[2] Before the first act, "there came in upon the stage a king with an Imperiall Crowne upon his head ... sitting in a chariot very richely furnished, drawne in by foure kinges in their dublettes and hosen, with crownes upon their heades, representing unto us ambition," etc. And before the fifth act there is a similar exhibition of a woman in a chariot driving kings and slaves. These shows may have suggested to Marlowe the famous business of Tamburlaine and his chariot. The show before act ii introduces the paraphernalia of coffins and a grave, afterwards so frequent in popular tragedy. [3] The earlier version also survives in MS. and has been published by Professor Brandl in his _Quellen des Weltlichen Dramas_. The revised version is the result of elaborate care and reflects more highly developed dramatic conditions than existed in the sixties, but in some respects it may be closer to the original performance than is the manuscript. The songs of the chorus, now four maids of Gismunda's instead of four gentlemen of Salerne, and the dumb shows must have had some equivalents in the presentation before the Queen, though both are wanting in the earlier version. The dumb shows are noteworthy because, unlike those in _Gorboduc_ and _Jocasta_, they are not allegorical, but represent important actions described or referred to in the text. [4] _Geschichte des neueren Dramas_, ii, 471. [5] For a list of Latin plays acted at the universities, see Fleay, _Biographical Chronicle of the English Drama_, vol. ii, 347-366. This list must be corrected in many particulars by an article, "Die Lateinischen Universitäts-Dramen in der Zeit der Königin Elisabeth," by George B. Churchill and Wolfgang Keller, _Jahrbuch der Deutschen Shakespeare-Gesellschaft_, xxxiv, 220-323. [6] Far more novel than any of the plays discussed in its departures from Senecan precedent, is _Perfidus Hetruscus_. So far as can be judged from the outline (_Jahrbuch_, xxxiv, 250-252), it offers no semblance of Senecan structure. There is no chorus, but there are six ghosts, a villain, two accomplices,--one a Capuchin, the other a Jesuit,--and an elaborate plot, as full of surprises as of poisonings. It seems to be a popular revenge play turned into Latin, and can hardly come within our period.