague, Professor E.L. Hubler, who has a vast deal
of the Shakespearean text in