Though _The Coxcombe_ was not successful in its first production before the "ignorant multitude," it was "in the opinion of men of worth well received and favoured." We have seen that it was played at Court in 1612 in the festivities for the Elector Palatine's approaching marriage with the Princess Elizabeth. It was revived for Charles I and Queen Henrietta in 1636; and it was one of the twenty-seven "old plays" presented in the City theatres after the Restoration, and before 1682. In the revivals Beaumont's romantic subplot gradually assumed the dominant position, and it was finally borrowed outright for a comedy called _The Fugitives_, constructed by Richardson and acted by the Drury Lane company in 1792. With Palmer in the part of Young Manly (the Ricardo of the original), and Mrs. Jordan as Julia (alias Beaumont's Viola), the adaptation ran for a dozen nights or more. 7.--_Philaster_ or _Love lies a-Bleeding_ was "divers times acted at the Globe, and Blacke-Friers by his Majesties Servants." Under the second title in the _Scourge of Folly_, entered for publication October 8, 1610, Davies of Hereford appears to mention it; and I have already stated my reasons as based upon the history of the theatres[228] for believing that its first performance took place between December 7, 1609 and July 12, 1610. We might have something like confirmation of this date from the grouping of epigrams in Davies of Hereford's _Scourge of Folly_, if we could affirm that they were arranged in the order of their composition. For just before the epigram on _Love lies a-Bleeding_, which, I think, without doubt, applies to _Philaster_, appears one _To the Roscius of these times, Mr. W. Ostler_, saluting him as "sole king of actors." Now Osteler, Ostler, or Osler, had been one of the Queen's Revels' Children,--most of them from thirteen to sixteen years of age at the time,--in 1601 when Jonson's _Poetaster_ was acted. He could not have been more than twenty-three years of age while still playing with the Queen's Children in 1608; and he would certainly not have been styled "sole king of actors" at that age. According to the supplication of Cuthbert Burbadge and others in the well-known suit of 1635 concerning the shares in the Blackfriars theatre,[229] before Evans surrendered the lease of that theatre in 1608, some of the Queen's Revels' Children "growing up to bee men, which were Underwood, Field, Ostler, were taken to strengthen the King's service; and the more to strengthen the service, the boys daily wearing out, it was considered that house would bee as fitt for ourselves [the King's Company], and soe [we] purchased the lease remaining from Evans with our money, and placed men players, which were Hemings, Condell, Shakespeare, etc." On the face of it this deposition places the transference of Underwood, Field, and Ostler to the King's Company between the beginning of April 1608 when the Revels'