Eliza Haywood, however, after leaving the thorny way of matrimony, failed to carry out the laureate's metaphor. Having less of the fallen star in her than Mr. Rowe imagined, and perhaps more of the hen, she refused to set, but resolutely faced the world, and in spite of all rules of decorum, tried to earn a living for herself and her two children, if indeed as Pope's slander implies, she had children to support. The ways in which a woman could win her bread outside the pale of matrimony were extremely limited. A stage career, connected with a certain degree of infamy, had been open to the sex since Restoration times, and writing for the theatre had been successfully practiced by Mrs. Behn, Mrs. Manley, Mrs. Centlivre, Mrs. Pix, and Mrs. Davys. The first two female playwrights mentioned had produced beside their dramatic works a number of pieces of fiction, and Mrs. Mary Hearne, Mrs. Jane Barker, and Mrs. Sarah Butler had already gained a milder notoriety as _romancières_. Poetry, always the elegant amusement of polite persons, had not yet proved profitable enough to sustain a woman of letters. Eliza Haywood was sufficiently catholic in her taste to attempt all these means of gaining reputation and a livelihood, and tried in addition a short-lived experiment as a publisher. Beside these literary pursuits we know not what obscure means for support she may have found from time to time. Her first thought, however, was apparently of the theatre, where she had already made her debut on the stage of the playhouse in Smock Alley (Orange Street), Dublin during the season of 1715, as Chloe in "Timon of Athens; or, the Man-Hater."[7] One scans the _dramatis personae_ of "Timon" in vain for the character of Chloe, until one recalls that the eighteenth century had no liking for Shakespeare undefiled. The version used by the Theatre Royal was, of course, the adaptation by Thomas Shadwell, in which Chloe appears chiefly in Acts II and III as the maid and confidant of the courtesan Melissa. Both parts were added by Og. The rôle of Cleon was taken by Quin, later an interpreter of Mrs. Haywood's own plays. But if she formed a connection with either of the London theatres after leaving her husband, the engagement was soon broken off, and her subsequent appearances as an actress in her comedy of "A Wife to be Lett" (1723) and in Hatchett's "Rival Father" (1730) were due in the one case to an accident and in the other to her friendship for the playwright.