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 Of the translators, Jasper Heywood (1535-98) became Fellow of All Souls, Oxford, in 1558. He was son of John Heywood the dramatist, and uncle of John Donne. In 1562 he became a Jesuit, and left England, to return as a missionary in 1581. He was imprisoned during 1583-5 and then expelled. John Studley (c. 1547-?) entered Trinity, Cambridge, in 1563 and became Fellow in 1567. Alexander Neville (1544-1614) took his B.A. in 1560 at Cambridge. He became secretary successively to Parker, Grindal, and Whitgift, archbishops of Canterbury, and produced other literary work, chiefly in Latin. Thomas Nuce (ob. 1617) was Fellow of Pembroke Hall, Cambridge, in 1562, and became Canon of Ely in 1585. Thomas Newton (c. 1542-1607) migrated in 1562 from Trinity, Oxford, to Queens', Cambridge, but apparently returned to his original college later. About 1583 he became Rector of Little Ilford, Essex. He produced much unimportant verse and prose, in Latin and English, and was a friend of William Hunnis (q.v.). For a fragment of another translation of Hercules Oetaeus, cf. s.v. Elizabeth. Archer's play-list of 1656 contains the curious entry 'Baggs Seneca', described as a tragedy. Of this Greg, Masques, li, can make nothing. WILLIAM SHAKESPEARE (1564-1616). No adequate treatment of Shakespeare's life and plays is possible within the limits of this chapter. I have therefore contented myself with giving the main bibliographical data, in illustration of the chapters on the companies (Strange's, Pembroke's, Chamberlain's, and King's) and the theatres (Rose, Newington Butts, Theatre, Curtain, Globe, Blackfriars) with which he was or may have been concerned. I follow the conjectural chronological order adopted in my article on Shakespeare in the 11th ed. of the Encyclopaedia Britannica. Collections

[1619]. It is probable that the 1619 editions of Merry Wives of Windsor (Q_{2}), Pericles (Q_{4}), and the apocryphal Yorkshire Tragedy were intended to form part of a collection of plays ascribed to Shakespeare, and that the '1600' editions of Midsummer Night's Dream (Q_{2}) and Merchant of Venice (Q_{2}) bearing the name of the printer Roberts, the '1600' edition of the apocryphal Sir John Oldcastle bearing the initials T. P., the '1608' edition of Henry V (Q_{3}), the '1608' edition of King Lear (Q_{2}) lacking the name of the 'Pide Bull' shop, and the undated edition of The Whole Contention of York and Lancaster were all also printed in 1619 for the same purpose. The printer seems to have been William Jaggard, with whom was associated Thomas Pavier, who held the copyright of several of the plays. Presumably an intention to prefix a general title-page is the explanation of the shortened imprints characteristic of these editions. The sheets of ''The Whole Contention and Pericles'' have in fact continuous signatures; but the plan seems to have been modified, and the other plays issued separately. The bibliographical evidence bearing on this theory is discussed by