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Rh case, embarrass Elizabeth's diplomacy in so doing. Winwood to Cecil from Paris on 7 July 1602 (Winwood, i. 425), 'Upon Thursday last, certain Italian comedians did set up upon the corners of the passages in this towne that that afternoone they would play l'Histoire Angloise contre la Roine d'Angleterre'. Winwood protested and secured an inhibition, but 'It was objected to me before the Counsaile by some Standers by, that the Death of the Duke of Guise hath ben plaied at London; which I answered was never done in the life of the last King; and sence, by some others, that the Massacre of St. Bartholomews hath ben publickly acted, and this King represented upon the stage'. The play introducing Henri IV was probably a revival by the Admiral's men of Marlowe's Massacre at Paris, for which Henslowe was making advances in Nov. 1601 and Jan. 1602; cf. Bk. III. Evidently Elizabeth got as good as she gave on the stage. On 2 June 1598 Dr. Fletcher describes to Sir R. Cecil (Hatfield MSS. viii. 190) a recent dumb show at Brussels in which she was mocked at. On 7 June 1598 one Mr. Hungerford describes to Essex (Hatfield MSS. viii. 197) another, or perhaps the same, show at Antwerp, in which also she appeared. In Oct. 1607 Walter Yonge records in his Diary (Camden Soc.), 15, a play at the Jesuit College of Lyons. It lasted two days, and employed 100 actors. An abbess played the Virgin. Calvin, Luther, and others 'with our late good Queen Elizabeth, condemned', were represented. The episodes included 'the meritorious deed intended of gunpowder; the conspiracy of Babington, and others, against Queen Elizabeth; all which were rewarded with the joys of Paradise'. Yonge adds that a storm broke, and 'the three resembling the Trinity, and the abbess were stricken with the hand of the Lord, and it was never known what became of them'. He says that books were printed about the incident; there are in fact no less than five recorded in Arber, iii. 361-4 (cf. App. M). It has already been made clear that at the beginning of the reign Cecil made use of interludes, after the manner of his master Cromwell, as a political weapon against Philip of Spain and the Catholics; and many years after both Philip and James of Scotland had their grievances against the freedom with which their names were bandied by the London comedians. Similarly, when it was desired that Puritanism should be unpopular, the players were not debarred from satirizing Puritans. But if the public discussion of religious contro-