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sociability and his playfulness'. While Fraser and Rabkin argue that
Heywood's plays represent primitive drama, the long monologues in his text would have required actors with an extraordinary range. Many scholars have conjectured that Heywood was probably a performer in his own plays, due to the frequent references in royal expense accounts to Heywood as a performer of various kinds. The plays might seem simple due to their lack of plot in the modern sense, but the ideas that Heywood explores are developed through the exposition of the characters in an equally complex way, even if it might seem foreign to modern sensibilities. Greg Walker has argued that the lack of plot (for example, in
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223:, he built a stage explicitly for the performance of plays, and his wife made costumes. It appears that the whole family, including Thomas More, were involved in these productions. In this private theatre, Heywood found an audience for his early works, and a strong artistic influence in his father-in-law. In the 1520s and 1530s, he was writing and producing interludes for the royal court. He enjoyed the patronage of
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where as soon as the Palmer has mastery over the
Pardoner and Pothecary, he gives it up) has a lot to do with Heywood's political views. As these plays can logically be assumed to have been performed in the presence of the king on at least one occasion, it is a very fruitful reading of the plays to
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Richard Axton and Peter Happé observe that
Heywood's longer plays would probably take at least an hour and a half to perform, including the songs and acrobatic routines. Their sparse staging requirements (most of the plays require no more furniture than perhaps a table and a chair) would mean that
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Heywood was retained at four royal courts (Henry, Edward, Mary, Elizabeth), despite the unpopular political views which he and his family held. Heywood was a devout
Catholic, and there are signs that he was a favourite of King Henry despite his political beliefs (Henry, despite his split with Rome
329:
Arthur F. Kinney writes that
Heywood 'seems to have survived an unusually long and turbulent existence both by his use of "good learning" – his use of literary sources, especially More and Chaucer, and his intelligent if often oblique commentary on religious and social issues – and his wit, his
267:
Heywood's representations in his plays cater to popular tastes but contain an undercurrent of
Catholic conservatism. The Palmer ends the play with the blessing "besechynge our lorde to prosper you all / In the fayth of hys churche universall" (line 1234). Walker reads this as an indication of
343:. Most of his works would require four actors or fewer, and would have been performed by adult performers. Axton and Happe conclude as there is no doubling of roles, the plays would have not used professional actors. The major exception would be his play
243:, where he was made Common Measurer, although he did not appear to work with cloth in any way in his career. In 1533, he received a gilt cup from the king. Heywood was in a politically unstable environment during the creation of the
159:. Although he is best known as a playwright, he was also active as a musician and composer, though no musical works survive. A devout Catholic, he nevertheless served as a royal servant to both the Catholic and Protestant regimes of
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199:. His name first appears in the King Henry VIII's Household Books in 1519 as a 'synger', a job for which he received quarterly payments of 100 shillings. In 1521 he began receiving annual rents from lands in
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for heresy. A contemporary writer, Sir John
Harington, observed that Heywood "escaped hanging with his mirth" (7). Heywood was most successful in Mary's court, where he redrafted his allegory
247:, and he was not timid about letting his political views be known. Greg Walker notes that Heywood wrote a poem in defence of Princess Mary shortly after she was disinherited. In plays like
264:'s book in representing a corrupt Pardoner, but at the end of the play the Pedler chastises the Pothecary for "raylynge her openly / At pardons and relyques so leudly" (lines 1199–1200).
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consider the ways in which
Heywood is in fact arguing for a peaceful resolution to the conflicts caused by events leading up to the schism of 1531.
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Heywood's desire to persuade the King to avoid creating any sort of schism. Heywood is therefore more conciliatory than his famous uncle-in-law
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A Dialogue
Conteinyng the Nomber in Effect of All the Prouerbes in the Englishe Tongue, Compacte in a Matter Concernyng Two Maner of Mariages (
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A Balade
Specifyienge Partly the Maner, Partly the Matter, in the Mariage betwene Our Soueraigne Lord, and Our Soueraigne Lady
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195:, but did not obtain a degree. His language skills can be seen by his adaptation of his play Johan Johan from the French
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in order to compliment the queen. Though Heywood had performed for Elizabeth's court, he was forced to flee England for
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was a composer of interludes and was the first publisher of plays in England. When Rastell built his own house in
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The Play called the foure PP; a newe and a very mery interlude of a palmer, a pardoner, a potycary, a pedler
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they could be performed almost anywhere, whether it be in a dining hall or as Cameron Louis suggests, the
203:, lands recently seized by the crown which made Heywood wealthy and propertied. In 1523, he received the
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with the help of Henry VIII. At Michaelmas 1525 he received ÂŁ6. 13s. 4d. as a 'player of
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The Mery Play betwene Johan Johan, the Husbande, Tyb, his Wyf, and Syr Johan, the Preest
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215:. Through this marriage, Heywood entered into a very dramatic family. Jane's father
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A Mery Play Betwene Johan Johan the Husbande Tyb His Wyf and Syr Jhan the Preest
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A dialogue conteinyng the nomber ... of all the prouerbes in the englishe tongue
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was a staunch believer in the Catholic faith). In 1530, he transferred from the
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The Mery Play between the Pardoner and the Frere, the Curate and Neybour Pratte
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The Play of the Wether, a new and mery interlude of all maner of Wethers
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155:) was an English writer known for his plays, poems, and collection of
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A Breefe Balet Touchyng the Traytorous Takynge of Scarborow Castell
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which required ten boy actors, and elaborate staging.
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Tread a woorme on the tayle and it must turne agayne.
280:'s changes. Heywood was arrested for his part in the
256:(pronounced "pees", plural of the name of the letter
659:"John Heywood Quotations Compiled by GIGA (Page 1)"
56:. Unsourced material may be challenged and removed.
882:. Vol. XI (9th ed.). 1880. p. 786.
620:When he should get aught, each finger is a thumb.
614:Wolde ye bothe eate your cake and haue your cake?
368:Witty and Witless or, A Dialogue on Wit and Folly
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602:No man ought to look a given horse in the mouth.
999:16th-century English dramatists and playwrights
692:The New Grove Dictionary of Music and Musicians
795:. Montreal : McGill-Queen's University Press.
730:, Blackwell Publishing Ltd, pp. 367–383,
641:"John Heywood Quotes - Page 1 - WorldofQuotes"
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548:I know on which side my bread is buttered.
888:The Proverbs and Epigrams of John Heywood
681:Ward, John M. (2001). "John Heywood". In
116:Learn how and when to remove this message
19:For other people named John Heywood, see
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578:An ill wind that bloweth no man to good.
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1004:English male dramatists and playwrights
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453:A Ballad against Slander and Detraction
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907:audio adaptation at Beyond Shakespeare
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590:You cannot see the wood for the trees.
302:against Catholics in 1564. He died in
183:Heywood was born in 1497, probably in
840:. New York: Robert Appleton Company.
736:10.1111/b.9781405121798.2004.00028.x
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313:His son was the poet and translator
54:adding citations to reliable sources
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955:audio version at Beyond Shakespeare
947:audio version at Beyond Shakespeare
939:audio version at Beyond Shakespeare
931:audio version at Beyond Shakespeare
923:audio version at Beyond Shakespeare
915:audio version at Beyond Shakespeare
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596:This hitteth the nail on the head.
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16:English writer (c. 1497 – c. 1580)
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1014:Alumni of Broadgates Hall, Oxford
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830:Herbermann, Charles, ed. (1913).
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760:A companion to Renaissance drama
728:A Companion to Renaissance Drama
284:in 1543 which sought to arraign
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726:Kinney, Arthur F., ed. (2004),
506:When the sun shineth, make hay.
41:needs additional citations for
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793:A bibliography of John Rastell
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566:Rome was not built in one day.
530:Beggars should be no choosers.
518:Two heads are better than one.
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437:1546); (enlarged edition 1550)
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554:One good turn asketh another.
260:), Heywood takes a page from
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21:John Heywood (disambiguation)
472:The Proverbs of John Heywood
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536:All is well that ends well.
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994:16th-century English poets
928:The Pardoner and the Friar
474:(1546), originally titled
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832:"Jasper and John Heywood"
758:Kinney, Arthur F. (ed.).
560:A penny for your thought.
500:Out of sight out of mind.
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791:Devereux, E. J. (1999).
762:. Blackwell Publishers.
695:(2nd ed.). London:
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191:(now Pembroke College),
984:English Roman Catholics
952:The Play of the Weather
912:Gentleness and Nobility
879:Encyclopædia Britannica
851:Encyclopædia Britannica
572:Better late than never.
542:The fat is in the fire.
429:The Spider and the Flie
378:Gentleness and Nobility
346:The Play of the Weather
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979:English Catholic poets
291:The Spider and the Fly
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873:"Heywood, John"
857:(1985), v. 5, p. 908.
837:Catholic Encyclopedia
584:The more the merrier.
524:Love me, love my dog.
134:Heywood portrait 1556
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697:Macmillan Publishers
489:What you have, hold.
50:improve this article
989:Writers from London
494:Haste maketh waste.
1009:English male poets
286:Archbishop Cranmer
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920:Witty and Witless
706:978-1-56159-239-5
512:Look ere ye leap.
381:with John Rastell
306:, in present-day
300:Act of Uniformity
282:Prebendaries Plot
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43:verification
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899:at SFF Net.
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173:Elizabeth I
153: 1580
146: 1497
963:Categories
855:Micropædia
627:References
319:John Donne
278:Henry VIII
161:Henry VIII
76:newspapers
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466:Proverbs
304:Mechelen
185:Coventry
157:proverbs
332:Four PP
308:Belgium
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253:Four PP
239:to the
90:scholar
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325:Themes
229:Mary I
193:Oxford
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361:Plays
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201:Essex
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