and with it the innocent authorship of the piece, 'now olde and
outworne.'* It is not even certain, in Mr. Phillipps's opinion,
that the 'olde and outworne' play was that of Shakespeare. It is
perfectly certain that, as Elizabeth overlooked the fault of the
players, she would not attack the author of a play written years
before Essex's plot, with no political intentions.

*Phillipps, ii. pp. 359-362.

We now come to evidence of which Judge Webb says very little, that
of the two plays acted at St. John's College, Cambridge, in 1600-
1601, known as 'The Returne from Parnassus.' These pieces prove
that Shakespeare the poet was identified with Shakespeare the
player. They also prove that Shakespeare's scholarship and art were
held very cheaply by the University wits, who, as always, were
disdainful of non-University men. His popularity is undisputed, but
his admirer in the piece, Gullio, is a vapouring ignoramus, who
pretends to have been at the University of Padua, but knows no more
Latin than many modern critics. Gullio rants thus: 'Pardon, faire
lady, though sicke-thoughted Gullio makes amaine unto thee, and LIKE
A BOULD-FACED SUTOR 'GINS TO WOO THEE.' This, of course, is from
'Venus and Adonis.' Ingenioso says, aside: 'We shall have nothinge
but pure Shakespeare and shreds of poetry that he hath gathered at
the theaters.' Gullio next mouths a reminiscence of 'Romeo and
Juliet,' and Ingenioso whispers, 'Marke, Romeo and Juliet, O
monstrous theft;' however, aloud, he says 'Sweete Mr. Shakspeare!'--
the spelling varies. Gullio continues to praise sweete Mr.
Shakspeare above Spenser and Chaucer. 'Let mee heare Mr.
Shakspear's veyne.' Judge Webb does not cite these passages, which
identify Shakspeare (or Shakespeare) with the poet of 'Venus and