5. WAGER, LEWIS, the author of an Interlude, called _Mary Magdalen, Her Life and Repentance_, 1567. 4to. This, like most of the interludes of the same age, required, as we are told in the title-page, only four persons for its performance. The subject, which is taken from the seventh chapter of St. Luke, had been a favourite with the writers of the ancient Mysteries, of which pieces one, written in 1512, is still preserved in the Bodleian Library.[234:B] 6. WILMOT, ROBERT, a student of the Inner Temple, the publisher, and one of the writers of an old tragedy, intitled _Tancred and Gismund_ or _Gismonde of Salerne_, the composition of not less than five Templers, and performed before Elizabeth in 1568. Each of these gentlemen, says Warton, "seems to have taken an act. At the end of the fourth is _Composuit Chr. Hatton_, or Sir Christopher Hatton, undoubtedly the same that was afterwards exalted by the Queen to the office of lord keeper for his agility in dancing."[234:C] Wilmot, who is mentioned with approbation in Webbe's "Discourse of English Poetrie[235:A]," corrected and improved, many years after the first composition, the united labours of himself and his brother Templers, printing them with the following title: "_The Tragedie of Tancred and Gismond_. Compiled by the Gentlemen of the Inner Temple, and by them presented before Her Majestie. Newly revived and polished according to the decorum of these daies. By R. W. London. Printed by Thomas Scarlet, and are to be solde by E. C. R. Robinson. 1592." In a dedication to his fellow-students, the editor incidentally fixes the era of the first production of his drama: "I am now bold to present Gismund to your sights, and unto your's only, for therefore have I conjured her by the love that hath been these _twenty-four years_ betwixt us, that she wax not so proud of her fresh painting, to straggle in her plumes abroad, but to contain herself within the walls of your house; so am I sure she shall be safe from the tragedian tyrants of our time, who are not ashamed to affirm that there can no amorous poem favour of any sharpness of wit, unless it be seasoned with scurrilous words." From a fragment of this play as _originally_ written, and inserted in the Censura Literaria, it appears to have been composed in alternate rhyme, and, we may add, displays both simplicity in its diction, and pathos in its sentiment. An imperfect copy of Wilmot's revision, and perhaps the only one in existence, is in the Garrick Collection.[235:B] 7. GARTER, THOMAS. To this person has been ascribed by Coxeter, _The Commody of the moste vertuous and godlye Susanna_; it was entered on the Stationers' books in 1568, and probably first performed about that period; its being in black letter, in metre, and not divided into acts, are certainly strong indications of its antiquity. It was reprinted in 4to. 1578.