Their reference is undoubtedly to _A Booke called the Madde Prancks of Merry Moll of the Bankside, with her Walks in Man’s Apparel and to what Purpose. Written by John Day_, which was entered in the Stationers’ Register for August 1610. All copies of this document were so thoroughly eliminated by her friends that scholars have even questioned whether it was ever printed, and a _Life and Death of Mrs. Mary Frith_ surviving from 1662, the year after her death, is somewhat less harsh. An editorial note to the 1885 edition of the play,[13] drawing on this biography and other sources, tells us that she was a shoemaker’s daughter who from childhood would run only with boys, “taking many a bang and blow,” and that she had a lifelong aversion to women’s occupations and to children. Against family opposition she educated herself far above her station, but in the end apparently found no outlet for her capacities except in the underworld, where even her bitterest detractors admit her masculine daring and success as “highwayman,” forger, and fence. Havelock Ellis, in his introduction to another edition of the play and in his Studies in the _Psychology of Sex_,[14] quotes the 1662 biography as saying that “No man can say or affirm that she ever had a sweetheart or any such fond thing to dally with her,” a mastiff being the only living thing she cared for. Ellis adds that though nothing is said of homosexual practices, “we see clearly here what may be termed the homosexual diathesis.” The second play is _La Monja Alférez_ (1626) by Juan Pérez de Montalban, a literary disciple of Lope de Vega, and is included in a volume by Fitz-Maurice Kelly entitled _The Nun Ensign_. It gives a partial picture of the known life of Catalina de Erauso, a Basque woman who was alive at the time of its publication, and like _The Roaring Girl_, it was probably written to whitewash the heroine’s reputation. Here also the heroine is a transvestist, but one who actually passes for a military man, the mainspring of the plot being her exposure by her brother, a fellow officer. One Doña Ana is represented as being infatuated to the point of presenting her beloved with her girdle, but the gesture is symbolic only. “Guzlan” evades the issue by pleading a vow of _castidad_, a term less exclusively feminine than its English equivalent, and the two are never alone together or involved in more than acceptable verbal exchange. The play can scarcely have been a dramatic success, consisting as it does largely of long retrospective speeches by other characters which review Catalina’s past adventures and constitute her apologia. It is not known to have been produced more than once, at a critical period in her fortunes when it must have been badly needed.