24. Cardinal Wolsey, Part I., by Henry Chettle, August 1601. Not printed. 25. Cardinal Wolsey, Part II., by Henry Chettle, May 1602. Not printed. 26. The Orphan's Tragedy, by Henry Chettle, September 1601. Not printed. 27. Too Good to be True, by Henry Chettle, Richard Hathwaye, and Wentworth Smith, November 1601. Not printed. 28. Love Parts Friendship, by Henry Chettle and Wentworth Smith, May 1602. Not printed. 29. Tobyas, by Henry Chettle. Same date. Not printed. 30. Jeptha, by Henry Chettle. Same date. Not printed. 31. A Danish Tragedy, by Henry Chettle. Same date. Not printed. 32. Femelanco, by Henry Chettle and ---- Robinson, September 1602. Not printed. 33. Lady Jane, Part I., by Henry Chettle, Thomas Dekker, Thomas Haywood, Wentworth Smith, and John Webster, November 1602. Not printed. 34. Lady Jane, Part II., by the same authors, Smith excepted. Same date. Not printed. 35. The London Florentine, Part I., by Thomas Heywood and Henry Chettle, December 1602. Not printed. 36. The London Florentine, Part II., by the same authors. Same date. Not printed. 37. The Tragedy of Hoffman, by Henry Chettle. Same date. Printed in 1631. 38. Jane Shore, by Henry Chettle and John Day, March 1602-3. Not printed. Among the scattered notices in Henslowe's papers is an entry, dated September 3d, 1599, of 40s. advanced to Chettle, Jonson, Dekker, "and other gentlemen," on account of a tragedy they were engaged upon called "Robert the Second, King of Scots." The interest of the "second part" of "Robert Earl of Huntington," on the whole, is stronger than that of the first part, and some powerful, though not always tasteful, writing gives effect to the situations. The death of Robin Hood takes place as early as the end of the first act, and attention is afterwards directed to the two, otherwise unconnected, plots of the fate of Lady Bruce and her little son, and of the love of King John for Matilda. Robert Davenport's Tragedy of "King John and Matilda," printed in 1655, goes precisely over the same ground, and with many decided marks of imitation, especially in the conduct of the story. Davenport's production is inferior in most respects to the earlier work of Chettle and Munday. DRAMATIS PERSONAE.[257] KING RICHARD THE FIRST. PRINCE JOHN, _afterwards King_. ROBERT, _Earl of Huntington_. LITTLE JOHN. SCATHLOCK. SCARLET. FRIAR TUCK. MUCH, _the Clown_. BISHOP OF ELY. CHESTER. SALISBURY. LEICESTER. RICHMOND. FITZWATER. YOUNG FITZWATER. WINCHESTER. BRUCE. YOUNG BRUCE. BOY, _son of Lady Bruce_. OXFORD. HUBERT. MOWBRAY. BONVILLE. PRIOR OF YORK. JUSTICE WARMAN. SIR DONCASTER. MONK OF BURY. WILL BRAND. _Maskers, Messengers, Soldiers, &c_. QUEEN MOTHER. QUEEN. MATILDA. LADY BRUCE. ABBESS OF DUNMOW. THE DEATH OF ROBERT EARL OF HUNTINGTON. ACT I, SCENE I. _Enter_ FRIAR TUCK.[258] FRIAR. Holla, holla, holla! follow, follow, follow! [_Like noise within_.