This tragedy was presented before Queen Elizabeth by the Gentlemen of the Inner Temple in 1567–8. In its original shape it remained in ms. until published a few years ago in Brandl's Quellen des weltlichen Dramas in England; but a recast by Robert Wilmot was printed in 1591 under the title Tancred and Gismunda and included in Dodsley's Collection of Old English Plays. From the initials appended to each act in this later version it has been concluded that Henry Noel wrote Act II, Christopher Hatton Act IV, and Robert Wilmot Act V; the authors of Act I (Rod. Staf.) and Act III (G. Al.) are as yet unidentified. Before examining the play it will be well to glance at the literary and dramatic influences under which it was produced. A notable beginning in English classical tragedy had been made at the Grand Christmas of the Inner Temple in 1561–2 by the performance of Gorboduc, which was repeated before the Queen at Whitehall a few weeks later: an unauthorized edition of the play was printed in 1565. In 1564 the Queen saw at King's College, Cambridge, “a Tragedie named Dido, in hexametre verse, without anie chorus,” and “an English play called Ezechias, made by Mr. Udall.” At Christmas, 1564, a tragedy by Richard Edwards (probably Damon and Pythias) was acted at Whitehall, and in 1566 his Palamon and Arcyte was presented before the Queen in the hall of Christ Church, Oxford, as well as a Latin play, called Marcus Geminus. At Gray's Inn the same year Gascoigne's Supposes (translated from Ariosto) and the Jocasta were performed: the last purported to be taken from Euripides, but was really a translation of Lodovico Dolce's adaptation, itself made probably not from the Greek but from the Latin. Dolce adhered in the main to the model of Seneca, whose tragedies he had translated: English translations of eight out of the ten had also been published during the ten years before 1566, so that Elizabethan tragedy came under Senecan influence at first, second, and third hand. The learned dramatists of the Inner Temple no doubt had recourse to the original text, but like their fellows of Gray's Inn of a year or two before, they turned to Dolce as their immediate model, and they made an important step in advance by taking their plot from Boccaccio. It is true that Arthur Brooke in the preface to The Tragicall Historye of Romeus and Juliet (1562) said that he had seen the same argument “lately set foorth on stage,” but the play referred to is now to be found only at second-hand in a Dutch version, Romeo en Juliette, written about 1630. Gismond of Salerne is the earliest extant English tragedy founded upon an Italian novel.