The meaning of this obscure passage seems to be that Marston and Dekker wrote in conjunction a play which had a Moor for its leading character; that the writers' barren invention prompted them to treat the story again in a Second Part; and that the two parts, when they had served their time upon the stage, were published in Paul's Churchyard. At least that is the only intelligible explanation that I can give to the words; but I am altogether unable to fix on any extant play, in which a Moor figures, that could be attributed to Marston and Dekker. From Henslowe's _Diary_ we know that Dekker was concerned in the authorship of a play called _The Spanish Moor's Tragedy_ (which has been doubtfully identified with _Lust's Dominion_, printed in 1657 as a work of Marlowe's); but Dekker's coadjutors in that play were William Haughton and John Day. It is curious to note that in the very year (1601) when the quarrel between Marston and Jonson reached a climax, the two enemies are contributing poems to the _Divers Poetical Essays_ appended to Robert Chester's tedious and obscure _Love's Martyr_. The other contributors were Shakespeare and Chapman; Marston's verses follow Shakespeare's _Phoenix and Turtle_. In 1604, as we have noticed, Marston dedicated his _Malcontent_ to Jonson in very cordial terms; and in 1605 he prefixed some complimentary verses to _Sejanus_. In 1605 was published the comedy of _The Dutch Courtezan_, which had been acted by the Children's Company at the Blackfriars. There is more of life and movement in this play than in any other of Marston's productions. The character of the passionate and implacable courtesan, Franceschina, is conceived with masterly ability. Few figures in the Elizabethan drama are more striking than this fair vengeful fiend, who is as playful and pitiless as a tigress; whose caresses are sweet as honey and poisonous as aconite. All the characters are drawn with skill and spirit. Young Freevill is a typical Elizabethan gallant, very frank in his utterances, and not burthened with an excess of modesty. Malheureux, his moody friend, is noted for his strictness of life, but a glance from Franceschina scatters his virtuous resolutions, and he is ready at the temptress' bidding to kill his friend in order to satisfy his passion. The innocent shamefaced Beatrice, affianced to young Freevill, is drawn with more tenderness than Marston usually shows; and her gay prattling sister Crispinella recalls (_longo intervallo_) another more famous Beatrice. Cockledemoy, the droll and nimble trickster, who at every turn dexterously cozens Master Mulligrub, the vintner, affords abundance of amusement; but his plain speaking shocks the sensitively chaste ears of Mary Faugh, the old bawd. Antony Nixon, in _The Black Year_, 1606, speaks of the play as "corrupting English conditions";[19] but Nixon's protest went for little. In December 1613 _The Dutch Courtezan_ was acted at Court (Cunningham's _Extracts from the Accounts of the