The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume VI. The Drama to 1642, Part Two.
§ 13. Heywoods picture of English country life
A Woman Kilde with Kindnesse, which deservedly holds a foremost rank among the classics of domestic drama, derived its title, like several other of its author’ plays, from a proverb or proverbial phrase. The expression “to kill a wife with kindness” occurs in The Taming of the Shrew, which must have been produced on the stage some six or seven years before the performance, by Worcester’ men, early in 1603 (N. S.), of Heywood’ play. It was first printed, without having been entered in the register, in 1607; the third edition of the play, “as it hath been oftentimes acted by the Queen’” men, appeared in 1617. This popularity was due to no adventitious attractions; and the author was perfectly conscious of the simplicity of the means by which the desired dramatic effect had been achieved; in the words of his prologue it was
While a criticism of certain details in the main action of A Woman Kilde with Kindnesse seems unnecessary here, it cannot be ignored that, in this as in several other of his plays, Heywood should have felt himself obliged to contrive a by-plot which, instead of relieving tension, offends judgment. In the present instance, though we would not willingly lose the hawking scene out of which the subsidiary plot arises, we have to accept a pedestrian version of the story of Measure for Measure, with a solution such as might, possibly, have commended itself to the author of Pamela.
If Heywood wrote The Wise-woman Of Hogsdon, a comedy which, though not printed, with his name, till 1638 cannot have been produced at a date much later than 1604, no more striking instance is to be found of his versatility. It is true that this play opens with a gambling scene as true to life as the hawking scene in A Woman Kilde with Kindness, and that, later, it suddenly changes its manner into that of domestic drama—of the comédie larmoyante, variety—so as to make the reckless young libertine who is the hero of the action exclaim:
The case is different with The Fayre Mayde of the Exchange. With The pleasaunt Humours of the Cripple of Fanchurch, which, though printed anonymously in 1607 and later, has been usually attributed to Heywood, and upon which, treating it as his, Charles Lamb bestowed high praise. The present writer, without accepting Fleay’ conjecture that the play was written by Machin, cannot persuade himself that Heywood was its author. Though the comedy offers a very lively picture of the Royal Exchange (from a shop front point of view), there is little else to convey the sense of freshness and originality which few of Heywood’ dramatic productions fail, in some respect, to leave upon the reader. The heroine Phillis fails to charm, and her repartees exhibit her as a very second-rate Beatrice, while her passion for the “noble” Cripple, who is magnanimous enough to reject it, is not so much unpleasing as unconvincing. Apart from the Cripple’ loyalty to the city and the virtue of its shopwomen (a touch of characteristic directness) there is little to suggest Heywood; the wittiness of some of the passages of the play, and the cleverly symmetrical construction of its plot, are merits not common in his dramas.