Farmer and Lesser have located the 1633 publication of The Jew of Malta within a wave of newly published or republished 'classics' and (Lesser alone) to the publishing of Nicholas Vavasour; Lucy Munro has related the play’s revival to Marlowe’s 17th century reputation and John Parker to Caroline politics. I consider the role of Thomas Heywood, who wrote prologues and epilogues for the play’s 1632 performances. They parallel a revival in his own career, at court and in print. 1 & 2 The Fair Maid of the West were published in 1631, both fresh from court production; 1 & 2 The Iron Age were belatedly published in 1632. Those volumes shared a dedicatee, one Thomas Hammon. So did The Jew of Malta. Heywood’s paratexts and dedications further his attempts to write himself into the pantheon of newly canonized Elizabethan 'classics'.