The prominent Puritan divines bred at Magdalen Hall include Philip Nye, the Independent; Henry Hurst, a sometime Magdalen chorister, ejected from St. Matthew's, Friday Street, under the Act of Uniformity; Nathaniel Hardy, who conformed and became Dean of Rochester; and Thomas Horne, the Presbyterian Head Master of Eton. One of the sons of the last named, William Horne-an under master at his old school and Fellow of King's-became the first Etonian and married Head Master of Harrow. Some years ago Mr. R. Townsend Papers a letter of July, 1682, referring to Harrow School under Horne, in which the writer stated that the number of boys generaly abought six score; but in ye town their are maney bording houses." A. R. BAYLEY.

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was of the same house; so were William as a moderate Parliamentarian, suffered Russell, fifth Earl and first Duke of Bedford; from the tender mercies of both parties. Sir Anthony Morgan, the soldier, who, migrating from the neighbouring Hall, was son of a Magdalen Fellow and Principal of Alban Hall; and Arthur Goodwin, friend and colleague of Hampden, with whom as an undergraduate he contributed Latin verses to the College collection on the death of Henry, Prince of Wales, entitled 'Luctus Posthumus.' Magdalen Hall had grown up under the shadow of the College through the gradual settlement of those who, while free to profit by the instruction of the Grammar Master, were not themselves members of the founder's Grammar Warner discovered among the Verney School. In process of time the Grammar Hall had largely usurped the premises of the School, and had become a recognized University institution. The cuckoo's nest -Wood calls it a "nest of Precisians had thriven marvellously under the protection of the lilies of Magdalen. Dr. John Wilkinson, who as Fellow of Magdalen had been tutor to Prince Henry, during his long tenure of the Principalship (which lasted until the beginning of the war) had made the Hall the chief seminary and stronghold of the Puritans in Oxford. He was afterwards President of the College, and was succeeded at the Hall by his nephew Henry Wilkinson, Dean Harry," who was also Whyte's Professor of Moral Philosophy. Another Henry Wilkinson, "Long Harry," also of the Hall and Canon of Christ Church, was, like his namesake, one of the Parliamentary Visitors to the University and Margaret Professor of Divinity.

Among other alumni of this Hall were Sir Harry Vane the younger (his father was of Brasenose), who, characteristically, discovered after a brief sojourn that he could not take the oaths required of him, and left without matriculation; Sir Matthew Hale, Chief Justice, and in 1659 M.P. for his University; Sir William Waller, the famous general, nicknamed by his admirers "William the Conqueror ; Robert Hammond, the soldier, who as Governor of the Isle of Wight became the unwilling gaoler of Charles I. at Carisbrooke Castle; John | Lisle, regicide, and one of Cromwell's House of Peers, who was assassinated at Lausanne after the Restoration, leaving his widow Alice to be the victim of a famous judicial murder by Lord Jeffreys; Edward Leigh, miscellaneous writer, lay theologian, soldier, and member of Parliament; and Sir Ralph Verney, Bt.-son of Sir Edmund Verney, the royal standard-bearer at Edgehill-who,

(To be continued.)

THOMAS LOVE PEACOCK'S PLAYS.
THE different editions of T. L. Peacock's
works which have appeared since his death
in 1866 contain no allusion to his three
unpublished plays, and a diligent search
for references to them has produced only
one mention of their existence.
This is
a cursory notice of a few lines contained in
Sir Henry Cole's
Sir Henry Cole's 'Biographical Notes of
T. L. Peacock,' of which ten copies were
printed about 1875, and privately circulated.
This neglect is very strange, since examina-
tion shows that they are most interesting
and highly characteristic of their author.
They are to be found in the Manuscript
Department of the British Museum, in
vol. 36.816-this being the second volume
of The Literary Remains of Thomas Love
Peacock,' which were purchased by the
Trustees of the Museum of Mrs. Edith
Clarke in 1903. In all three instances they
are holographic. The handwriting is easily
legible, presenting an agreeable contrast
in this respect to most documents from
Peacock's pen.

Included in 6 The Literary Remains are also a list of the dramatis personæ of a tragedy called Otho' and the opening scene of a play entitled Virginia. AL though these have, like the others, remained unnoticed and unmentioned, the idea O Peacock being a playwright in additio to a novelist and poet should not altogether as a surprise, for Mrs. Clark states in the 'Biographical Notice' of h

com

place to bring together his motley group of individuals bent on ventilating their weird opinions on nearly every conceivable subject, and gratifying their whims, crotchets, and fads in nearly every possible direction. The same shafts of ridicule, too, as in the tales, aimed at anything and everything, are to be found here, pointed with the same dry humour and caustic wit. In one particular there is a distinct improvement. The personages are sketched with skill, and are not portrayed merely for the object of giving utterance to certain views. We have more action and far less criticism. The incidents in this play, as in the others

grandfather that while he was on board the Venerable in 1808 plays were acted for which he wrote prologues. We know further that he wrote a prologue and epilogue for Tobin's comedy of The Guardians, which was performed eight years later. These were both included in Cole's 1875 edition. In later years, moreover, he wrote the critiques of the opera for The Globe, and subsequently for The Examiner during the time that Fonblanque a former friend of both Shelley and himself was editor and proprietor. Mrs. Clarke states, too, that he seldom failed to take his seat at the opera, and gives a list of the singers, actors, and dancers in whom he took the greatest delight.unlike those in the novels, where they are Finally, he shows a liking for the stage in his novels, and has given an able and clear description of Greek drama and comedy in the 'Hora Dramatica which he contributed to Fraser's Magazine in 1852 and 1857.

few and simple--are many and complicated,
so that no attempt will be made here to
narrate them in full. Mention can only be
made of the love episode running through it,.
including the elopement of the hero with
the wrong girl at the end of the first act,
and his marriage to the right one at the
conclusion of the second; and of the wild
Irishman O'Prompt, who contributes
much to the merriment by locking up some
of the guests in a closet, breaking the fiddler's
instrument to pieces, demolishing the painter's.
canvas, and bothering the Dilettante re-
hearsing Hamlet
till he is completely
out of his senses.

The first play-a prose farce consisting of two acts and ten scenes-is named 'The Dilettanti.' It occupies folios 46-101, these being written on one side only. The paper was made in 1803, but the play was probably put together considerably later. The style points to this conclusion, while certain references to contemporary events and personages support such a conjecture. Angelica Catalani, for instance, is mentioned in the same The second play-a poetical drama in breath with Raphael, Michael Angelo, &c., blank verse, of two acts and nine scenesand it was not until 1806 that she came is called 'The Circle of Loda.' It covers. to London to make a great reputation in this folios 102-27, these being written on both country, where she remained until 1814. sides. The paper used was made in 1801, The play has many points of similarity to but, although an examination of the play the first tale by its author, Headlong Hall,' has produced little evidence to show when which was originally published in 1816. it was written, the composition can be safely An example may be given. Both the play ascribed to any period from five to twenty and the novel have a violinist and a painter, years later. In 1801 Peacock was only who in each case quarrel as to the relative sixteen years of age, and the maturity of the merits and demerits of their accomplish-style precludes the possibility of the drama. ments. In particular, Chromatic with his dating from that early period. The subjectCremona in The Dilettanti' continually matter is either derived from some tradirecalls the character with the same name tional source, which the writer has been in the novel, whose one delight is also his unable to trace, or owes its inception to the fiddle. Indeed, the characteristics not only imagination of the author. It recalls to of the first, but of all the Peacockian novels some extent Peacock's legendary romances, are present in this farce. The dramatis 'Maid Marian' and 'The Misfortunes of personæ all have suggestive names-Tactic, Elphin,' and, on the whole, has little in Metaphor, Shadow, and the like in the common with his other work. Absence same manner as the sporting parsons in the of plot and deficiency in character-sketching tales are designated Drs. Gaster and Port- are not noticeable. Throughout Peacock pipe, a shaky stockjobbing firm Messrs. has infused interest into the development Catchflat & Co., or a churchwarden and of events. Of these the principal-around parish clerk Messrs. Bluenose and Apple- which everything revolves-is the struggle twig respectively. Further, the scene is of Hidalvar between two women-Mengala laid at a country house, which suggested and Rindane: he leaves the former, his itself so often to Peacock's mind as the best wedded wife, and seeks with the latter other

shores. Have we, possibly, in this drama These unpublished works are thus not only yet another veiled allusion to & theme noteworthy in themselves, but also interestdealt with more than once by Peacock--ing on account of showing us Peacock in & the desertion of Harriet Westbrook by Shelley, and the transference of his affections to Mary Godwin ?

new light. Whatever else may be said, the reproach so often brought against his novels -as well as against the early productions of his son-in-law, George Meredith, which show their influence cannot be levelled at these plays; for they are by no means devoid of plot, and the characters are clearly delineated. In one point especially, as has been shown, they recall the loosely connected dialogues which are known as the novels, in that they satirize the crazes and fads of the time. Replete with humour and clever sayings, written in a flexible style, and bearing everywhere the imprint of a scholarly discrimination and judgment, they clearly betray their authorship. In conclusion, it may be mentioned that the songs they contain have already appeared in N. & Q.' (10 S. x. 441; xi. 43). A. B. YOUNG, M.A. Ph.D.

6 DICTIONARY

OF NATIONAL

BIOGRAPHY: EPITOME,' 1903. (See 10 S. ix. 21, 47, 83, 152, 211, 294, 397, 431; x. 183, 282.)

APPENDED is a third list of corrections, omissions, and suggestions. Of the persons named, over twenty have passed away since 1903, and they are included here for convenient reference, as suggestions.

The third play-a musical farce in prose and verse, consisting of two acts and four scenes--is entitled The Three Doctors.' It fills folios 128-49, written on both sides, and is followed by a rough draft which has notes and comments interspersed on other subjects. Written on paper marked W. Turner & Son, it is attributed by Cole to a period not long before 1815. This statement is borne out, more or less, by the contents, which show in several instances great analogy with those of 'Headlong Hall and 'Melincourt.' The scene is laid in Merionethshire, that of Headlong Hall' being placed in the adjoining county of Carnarvon. We know that Peacock first visited North Wales-where he met his future wife-in 1810, so that it is most likely the play was written some time after this date. The following points of similarity between the play and the two novels also deserve notice. Shenkin's way of speaking English with a Welsh accent recalls the Sexton's efforts in 'Headlong Hall.' O'Fir is picked out of the water in the same manner as Mr. Cranium is in the tale. Although Sir Peter Paxarett bears a resemblance only in name to the Sir Telegraph Paxarett Add Addison (Lancelot), 1632-1703. Archof Melincourt,' Humphry Hippy of Venison deacon of Coventry 1683-4. Author of Genuine Hall is a faithful reproduction of Humphry Use of the Two Sacraments,' c. 1670; West Hippy of Hypocon House in the same tale, Barbary,' 1671. Father of Joseph Addison. or vice versa. Marmaduke Milestone, the Akerman (John Yonge), 1806-73. Add: landscape gardener, exactly coincides with Author of 'Descriptive Catalogue of Roman 'Remains of Pagan Saxondom,' the character of the same name and vocation Coins,' 1834; 1855; 'Tales of Humour from the Italian,' 1824 ; in Peacock's first novel. His plan for arrang-Tales of other Days,' 1830. ing Lord Littlebrain's park, which is torn to pieces in his portfolio, is similar to the two plans of the same gentleman's park which are shown by Mr. Milestone in 'Headlong Hall' to the Misses Chromatic, and which Peacock borrowed, although he has not admitted it, from Payne Knight's didactic poem 'The Landscape.' The main idea of the plot, however, has no counterpart elsewhere. It is skilfully worked out, while the rivalry between the three doctors shows Peacock's poignant satire at its best. His dislike to doctors is known to all acquainted with his works. He looked upon them as a means of accelerating death rather than prolonging life. A cha racter in Melincourt is called Killquick, who, needless to say, belongs to the medical profession.

Allen (Robert), author of the Odorifferous Garden of Charitie,' 1603.

Ames (Joseph), 1689-1759. Add: Founder o English bibliography.

Arden (Mary). See Shakespeare (Mary), post
Ascham (Antony), d. 1550. Add: Author a
Confusions and Revolutions of Governments,
1649.

Austin (Louis Frederic), b. Brooklyn, 9 Oct.
1852. Educated Liverpool. Settled in London
Journalist. Author of I
D. Sept., 1905.
Haste and at Leisure.'

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Bagford (John), 1650-1716. 'D.N.B.' says "Brought together a number of title-pages an engravings, to obtain which he mutilated man rare volumes." See Mr. Gordon Duff's Wes minster Printers,' 1906, p. 8, on the maligned John Bagford." It is there stated tha British Museum generally associated with Ba "the monstrous collection of title-pages in th ford's name was made by the venerated foundof English bibliography, Joseph Ames.'