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See also:HEYWOOD, See also:JOHN (b. 1497) , See also:English dramatist and epigrammatist, is generally said to have been a native of See also:North Mimms,, ' near St Albans, See also:Hertfordshire, though See also:Bale says he was See also:born in See also:London. A See also:letter from a John Heywood, who may fairly be identified with him, is dated from See also:Malines in 1575, when he called himself an old See also:man of seventy-eight, which would fin his See also:birth in 1497. He was a chorister of the See also:Chapel Royal, and is said to have been educated at Broadgates See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
Hall (See also:Pembroke See also:College), See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford. From 1521 onwards his name appears in the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king's accounts as the recipient of an See also:annuity of ten marks as player of the virginals, and in 1538 he received See also:forty shillings for-
" playing an interlude with his See also:children " before the Princess See also:Mary. He is said to have owed his introduction to her. to See also:Sir See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas More, at whose seat at Gobions near St Albans he wrote his Epigrams, according to See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry See also:Peacham. More took a keen See also:interest in the See also:drama, and is represented by tradition as stepping on to the See also:stage and taking, an See also:impromptu See also:part in the See also:dialogue. See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William See also:Rastell, the printer of four of Heywood's plays, was the son of More's See also:brother-in-See also:law, John Rastell, who organized dramatic representations, and possibly wrote plays himself. Mr A. W. See also:Pollard See also:sees in Heywood's See also:firm adherence to Catholicism and his See also:free See also:satire of legal and social abuses a reflection of the ideas of More and his See also:friends, which See also:counts for much in his dramatic development. His skill in See also:music and his inexhaustible wit made him a favourite both with Henry VIII. and Mary. Under See also:Edward VI. he was accused of denying the king's supremacy over the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church, and had to make a public recantation in 554; but with the See also:accession of Mary his prospects brightened. He made a Latin speech to her in St See also:Paul's See also:Churchyard at her See also:coronation, and wrote a poem to celebrate her See also:marriage. Shortly before her See also:death she granted him the See also:lease of a See also:manor and lands in See also:Yorkshire. When See also:Elizabeth succeeded to the See also:throne he fled to Malines, and is said to have returned in 1577. In .1587 he is spoken of as " dead and gone" in Thomas See also:Newton's See also:epilogue to his See also:works.
John Heywood is important in the See also:history of English drama as the first writer to turn the abstract characters of the morality plays into real persons. His interludes See also:link the morality plays to the See also:modern drama, and were very popular in their See also:day. They represent ludicrous incidents of a homely See also:kind in a See also:style of the broadest See also:farce, and approximate to the See also:French dramatic renderings of the subjects of the fabliaux. The fun in them still, survives in spite of the See also:long arguments between the characters and what one of their editors calls his "See also:humour of filth." Hey-See also:wood's name was actually attached to four interludes. The Playe called the foure PP; a newe and a very may interlude of a See also:palmer, a pardoner, a potycary, a pedler (not dated) is a contest in lying, easily won by Palmer, who said he had never known a woman out of See also:patience. The See also:Play of the Wether, a new and a very mery interlude of all maner of Wethers (printed 1533) describes the chaotic results of See also:Jupiter's attempts to suit the See also:weather to the desires of a number of different See also:people. The Play of Love (printed 1J33) is an extreme instance of the author's love of See also:wire-See also:drawn See also:argument. It is a See also:double dispute between " Loving not Loved " and " Loved not Loving " as to which is the more wretched, and between " Both Loved and Loving " and " Neither Loving nor Loved " to decide which is the happier. The only See also:action in this piece is indicated by the stage direction marking the entrance of " Neither loved nor loving," who is to run about the See also:audience with a huge See also:copper tank on his See also:head full of lighted squibs, and is to cry " See also:Water, water! See also:Fire, fire! " The Dialogue of Wit and Folly is more of an See also:academic dispute than a play. But two pieces universally assigned to Heywood, although they were printed by Rastell without any author's name, combine action with dialogue, and are much more dramatic. In The Mery Play between the Pardoner and the See also:Frere, the See also:Curate and Neybour Pratte (printed 1533, but probably written much earlier) the Pardoner and the See also:Friar both try to preach at the same See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time, and, coming at last to blows, are separated by the other two personages of the piece. The Mery Play betwene Johan Johan the Husbande, Tyb the Wyfe, and Syr Jkan the Freest (printed 1J33) is the best constructed of all his pieces. Tyb and Syr Jhan eat the " See also:Pye " which is the central " See also:property " of the piece, while Johan Johan is made to chafe See also:wax at the fire to stop a hole in a See also:pail. This incident occurs in a French Farce nouvelle See also:tees bonne et fort joyeuse de Pernet qui See also:ea au Din. Hey-wood has sometimes been credited with the authorship of the dialogue of Gentylnes and Nobylyte printed by Rastell without date, and Mr Pollard adduces some ground for attributing to him the See also:anonymous New Enterlude called Thersyles (played 1538). Heywood's other works are a collection of See also:proverbs and epigrams, the earliest extant edition of which is dated 1562; some See also:ballads, one of them being the " See also:Willow See also:Garland," known to Desdemona;and a long See also:verse See also:allegory of over 7000 lines entitled The Spider and the Flie (1556). A contemporary writer in See also:Holinshed?s See also:Chronicle said that neither its author nor any one else could " reach unto the meaning thereof." But the flies are generally taken to represent the See also:Roman Catholics and the See also:spiders the Protestants, while See also:Queen Mary is represented by the housemaid who with her See also:broom (the See also:sword) executes the commands of her See also:master (See also:Christ) and her See also:mistress (the. church).
Dr A. W. See also:- WARD
- WARD, ADOLPHUS WILLIAM (1837- )
- WARD, ARTEMUS
- WARD, EDWARD MATTHEW (1816-1879)
- WARD, ELIZABETH STUART PHELPS (1844-1911)
- WARD, JAMES (1769--1859)
- WARD, JAMES (1843– )
- WARD, JOHN QUINCY ADAMS (1830-1910)
- WARD, LESTER FRANK (1841– )
- WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
- WARD, WILLIAM (1766-1826)
- WARD, WILLIAM GEORGE (1812-1882)
Ward speaks of its " See also:general lucidity and relative variety of treatment." Heywood says that he laid it aside for twenty years before he finished it, and, whatever may be the final See also:- INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)
interpretation put upon it, it contains a very energetic statement of the social evils of the time, and especially of the deficiencies of English law.
The proverbs and epigrams were reprinted by the See also:Spenser Society in 1867, the Dialogue on Wit and Folly by the See also:Percy Society from an MS. in the See also:British Museum in 1846, with an See also:account of Heywood by F. W. See also:Fairholt, and there are modern reprints of Johan Johan (See also:Chiswick See also:Press, 1819), The Foure PP. (See also:Dodsley's Old Plays, 1825, 1874), and The Pardoner and the Frere (Dodsley's Old Plays, 1874). The Snider and the Flie was edited by A. W. Ward for the Spenser Society in 1894. For notes and strictures on that edition see J. Haber in Litterarhistorische Forschungen, vol, xv. (19oo). See also A. W. Pollard's introduction to the reprint of the Play of the Wether and Johan Johan in Representative English Comedies (1903), and The Dramatic Writings of John Heywood, edited by John S. See also:Farmer for the See also:Early English Drama Society (1905).
His' son, See also:JASPER HEYwoon (1535-1598) who translated into English three plays of See also:Seneca, the Trees (1559), the Thyestes (i56o) and HerculesFurens (1561), was a See also:fellow of Merton College, Oxford, but was compelled to resign from that society in 1558. In the same See also:year he was elected a. fellow of All Souls College, but, refusing to conform to the changes in See also:religion at the beginning of the reign of Elizabeth, he gave up his fellowship and went to See also:Rome, where be was received into the Society of Jesus. For seventeen years he was See also:professor of moral See also:theology and controversy in the Jesuit College at See also:Dillingen, See also:Bavaria. In 1581 he was sent to 'See also:England as See also:superior of the Jesuit See also:mission, but his leniency in that position led to his recall. He was on his way back' to the See also:Continent when a violent See also:storm drove him back to the English See also:coast. He was arrested on the See also:charge of being a See also:priest, but, although extraordinary efforts were made to induce him to abjure his opinions, he remained firm. He was condemned to perpetual See also:- EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)
exile on See also:pain of death, and died at See also:Naples on the 9th of See also:January 1598. His See also:translations 'of Seneca were supplemented by other plays contributed by See also:Alexander See also:Neville, Thomas Nuce, John Studley ' and Thomas Newton. Newton collected these translations' in one See also:volume, Seneca, his tenne tragedies translated into Englysh (1581). The importance of this See also:work in the development of English drama
can hardly be over-estimated.
See Dr J. W. Cunliffe, On the See also:Influence of Seneca upon Elizabethan Tragedy (1893).
End of Article: HEYWOOD, JOHN (b. 1497)
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