Susan Keating Glaspell was born on July 1st, 1876 in Davenport.Glaspell, a precocious child was an active student at Davenport High School where she took an advanced course of study. By age eighteen she was earning a regular salary at the local newspaper as a journalist, and by twenty she was the author of a weekly 'Society' column.At twenty-one Glaspell enrolled at Drake University. A philosophy major, she also excelled in debate competitions, and represented Drake at the state tournament in her senior year.The day after her graduation, Glaspell again worked as a reporter, still a rare position for a woman. She was assigned to cover the state legislature and murder cases.At twenty-four, after covering the conviction of a woman accused of murdering her abusive husband, Glaspell abruptly resigned and moved back to Davenport, and with it, a hoped for career writing fiction.Her stories were published by many periodicals, including Harper's and Munsey's.Moving to Chicago she wrote her first novel, The Glory of the Conquered, in 1909. It was a best-seller.As was Glaspell's second novel, The Visioning, published in 1911 and her third, Fidelity in 1915. Each novel also received glowing reviews.With her husband Glaspell founded the Provincetown Playhouse devoted to plays that were more able to reflect contemporary American issues. Her first play, Trifles (1916), was based on the murder trial she covered as a young reporter in Des Moines. She wrote twelve groundbreaking plays over seven years for the company. By 1918 Glaspell was considered one of America's most significant new playwrights.However, the impact and critical success of Glaspell's theatre work did not unfortunately make financial sense. Therefore she continued to submit short stories in order to support her and her husband during their years with the theater.In 1931 she wrote the excellent play, Alison's House, for which she received the Pulitzer Prize.In 1936 Glaspell moved to Chicago as the Midwest Bureau Director of the Federal Theater Project. When that finished she returned to Cape Cod using the Mid-West experience in her last three novels which were increasingly focused on the region, on family life, and on theistic questions; The Morning is Near Us (1939), Norma Ashe (1942), and Judd Rankin's Daughter (1945).Susan Keating Glaspell died of viral pneumonia in Provincetown on July 28, 1948.

The English dramatists Francis Beaumont and John Fletcher, collaborated in their writing during the reign of James I of England (James VI of Scotland, 1567-1625; in England he reigned from 1603).Beaumont & Fletcher began to collaborate as writers soon after they met. After notable failures of their solo works their first joint effort, Philaster, was a success and tragicomedy was the genre they explored and built upon. There would be many further successes to follow.There is an account that at the time the two men shared everything. They lived together in a house on the Bankside in Southwark, "e;they also lived together in Bankside, sharing clothes and having one wench in the house between them."e; Or as another account puts it "e;sharing everything in the closest intimacy."e;Whatever the truth of this they were now recognised as perhaps the best writing team of their generation, so much so, that their joint names was applied to all the works in which either, or both, had a pen including those with Philip Massinger, James Shirley and Nathan Field.The first Beaumont and Fletcher folio of 1647 contained 35 plays; 53 plays were included in the second folio in 1679. Other works bring the total plays in the canon to about 55. However there appears here to have been some duplicity on the account of the publishers who seemed to attribute so many to the team. It is now thought that the work between solely by Beaumont and Fletcher amounts to approximately 15 plays, though of course further works by them were re-worked by others and the originals lost.After Beaumont's early death in 1616 Fletcher continued to write and, at his height was, by many standards, the equal of Shakespeare in popularity until his own death in 1625.

Philip Massinger was baptized at St. Thomas's in Salisbury on November 24th, 1583.Massinger is described in his matriculation entry at St. Alban Hall, Oxford (1602), as the son of a gentleman. His father, who had also been educated there, was a member of parliament, and attached to the household of Henry Herbert, 2nd Earl of Pembroke. The Earl was later seen as a potential patron for Massinger.He left Oxford in 1606 without a degree. His father had died in 1603, and accounts suggest that Massinger was left with no financial support this, together with rumours that he had converted to Catholicism, meant the next stage of his career needed to provide an income.Massinger went to London to make his living as a dramatist, but he is only recorded as author some fifteen years later, when The Virgin Martyr (1621) is given as the work of Massinger and Thomas Dekker.During those early years as a playwright he wrote for the Elizabethan stage entrepreneur, Philip Henslowe. It was a difficult existence. Poverty was always close and there was constant pleading for advance payments on forthcoming works merely to survive.After Henslowe died in 1616 Massinger and John Fletcher began to write primarily for the King's Men and Massinger would write regularly for them until his death.The tone of the dedications in later plays suggests evidence of his continued poverty. In the preface of The Maid of Honour (1632) he wrote, addressing Sir Francis Foljambe and Sir Thomas Bland: "e;I had not to this time subsisted, but that I was supported by your frequent courtesies and favours."e;The prologue to The Guardian (1633) refers to two unsuccessful plays and two years of silence, when the author feared he had lost popular favour although, from the little evidence that survives, it also seems he had involved some of his plays with political characters which would have cast shadows upon England's alliances.Philip Massinger died suddenly at his house near the Globe Theatre on March 17th, 1640. He was buried the next day in the churchyard of St. Saviour's, Southwark, on March 18th, 1640. In the entry in the parish register he is described as a "e;stranger,"e; which, however, implies nothing more than that he belonged to another parish.

If ever a writer needed an introduction Arthur Conan Doyle would not be considered that man. After all, Sherlock Holmes is perhaps the foremost literary detective of any age. Add to this canon his stories of science fiction and his poems, his historical novels, his plays, his political campaigning, his efforts in establishing a Court of Appeal and there is little room for anything else. Except he was also an exceptional writer of short stories of the horrific and macabre. Something very different from what you might expect. Born in Arthur Conan Doyle was born on 22 May 1859 at 11 Picardy Place, Edinburgh, Scotland. From 1876 - 1881 he studied medicine at the University of Edinburgh following which he was employed as a doctor on the Greenland whaler Hope of Peterhead in 1880 and, after his graduation, as a ship's surgeon on the SS Mayumba during a voyage to the West African coast in 1881. Arriving in Portsmouth in June of that year with less than GBP10 (GBP700 today) to his name, he set up a medical practice at 1 Bush Villas in Elm Grove, Southsea. The practice was initially not very successful. While waiting for patients, Conan Doyle again began writing stories and composed his first novel The Mystery of Cloomber. Although he continued to study and practice medicine his career was now firmly set as a writer. And thereafter great works continued to pour out of him.

The English dramatists Francis Beaumont and John Fletcher, collaborated in their writing during the reign of James I of England (James VI of Scotland, 1567-1625; in England he reigned from 1603).Beaumont & Fletcher began to collaborate as writers soon after they met. After notable failures of their solo works their first joint effort, Philaster, was a success and tragicomedy was the genre they explored and built upon. There would be many further successes to follow.There is an account that at the time the two men shared everything. They lived together in a house on the Bankside in Southwark, "e;they also lived together in Bankside, sharing clothes and having one wench in the house between them."e; Or as another account puts it "e;sharing everything in the closest intimacy."e;Whatever the truth of this they were now recognised as perhaps the best writing team of their generation, so much so, that their joint names was applied to all the works in which either, or both, had a pen including those with Philip Massinger, James Shirley and Nathan Field.The first Beaumont and Fletcher folio of 1647 contained 35 plays; 53 plays were included in the second folio in 1679. Other works bring the total plays in the canon to about 55. However there appears here to have been some duplicity on the account of the publishers who seemed to attribute so many to the team. It is now thought that the work between solely by Beaumont and Fletcher amounts to approximately 15 plays, though of course further works by them were re-worked by others and the originals lost.After Beaumont's early death in 1616 Fletcher continued to write and, at his height was, by many standards, the equal of Shakespeare in popularity until his own death in 1625.

Thomas Patrick Betterton was born around 1635 in London.As can be understood exact records of much of his early life do not exist.We know he was apprenticed to John Holden, Sir William Davenant's publisher, and later John Rhodes, a bookseller, whose previous career was that of wardrobe-keeper at the Blackfriars Theatre. In 1659, Rhodes obtained a license to set up a company of players at the Cockpit Theatre in Drury Lane; and when the theatre re-opened the following year Betterton made his first stage appearance.By all accounts he was talented and was soon performing the leads. In 1661 a new theatre opened in Lincoln's Inn Fields. Davenant, the patentee of the Duke's Company, engaged Betterton and Rhodes's company to perform his 'The Siege of Rhodes'. Betterton was by now a public favourite and a royal favourite and keen on improving the presentation of plays and the management of theatres. Charles II sent him to Paris to examine stage improvements and then introduced the shifting scenes that replaced the tapestry backgrounds of English theatre.In 1662 Betterton married the actress Mary Saunderson. She and Betterton played opposite each other in a production of Hamlet' she played Ophelia, to his Hamlet. They were also invited to teach the children from noble and royal families to perform John Crowne's 'Calisto', 1675, in the last Stuart court Masque.Betterton was taller than average, athletic, with a strong rather melodious voice which was wonderfully dexterious. His repertory included Shakespearian roles, in versions adapted by Davenant, Dryden, Shadwell and Nahum Tate. In them his performances were praised. He played Lear opposite Elizabeth Barry's Cordelia in Tate's modified version of Shakespeare's 'King Lear'. Betterton was also the author of several popular adaptations.After Davenant's death in 1668, Betterton was the manager and director of the Duke's Company, and from the merger of London's two theatre companies in 1682, he continued these functions in the new United Company. However, in 1695, as this theatrical monopoly worsened conditions of the actors they all walked out. They set up a co-operative company in Lincoln's Inn Fields under Betterton's leadership. The first production was the premiere of Congreve's 'Love for Love' with Betterton as Valentine and Anne Bracegirdle as Angelica. After several years, audiences dwindled, profits fell and Betterton now older and stricken with gout decided to retire from the stage. At his benefit performance, where he again played Valentine in 'Love for Love, the profits are said to have been over GBP500.Betterton's career behind the stage was almost transformative. He invented new stage machines at Dorset Garden Theatre, transposed 'The Prophetess' into an opera, and introduced French singers and dancers to the Restoration stage. He also built the first permanent theatre fully equipped with Italianate machinery. Additionally, he invested in remodeling the tennis court in the Lincoln's Inn Fields and built a new theatre there. His salary was now topped up by a small "e;rent"e; fees for each performance played there.Betterton worked with all of the most significant playwrights of his age and performed with the first generation of English actresses. It is said that Betterton had more than 120 different roles at his command from heroic drama, Jonsonian comedy, comedies of manners, tragicomedies by Beaumont and Fletcher, and tragedies, comedies and histories by Shakespeare. At the age of seventy-five, he claimed, "e;He was yet learning to be an actor."e; Three days before his death at seventy-five, he made his last appearance on the stage in 1710, as Melantius in 'The Maid's Tragedy'. Thomas Betterton died on April 28th 1710. He was buried in Westminster Abbey.

John Galsworthy was born at Kingston Upon Thames in Surrey, England, on August 14th 1867 to a wealthy and well established family. His schooling was at Harrow and New College, Oxford before training as a barrister and being called to the bar in 1890. However, Law was not attractive to him and he travelled abroad becoming great friends with the novelist Joseph Conrad, then a first mate on a sailing ship. In 1895 Galsworthy began an affair with Ada Nemesis Pearson Cooper, the wife of his cousin Major Arthur Galsworthy. The affair was kept a secret for 10 years till she at last divorced and they married on 23rd September 1905. Galsworthy first published in 1897 with a collection of short stories entitled "e;The Four Winds"e;. For the next 7 years he published these and all works under his pen name John Sinjohn. It was only upon the death of his father and the publication of "e;The Island Pharisees"e; in 1904 that he published as John Galsworthy. His first play, The Silver Box in 1906 was a success and was followed by "e;The Man of Property"e; later that same year and was the first in the Forsyte trilogy. Whilst today he is far more well know as a Nobel Prize winning novelist then he was considered a playwright dealing with social issues and the class system. Here we publish Villa Rubein, a very fine story that captures Galsworthy's unique narrative and take on life of the time. He is now far better known for his novels, particularly The Forsyte Saga, his trilogy about the eponymous family of the same name. These books, as with many of his other works, deal with social class, upper-middle class lives in particular. Although always sympathetic to his characters, he reveals their insular, snobbish, and somewhat greedy attitudes and suffocating moral codes. He is now viewed as one of the first from the Edwardian era to challenge some of the ideals of society depicted in the literature of Victorian England. In his writings he campaigns for a variety of causes, including prison reform, women's rights, animal welfare, and the opposition of censorship as well as a recurring theme of an unhappy marriage from the women's side. During World War I he worked in a hospital in France as an orderly after being passed over for military service. He was appointed to the Order of Merit in 1929, after earlier turning down a knighthood, and awarded the Nobel Prize in 1932 though he was too ill to attend. John Galsworthy died from a brain tumour at his London home, Grove Lodge, Hampstead on January 31st 1933. In accordance with his will he was cremated at Woking with his ashes then being scattered over the South Downs from an aeroplane.

Thomas Dekker was a playwright, pamphleteer and poet who, perhaps, deserves greater recognition than he has so far gained. Despite the fact only perhaps twenty of his plays were published, and fewer still survive, he was far more prolific than that. Born around 1572 his peak years were the mid 1590's to the 1620's - seven of which he spent in a debtor's prison. His works span the late Elizabethan and Caroline eras and his numerous collaborations with Ford, Middleton, Webster and Jonson say much about his work. His pamphlets detail much of the life in these times, times of great change, of plague and of course that great capital city London a swirling mass of people, power, intrigue.

schylus is often regarded as the father of Greek tragedy; he moved play writing from the simple interaction of a single character and a chorus to one where many characters interact and thereby create more dynamic and dramatic situations. schylus, was the son of Euphorion, and a scion of a Eupatrid or noble family. He was born at Eleusis 525 B.C., or, as the Greeks calculated time, in the fourth year of the 63rd Olympiad. He first worked at a vineyard and whilst there claimed to have been visited by Dionysis in a dream and told to turn his attention to the tragic art. It was a dream that would deliver a rich and incredible legacy through his writing talents. His earliest tragedy, composed when he was twenty-six years of age, failed to win the fabled Dionysia, (a revered festival of theatre) and it was not until fifteen years later that he gained this victory in 484BC going on to win it again in 472 BC (for The Persians), 467 BC (for Seven Against Thebes) and 463 BC (for The Suppliants). schylus was also known for his military skills and was ready to fight in defence of Athens whenever the call was made. He and his brother, Cynegeirus, fought against Darius's invading Persian army at the Battle of Marathon in 490 BCE and, although the Greeks won against overwhelming odds, Cynegeirus died in the battle, which had a naturally had a profound effect on schylus. He made several visits to the important Greek city of Syracuse in Sicily at the invitation of the tyrant Hieron, and it is thought that he also travelled extensively in the region of Thrace. His writing continued to be the envy of others. With the series of plays of which Seven Against Thebes was a part, his supremacy was undisputed. He was the "e;father of tragedy."e; schylus made many changes to dramatic form. The importance of the chorus was demoted and a second added to give prominence to the dialogue and making that interchange the leading feature of the play. He removed all deeds of bloodshed from the public view, and in their place provided various spectacular elements, improving the costumes, making the masks more expressive and convenient, and probably adopting the cothurnus to increase the stature of the performers. Finally, he established the custom of contending for the prize with trilogies, an inter-connecting set of three independent dramas. The closing years of the life of schylus were mainly spent in Sicily, which he had first visited soon after his defeat at the Dionysia by Sophocles. schylus returned to Athens to produce his Orestean trilogy, probably the finest of his works, although the Eumenides, the last of the three plays, revealed so openly his aristocratic tendencies that he became extremely unpopular, and returned to Sicily for the last time in 458 BCE and it was there that he died, while visiting the city of Gela in 456 or 455 BCE.

The reality is that little is known of Aristophanes actual life but eleven of his forty plays survive intact and upon those rest his deserved reputation as the Father of Comedy or, The Prince of Ancient Comedy. Accounts agree that he was born sometime between 456BC and 446 BC. Many cities claim the honor of his birthplace and the most probable story makes him the son of Philippus of gina, and therefore only an adopted citizen of Athens, a distinction which, at times could be cruel, though he was raised and educated in Athens. His plays are said to recreate the life of ancient Athens more realistically than any other author could. Intellectually his powers of ridicule were feared by his influential contemporaries; Plato himself singled out Aristophanes' play The Clouds as a slander that contributed to the trial and condemning to death of Socrates and although other satirical playwrights had also caricatured the philosopher his carried the most weight. His now lost play, The Babylonians, was denounced by the demagogue Cleon as a slander against the Athenian polis. Aristophanes seems to have taken this criticism to heart and thereafter caricatured Cleon mercilessly in his subsequent plays, especially The Knights. His life and playwriting years were undoubtedly long though again accounts as to the year of his death vary quite widely. What can be certain is that his legacy of surviving plays is in effect both a treasured legacy but also in itself the only surviving texts of Ancient Greek comedy.

Thomas Dekker was a playwright, pamphleteer and poet who, perhaps, deserves greater recognition than he has so far gained. Despite the fact only perhaps twenty of his plays were published, and fewer still survive, he was far more prolific than that. Born around 1572 his peak years were the mid 1590's to the 1620's - seven of which he spent in a debtor's prison. His works span the late Elizabethan and Caroline eras and his numerous collaborations with Ford, Middleton, Webster and Jonson say much about his work. His pamphlets detail much of the life in these times, times of great change, of plague and of course that great capital city London a swirling mass of people, power, intrigue.

Rudolf Wilhelm Besier was born in Blitar, East Java, in the Dutch East Indies,on July 2nd, 1878. His father, the Dutch soldier Rudolf Wilhelm Besier, died whilst his mother, Margaret Ann Collinson, was pregnant with him. He was given his father's name in respect and remembrance. As a playwright his early career, which began with The Virgin Goddess in 1906, was somewhat limited. In 1912 he worked with HG Wells to turn Kipps into a stage play and after the war with Hugh Walpole on Robin's Father. Other plays were produced but received little attention. His great success came only in 1930. The Barretts of Wimpole Street was based on Elizabeth Barrett and Robert Browning's courtship. It was rejected by two London producers but did get to premiere at the Malvern Festival of 1930, produced by Sir Barry Jackson. (The first Malvern Drama Festival took place in 1929 dedicated to Bernard Shaw, six Shaw plays have debuted at Malvern including the 1929 English premiere of The Apple Cart, and the world premiere of Geneva in 1938). Alas, American producers were not at all interested. Twenty seven were approached and 27 rejected it. The actress Katharine Cornell however staged at the Hanna Theatre in Cleveland in 1931, and then New York where it opened on February 9th, 1931 at the Empire Theatre, starring Katharine Cornell and Brian Aherne. The Barretts of Wimpole Street became a major theatrical success and was turned, in 1934, into a glossy MGM film, starring Fredric March, Norma Shearer and Charles Laughton. The play was later used as the basis for a 1964 musical Robert and Elizabeth. Rudolf Besier died in Surrey on June 16th, 1942, at the age of 63.

John Dryden was born on August 9th, 1631 in the village rectory of Aldwincle near Thrapston in Northamptonshire. As a boy Dryden lived in the nearby village of Titchmarsh, Northamptonshire. In 1644 he was sent to Westminster School as a King's Scholar. Dryden obtained his BA in 1654, graduating top of the list for Trinity College, Cambridge that year. Returning to London during The Protectorate, Dryden now obtained work with Cromwell's Secretary of State, John Thurloe. At Cromwell's funeral on 23 November 1658 Dryden was in the company of the Puritan poets John Milton and Andrew Marvell. The setting was to be a sea change in English history. From Republic to Monarchy and from one set of lauded poets to what would soon become the Age of Dryden. The start began later that year when Dryden published the first of his great poems, Heroic Stanzas (1658), a eulogy on Cromwell's death. With the Restoration of the Monarchy in 1660 Dryden celebrated in verse with Astraea Redux, an authentic royalist panegyric. With the re-opening of the theatres after the Puritan ban, Dryden began to also write plays. His first play, The Wild Gallant, appeared in 1663 but was not successful. From 1668 on he was contracted to produce three plays a year for the King's Company, in which he became a shareholder. During the 1660s and '70s, theatrical writing was his main source of income. In 1667, he published Annus Mirabilis, a lengthy historical poem which described the English defeat of the Dutch naval fleet and the Great Fire of London in 1666. It established him as the pre-eminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and then historiographer royal (1670). This was truly the Age of Dryden, he was the foremost English Literary figure in Poetry, Plays, translations and other forms. In 1694 he began work on what would be his most ambitious and defining work as translator, The Works of Virgil (1697), which was published by subscription. It was a national event. John Dryden died on May 12th, 1700, and was initially buried in St. Anne's cemetery in Soho, before being exhumed and reburied in Westminster Abbey ten days later.

Robert Greene was, by the best accounts available, born in Norwich in 1558 and baptised on July 11th.Greene is believed to have been a pupil at Norwich Grammar School and then attended Cambridge receiving his B.A. in 1580, and an M.A. in 1583. He then moved to London and began an extraordinary chapter in his life as a widely published author. His literary career began with the publication of the long romance, 'Mamillia', (1580). Greene's romances were written in a highly wrought style which reached its peak in 'Pandosto' (1588) and 'Menaphon' (1589). Short poems and songs incorporated in some of the romances attest to his ability as a lyric poet. In 1588, he was granted an MA from Oxford University, almost certainly as a courtesy degree. Thereafter he sometimes placed the phrase Utruisq. Academiae in Artibus Magister', "e;Master of Arts in both Universities"e; on the title page of his works.The lack of records hinders any complete biography of Greene but he did write an autobiography of sorts, but where the balance lies between facts and artistic licence is not clearly drawn. According to that autobiography 'The Repentance of Robert Greene', Greene is alleged to have written 'A Groatsworth of Wit Bought with a Million of Repentance' during the month prior to his death, including in it a letter to his wife asking her to forgive him and stating that he was sending their son back to her. His output was prolific. Between 1583 and 1592, he published more than twenty-five works in prose, becoming one of the first authors in England to support himself with his pen in an era when professional authorship was virtually unknown.In his 'coney-catching' pamphlets, Greene fashioned himself into a well-known public figure, narrating colourful inside stories of rakes and rascals duping young gentlemen and solid citizens out of their hard-earned money. These stories, told from the perspective of a repentant former rascal, have been considered autobiographical, and to incorporate many facts of Greene's own life thinly veiled as fiction. However, the alternate account suggests that Greene invented almost everything, merely displaying his undoubted skills as a writer.In addition to his prose works, Greene also wrote several plays, none of them published in his lifetime, including 'The Scottish History of James IV', 'Alphonsus', and his greatest popular success, 'Friar Bacon and Friar Bungay', as well as 'Orlando Furioso', based on Ludovico Ariosto's Orlando Furioso.His plays earned himself the title as one of the 'University Wits', a group that included George Peele, Thomas Nashe, and Christopher Marlowe.Robert Greene died 3rd September 1592.

John Fletcher was born in December, 1579 in Rye, Sussex. He was baptised on December 20th. As can be imagined details of much of his life and career have not survived and, accordingly, only a very brief indication of his life and works can be given. Young Fletcher appears at the very young age of eleven to have entered Corpus Christi College at Cambridge University in 1591. There are no records that he ever took a degree but there is some small evidence that he was being prepared for a career in the church. However what is clear is that this was soon abandoned as he joined the stream of people who would leave University and decamp to the more bohemian life of commercial theatre in London. The upbringing of the now teenage Fletcher and his seven siblings now passed to his paternal uncle, the poet and minor official Giles Fletcher. Giles, who had the patronage of the Earl of Essex may have been a liability rather than an advantage to the young Fletcher. With Essex involved in the failed rebellion against Elizabeth Giles was also tainted. By 1606 John Fletcher appears to have equipped himself with the talents to become a playwright. Initially this appears to have been for the Children of the Queen's Revels, then performing at the Blackfriars Theatre. Fletcher's early career was marked by one significant failure; The Faithful Shepherdess, his adaptation of Giovanni Battista Guarini's Il Pastor Fido, which was performed by the Blackfriars Children in 1608. By 1609, however, he had found his stride. With his collaborator John Beaumont, he wrote Philaster, which became a hit for the King's Men and began a profitable association between Fletcher and that company. Philaster appears also to have begun a trend for tragicomedy. By the middle of the 1610s, Fletcher's plays had achieved a popularity that rivalled Shakespeare's and cemented the pre-eminence of the King's Men in Jacobean London. After his frequent early collaborator John Beaumont's early death in 1616, Fletcher continued working, both singly and in collaboration, until his own death in 1625. By that time, he had produced, or had been credited with, close to fifty plays.

Henry Fielding was born at Sharpham Park, near Glastonbury, in Somerset on April 22nd 1707. His early years were spent on his parents' farm in Dorset before being educated at Eton.An early romance ended disastrously and with it his removal to London and the beginnings of a glittering literary career; he published his first play, at age 21, in 1728.He was prolific, sometimes writing six plays a year, but he did like to poke fun at the authorities. His plays were thought to be the final straw for the authorities in their attempts to bring in a new law. In 1737 The Theatrical Licensing Act was passed. At a stroke political satire was almost impossible. Fielding was rendered mute. Any playwright who was viewed with suspicion by the Government now found an audience difficult to find and therefore Theatre owners now toed the Government line.Fielding was practical with the circumstances and ironically stopped writing to once again take up his career in the practice of law and became a barrister after studying at Middle Temple. By this time he had married Charlotte Craddock, his first wife, and they would go on to have five children. Charlotte died in 1744 but was immortalised as the heroine in both Tom Jones and Amelia. Fielding was put out by the success of Samuel Richardson's Pamela, or Virtue Rewarded. His reaction was to spur him into writing a novel. In 1741 his first novel was published; the successful Shamela, an anonymous parody of Richardson's novel. Undoubtedly the masterpiece of Fielding's career was the novel Tom Jones, published in 1749. It is a wonderfully and carefully constructed picaresque novel following the convoluted and hilarious tale of how a foundling came into a fortune.Fielding was a consistent anti-Jacobite and a keen supporter of the Church of England. This led to him now being richly rewarded with the position of London's Chief Magistrate. Fielding continued to write and his career both literary and professional continued to climb. In 1749 he joined with his younger half-brother John, to help found what was the nascent forerunner to a London police force, the Bow Street Runners. Fielding's ardent commitment to the cause of justice in the 1750s unfortunately coincided with a rapid deterioration in his health. Such was his decline that in the summer of 1754 he travelled, with Mary and his daughter, to Portugal in search of a cure. Gout, asthma, dropsy and other afflictions forced him to use crutches. His health continued to fail alarmingly.Henry Fielding died in Lisbon two months later on October 8th, 1754.

Thomas Dekker was a playwright, pamphleteer and poet who, perhaps, deserves greater recognition than he has so far gained. Despite the fact only perhaps twenty of his plays were published, and fewer still survive, he was far more prolific than that. Born around 1572 his peak years were the mid 1590's to the 1620's - seven of which he spent in a debtor's prison. His works span the late Elizabethan and Caroline eras and his numerous collaborations with Ford, Middleton, Webster and Jonson say much about his work. His pamphlets detail much of the life in these times, times of great change, of plague and of course that great capital city London a swirling mass of people, power, intrigue.

Later revised by James ShirleyOr The Little Thief. A Comedy.As it was presented by her Majesties Servants, at the Private House in Drury LaneJohn Fletcher was born in December, 1579 in Rye, Sussex. He was baptised on December 20th.As can be imagined details of much of his life and career have not survived and, accordingly, only a very brief indication of his life and works can be given.Young Fletcher appears at the very young age of eleven to have entered Corpus Christi College at Cambridge University in 1591. There are no records that he ever took a degree but there is some small evidence that he was being prepared for a career in the church.However what is clear is that this was soon abandoned as he joined the stream of people who would leave University and decamp to the more bohemian life of commercial theatre in London.The upbringing of the now teenage Fletcher and his seven siblings now passed to his paternal uncle, the poet and minor official Giles Fletcher. Giles, who had the patronage of the Earl of Essex may have been a liability rather than an advantage to the young Fletcher. With Essex involved in the failed rebellion against Elizabeth Giles was also tainted.By 1606 John Fletcher appears to have equipped himself with the talents to become a playwright. Initially this appears to have been for the Children of the Queen's Revels, then performing at the Blackfriars Theatre.Fletcher's early career was marked by one significant failure; The Faithful Shepherdess, his adaptation of Giovanni Battista Guarini's Il Pastor Fido, which was performed by the Blackfriars Children in 1608.By 1609, however, he had found his stride. With his collaborator John Beaumont, he wrote Philaster, which became a hit for the King's Men and began a profitable association between Fletcher and that company. Philaster appears also to have begun a trend for tragicomedy.By the middle of the 1610s, Fletcher's plays had achieved a popularity that rivalled Shakespeare's and cemented the pre-eminence of the King's Men in Jacobean London. After his frequent early collaborator John Beaumont's early death in 1616, Fletcher continued working, both singly and in collaboration, until his own death in 1625. By that time, he had produced, or had been credited with, close to fifty plays.

Thomas Otway was born on March 3rd, 1652 at Trotton near Midhurst. He was educated at Winchester College before entering Christ Church, Oxford, in 1669 as a commoner. For reasons unknown he left without a degree in 1672 but what is known is that Oxford create a passion in him for books. Travelling to London that same year he met and obtained work as an actor from the playwright Aphra Behn. He was cast as the old king in her play, Forc'd Marriage but on his debut he had such a severe attack of stage fright that his acting career finished there and then. His career now turned to writing plays and it was a career that was to prove of immense worth to the literary canon of England. In 1675, Otway's first play, Alcibiades was first performed. It is a tragedy, written in heroic verse, saved from absolute failure only by the actors. In his play Don Carlos, Prince of Spain (1676) Otway made the leap to the front rank of playwrights and quickly followed it in 1677 with two plays adapted from French sources; Titus and Berenice, and the Cheats of Scapin followed in 1678 Otway by an original comedy, Friendship in Fashion, which continued his run of very successful plays. In February 1680, the first of Otway's two tragic masterpieces, The Orphan, or The Unhappy Marriage, was performed followed by an indifferent comedy, The Soldier's Fortune (1681), and 1682 perhaps his best work, Venice Preserv'd, or A Plot Discover'd. The play won instant success. However, in the last few years of his life poverty ensnared Otway. The success of his earlier plays had finished with Venice Preserv'd and the downward slope was both precipitous and destructive. Thomas Otway, aged 33, died in the most awful poverty on April 14th, 1685 and was buried two days later on April 16th, in the churchyard of St. Clement Danes.

John Dryden was born on August 9th, 1631 in the village rectory of Aldwincle near Thrapston in Northamptonshire. As a boy Dryden lived in the nearby village of Titchmarsh, Northamptonshire. In 1644 he was sent to Westminster School as a King's Scholar. Dryden obtained his BA in 1654, graduating top of the list for Trinity College, Cambridge that year. Returning to London during The Protectorate, Dryden now obtained work with Cromwell's Secretary of State, John Thurloe. At Cromwell's funeral on 23 November 1658 Dryden was in the company of the Puritan poets John Milton and Andrew Marvell. The setting was to be a sea change in English history. From Republic to Monarchy and from one set of lauded poets to what would soon become the Age of Dryden. The start began later that year when Dryden published the first of his great poems, Heroic Stanzas (1658), a eulogy on Cromwell's death. With the Restoration of the Monarchy in 1660 Dryden celebrated in verse with Astraea Redux, an authentic royalist panegyric. With the re-opening of the theatres after the Puritan ban, Dryden began to also write plays. His first play, The Wild Gallant, appeared in 1663 but was not successful. From 1668 on he was contracted to produce three plays a year for the King's Company, in which he became a shareholder. During the 1660s and '70s, theatrical writing was his main source of income. In 1667, he published Annus Mirabilis, a lengthy historical poem which described the English defeat of the Dutch naval fleet and the Great Fire of London in 1666. It established him as the pre-eminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and then historiographer royal (1670). This was truly the Age of Dryden, he was the foremost English Literary figure in Poetry, Plays, translations and other forms. In 1694 he began work on what would be his most ambitious and defining work as translator, The Works of Virgil (1697), which was published by subscription. It was a national event. John Dryden died on May 12th, 1700, and was initially buried in St. Anne's cemetery in Soho, before being exhumed and reburied in Westminster Abbey ten days later.

The partnership between William Schwenck Gilbert and Arthur Seymour Sullivan and their canon of Savoy Operas is rightly lauded by all lovers of comic opera the world over. Gilbert's sharp, funny words and Sullivan's deliciously lively and hummable tunes create a world that is distinctly British in view but has the world as its audience. Both men were exceptionally talented and gifted in their own right and wrote much, often with other partners, that still stands the test of time. However, together as a team they created Light or Comic Operas of a standard that have had no rivals equal to their standard, before or since. That's quite an achievement. To be recognised by the critics is one thing but their commercial success was incredible. The profits were astronomical, allowing for the building of their own purpose built theatre - The Savoy Theatre. Beginning with the first of their fourteen collaborations, Thespis in 1871 and travelling through many classics including The Sorcerer (1877), H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1885), The Gondoliers (1889) to their finale in 1896 with The Grand Duke, Gilbert & Sullivan created a legacy that is constantly revived and admired in theatres and other media to this very day.