“I will not take One single piece of this great heap. Why should I Borrow that I have no means to pay; nay, am A very bankrupt, even in flattering hope, Of ever raising any.” In addition to his poverty, to hard work, and the degradation of debt, Massinger was fully conscious that he had not, in giving up the certainty of a profession, attained a position in society. The dramatist’s occupation was scarcely, in those times, considered a creditable employment.[189] By the Puritans it was deemed sinful--by learned men, idle and trifling; and although lawyers and academicians, courtiers and ladies, and even the Queen and Princes of the blood, took the conspicuous parts, there was still a certain disrepute attached to the very instruments by means of which the stage was brought into what is justly called its “palmiest state.” Footnote 189: Introduction to Massinger’s Works, p. xiv; from Dr. Farmer’s “Essay on the Learning of Shakspeare.” There were perhaps various reasons for the slow success of Massinger as a dramatist, and for that adverse fate the bitterness of which breaks forth in all his works. The age was Puritan; and he was supposed to have exchanged the Protestant principles with which he had entered Oxford for Romanist opinions--or rather, what we should now term Tractarian. That he may have been, as Mr. Gifford infers, from his leaving Oxford without a degree, a Roman Catholic, is borne out by no fact, although seemingly attested by the subjects of his plays--the “Virgin Martyr,” the “Renegade,” and the “Maid of Honour,” and from some passages in his other dramas. The bare suspicion was enough to make an author unfashionable at the time when the religion of the poet’s ancestors was the object of hatred and terror, and the laws against recusants were in all their hateful force. The plots of Massinger’s plays were, however, almost invariably taken from French or Italian novels, or from old legends, which embodied Romanism, and must, if Protestantized, have assumed the form of satire. Another drawback to Massinger’s popularity was the strong Whiggism which manifested itself in his plays, and which was so greatly at variance with the tone of the Court and of the higher classes during the early part of the reign of James I. He had not the reverence for constituted authority which marked the sentiments of Shakspeare, whilst his devotion to birth (not to _rank_ alone) savoured of the son of the retainer in a great house, where the servant generally is a far greater worshipper of the old descent than the real possessor of the ancient pedigree.[190] Thus, whilst this ill-fated man, full of genius, full of virtue, and of a deep sense of religion, was always tempting the slings and arrows of fortune, he was distrusted by the Puritans as a favourer of the Romish faith; he was avoided by the loyal as an enemy to passive obedience; and he must have been regarded with disgust by the rich