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86 plays. The Jonson and Shakespeare entries together, therefore, account for thirty-five in the list, leaving seventy-three. Of these seventy-three, thirty-eight appear in the 1641 document mentioned above. The “Beaumont and Fletcher” dramas are represented by The Beggar’s Bush, Bonduca, The Custom of the Country, The Captain, The Chances, The Coxcomb, The Double Marriage, The Little French Lawyer, The Humorous Lieutenant, The Island Princess, The Knight of Malta, The Loyal Subject, The Lover’s Progress, Love’s Pilgrimage, The Noble Gentleman, The Prophetess, The Martial Maid, The Pilgrim, The Queen of Corinth, The Spanish Curate, Valentinian, The Woman’s Prize, A Wife for a Month, and The Wild Goose Chase—twenty-four pieces, as against the twenty-seven of the earlier list, the omissions being The Mad Lover, The Maid of the Mill, and The Honest Man’s Fortune. In the first two of these D’Avenant had been given a two months’ right in December, 1660, the plays thereafter evidently becoming common to both the companies, and in August, 1668, he was allowed full right in the third. Fourteen plays duplicated in the pre-Restoration and in the Restoration lists, as will be seen, remain to be accounted for. Of these, the three plays of Shirley, The Doubtful Heir, The Imposture, and The Brothers, appear in both unchanged. The Duke of Lerma of 1669 is no doubt, “The Duke of Lerma or ye spanish Duke” of 1641, a non-extant play of Henry Shirley’s. Alphonsus is the only “Chapman” work in both, but only two of the three Massinger plays, The Guardian and The Bashful Lover, are given in the later list, The City Madam being omitted. Suckling’s Brennoralt and The Goblins, Newcastle’s The Country Captain, Brome’s The Novella and Middleton’s More Dissemblers besides Women, The Mayor of Quinborough, and The Widow, all remain.

The omissions in the 1669 list can be easily classed under two headings. There are, in the first place, plays which must have disappeared in the intervening twenty-eight years. Arthur Wilson’s The Swisser, The Inconstant Lady, and The Corporal may be included here, as well as Brome’s The Love-Sick Maid, Ford’s Beauty in a Trance, Tourneur’s The Nobleman, and Massinger’s Alexius, The Forc’d Lady, The Judge, and Minerva’s Sacrifice. It is noticeable that, with one exception, all the plays noted by Mr. E. K. Chambers as being non-extant or else preserved in some MS. form are absent in the document of 1669; the Commonwealth era had evidently told heavily on the fortunes of the dramatic works of the