N.D. The Massacre at Paris: With the Death of the Duke of Guise. As it was plaide by the right honourable the Lord high Admirall his Seruants. Written by Christopher Marlow. E. A. for Edward White.
Strange's men produced 'the tragedey of the gvyes' as 'n.e.' on 26 Jan. 1593. The Admiral's men also played it for Henslowe as 'the Gwies' or 'the masacer' ten times from 21 June to 27 Sept. 1594. Possibly in Nov. 1598 and certainly in Nov. 1601 Henslowe advanced sums for costumes for a revival of the play by the Admiral's. The insertion by Collier of Webster's name in one of these entries is a
forgery and whether the lost Guise of this writer (q.v.) bore any relation to Marlowe's play is wholly unknown. On 18 Jan. 1602 Henslowe paid Alleyn £2 for the 'boocke' of 'the massaker of france' on behalf of the company (Henslowe, i. xlii; ii. 157). For the offence given in France by this play, cf. ch. x.
Dido Queen of Carthage > 1593
With Thomas Nashe. 1594. The Tragedie of Dido Queene of Carthage: Played by the Children of her Maiesties Chappell. Written by Christopher Marlowe, and Thomas Nash. Gent. Widow Orwin for Thomas Woodcock.
S. R. 1600, June 26. Transfer from Paul Lynley to John Flasket, 'Cupydes Journey to hell with the tragedie of Dido' (Arber, iii. 165). [Perhaps another book.]
Editions in Old English Drama (1825, ii), by J. S. Farmer (1914, S. F. T.), and with Works of Nashe.—Dissertations: J. Friedrich, Didodramen des Dolce, Jodelle, und M. (1888); B. Knutowski, Das Dido-Drama von M. und Nash (1905, Breslau diss.).
Tanner, Bibl. Britanniae (1748), says, 'Petowius in praefatione ad secundam partem Herois et Leandri multa in Marlovii commendationem adfert; hoc etiam facit Tho. Nash in Carmine Elegiaco tragediae Didonis praefixo in obitum Christoph. Marlovii, ubi quatuor eius tragediarum mentionem facit, necnon et alterius de duce Guisio'. The existence of this elegy is confirmed by Warton, who saw it either in 1734 or 1754 (Hist. Eng. Poet. iv. 311; cf. McKerrow, ii. 335). It was 'inserted immediately after the title page', presumably not of all copies, as it is not in the three now known. Whether Nashe's own share in the work was as collaborator, continuator, or merely editor, remains uncertain. Fleay, ii. 147, gives him only I. i. 122 to end, III. i, ii, iv; IV. i, ii, v; Knutowski regards him as responsible for only a few trifling passages. As, moreover, the play has affinities both to early and to late work by Marlowe, it cannot be dated. Beyond its title-page and that of the anonymous Wars of Cyrus there is nothing to point to any performances by the Chapel between 1584 and 1600. It is true that Tucker Brooke, 389, says, 'The one ascertained fact concerning the history of this company during the ten years previous to 1594 seems to be that they acted before the Queen at Croydon in 1591, under the direction of N. Giles, and Mr. Fleay assumes, apparently with no further evidence, that Dido was presented on this
