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- THE PASSIONATE PILGRIM 47
‘Hee would not publish his owne disworksmanship, but rather let his owne fault lye upon the neck of the author?’¹
Three years later, in 1612, Jaggard inflicted on Heywood the further indignity of filching from *Troia Britanica* translations in verse of two of Ovid’s Epistles, which were first published in that volume. He added them to the third edition of *The Passionate Pilgrim*, all the contents of which Jaggard continued to assign on the title-page to Shakespeare’s pen. Heywood was in no temper to suffer this new injury at Jaggard’s hands in silence. In an address to another printer, Nicholas Okes, who published for him his prose *Apology for Actors*, in 1612 (soon after the appearance of the third edition of Jaggard’s ‘Passionate Pilgrim’), Heywood not only exposed Jaggard’s misconduct, but claimed to have interested Shakespeare in the matter. His protest was issued (he declared) in the great dramatist’s name as well as in his own. Heywood’s words run: ‘Here, likewise, I must necessarily insert a manifest injury done me in that worke [i.e. *Troia Britanica*] by taking the two epistles of Paris to Helen, and Helen to Paris, and printing them in a lesse volume (i.e. *The Passionate Pilgrim* of 1612) under the name of another, [i.e. Shakespeare], which may put the world in opinion I might steale them from him, and hee, to doe himselfe right, hath since published them in his owne name: but, as I must acknowledge my lines not worth his [i.e. Shakespeare’s] patronage under whom he [i.e. Jaggard] hath publish them, so the author, I know, much offended with M. Jaggard that altogether unknowne to him presumed to make so bold with his name.’
Jaggard was not, as we have seen², the only publisher who had made ‘so bold with’ Shakespeare’s name as to put it
¹ Heywood’s *Apology for Actors*, 1612, Sh. Soc. 1841, p. 62.
² See p. 21, note 1.
Shakespeare’s alleged protest.
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