has been the subject of much controversy (cf. Halliwell-Phillipps, ii. 88; C. M. Ingleby, The Elegy on Burbadge, in Shakespeare, the Man and the Book, ii. 169). It exists in two versions, one of 86 lines, the other of 124 lines. Of the shorter version several undoubtedly genuine manuscripts are known, and it is probably only by accident that one of these omits ll. 2–5 of the following passage, which is given completely by all the rest:
In the longer version ll. 2–5 are not only omitted, but are replaced by an interpolation of many lines, detailing a number of parts, some of which belonged to other companies than the King’s, and are not likely to have been played by Burbadge. No manuscript of this version is forthcoming, and there can be little doubt that the interpolation is due to Collier, who referred to the version in his New Particulars (1836), 27, and published it in his Memoirs of the Actors (1846), 52, professedly from a manuscript in the possession of Richard Heber. Of the shorter version I can add to what has been recorded by others that in Stowe MS. 962, f. 62v, I have found a copy of it, with the title ‘An Elegie on the death of the famous actor Rich: Burbage, who died 13 Martij Ao. 1618’, and an ascription to ‘Jo ffletcher’. Other copies also give the date of Burbadge’s death, or refer, as do the opening lines themselves, to the fact that he was skilled not only as an actor but as a limner. John Davies testifies to this in the verses of 1603 already cited. The accounts of the Earl of Rutland for the birthday tilt of 1613 contain the entry, ‘31 Martij, To Mr. Shakspeare in gold, about my Lordes impreso, 44s. To Richard Burbage for paynting and makyng yt, in gold, 44s’; and those for the tilt of 1616, ‘25 Martij, 1616, paid given Richard Burbidg for my Lordes shelde and for the embleance, 4li 18s’ (H. M. C. Rutland MSS. iv. 494, 508). The gallery at Dulwich contains a picture presented by William Cartwright, which is described in his catalogue as ‘a womans head on a boord done by Mr. Burbige ye actor’. The inveterate tendency of mankind to guess has led to suggestions that he may have painted the portrait of himself in the same gallery, the Chandos portrait of Shakespeare, or the original of the Droeshout print.
One other record of Burbadge, apart from his company, may be noted. On 31 May 1610 he was employed by the City, with his fellow James Rice, to deliver a speech to Prince Henry at a water-pageant on the Thames (cf. ch. iv). Presumably he represented Amphion, ‘a grave and judicious Prophet-like personage’, and Rice Corinea.
BURGES, ROBERT. A ‘player’ buried at St. Bennet’s, Gracechurch, 14 April 1559 (B. 251).
CANDLER, JAMES. Leader of a company at Ipswich, 1569–70 (Hist. MSS. ix. 1. 248).
CARIE (GARY), GILES. Revels, 1609; Lady Elizabeth’s, 1611, 1613.
CARLETON, NICHOLAS. Paul’s, >1582.
CARPENTER, WILLIAM. Lady Elizabeth’s, 1611; Charles’s, 1619, 1625. He was apparently porter at the Marshalsea in 1623 (J. 347).
CARTWRIGHT, WILLIAM. Admiral’s-Henry’s, 1598–1622 (H. ii. 247). He lived at the upper end of White Cross Street in 1623 (J. 347).
CASTLE, THOMAS. A ‘player’, whose son Nicholas and daughter Hester were baptized at St. Giles’s on 9 October 1608 and 15 April 1610 (B. 262).
CATTANES. Worcester’s, 1602 (H. ii. 248).
CAVALLERIZZO, CLAUDIO. Italians, 1576 (?).
CHAPPELL, JOHN. Chapel, 1600–1.
CHESSON, THOMAS. Oxford’s (?), 1580.
CLARK, SILL. Prince’s, 1603< >1641.
CLARKE, ROBERT. A ‘player’ whose son Ezekiel was buried at St. Giles’s, 7 November 1617 (B. 268).
CLARKE, THOMAS. Leicester’s, 1572.
CLAY, NATHANIEL. Anne’s, 1618; Chamber of Bristol, 1618.
CLEMENT, WILLIAM. London player, 1550 (App. D, No. v).
CLIFTON, THOMAS. Kidnapped for Chapel, 1600.
COBORNE, EDWARD. A ‘player’ whose son John was baptized at St. Giles’s on 23 Nov. 1616. Of other family entries, 1613–25, some are for Edward Coborne ‘gentleman’ (Bodl.). He may be identical with Colbrand.
COKE, RICHARD. Interluders, 1547–56.
COLBRAND, EDWARD. Palsgrave’s, 1610–13.
COLE. Paul’s, 1599.
COLMAN, WILLIAM. Chapel, 1509.
CONDELL, HENRY, has been conjectured to be the ‘Harry’ cast for Ferrex and a Lord in the ‘plot’ of The Seven Deadly Sins, as played by Strange’s or the Admiral’s about 1590–1. The first definite notice of him is in the cast of Jonson’s Every Man in his Humour, as played by the Chamberlain’s men in 1598. Thereafter he appears in all formal lists of the Chamberlain’s and King’s men, up to the Caroline patent of 1625, including the list in the First Folio of 1623, of which, with Heminges, he acted as editor. He is also in all the casts up to The Humourous Lieutenant (c. 1619). About this date he presumably ceased to play; his part of the Cardinal in The Duchess of Malfi had passed to Richard Robinson by 1623. The fact that he took this part somewhat discredits the conjecture of John Roberts (Answer to Pope, 1729) that he was a comedian; nor can the statement of the same writer that he was a printer be verified. He is staged with other members of the company in Marston’s Malcontent (1604), and appears as ‘Henry Condye’ in the verses on the burning of the Globe in 1613. He is assigned 26s. 8d. to buy a ring as Shakespeare’s ‘fellowe’ in his will of 1616, and appears also as a legatee in the will of Augustine Phillips in 1605, as trustee in that of Alexander Cooke in 1614, as executor and joint residuary legatee in that of Nicholas Tooley in 1623, under which also his wife and his daughter Elizabeth receive legacies, and as executor in that of John Underwood in 1625. By 1599 he was married and apparently settled in St. Mary Aldermanbury, where he held various parochial offices during 1606–21, and the register records his children: Elizabeth (bapt. 27 February 1599, bur. 11 April 1599), Anne (bapt. 4 April 1601, bur. 16 July 1610), Richard (bapt. 18 April 1602), Elizabeth (bapt. 14 April 1603, bur. 22 April 1603), Elizabeth (bapt. 26 October 1606), Mary (bapt. 30 January 1608, bur. from Hoxton at St. Leonard’s, Shoreditch, 24 March 1608), Henry (bapt. 6 May 1610, bur. 4 March 1630), William (bapt. 26 May 1611), Edward (bapt. 22 August 1614, bur. 23 August 1614).[942] Subsequently he had a ‘country house’ at Fulham, at which on 10 September 1625 a pamphlet written by certain players on their travels during the plague, as a reply to Dekker’s A Rod for Run-awayes, under the title of The Run-awayes Answer, was addressed to him, with an expression of gratitude for a ‘free and noble farewell’ which he had given the writers. At Fulham, too, on 13 December 1627, he made his will, leaving to his widow Elizabeth, his sons Henry and William, and his daughter Elizabeth, wife of Herbert Finch, much household property at Aldermanbury and elsewhere in London, including ‘rents and profits’ by ‘leases and terms of years’ of ‘messuages houses and places’ in Blackfriars and on the Bankside, which were to pass for a time to William and ultimately to the widow.[943] Condell had not been an original sharer in the house of the Globe, but by 1612 had acquired an interest jointly with Heminges; of the Blackfriars house he was an original sharer in 1608. The Sharers Papers of 1635 indicate that Mrs. Condell had held four-sixteenths of the Globe and one-eighth of the Blackfriars, but had transferred two-sixteenths of the Globe when Taylor and Lowin were admitted as sharers. A minor legacy in Condell’s will is to his old servant, Elizabeth Wheaton, of her ‘place or priviledge’ in the Globe and Blackfriars. Heminges and Cuthbert Burbadge are named as overseers. Condell was buried on 29 December 1627, and his widow on 3 October 1635, both at St. Mary Aldermanbury.[944]
COOKE, ALEXANDER, has been conjectured to be the ‘Sander’ who is cast in the ‘plot’ of The Seven Deadly Sins as played by Strange’s or the Admiral’s about 1590–1, for the parts of Videna in Envy and Progne in Lechery. But, as far as this goes, he might just as well be the ‘San.’ who took the part of a player in Taming of a Shrew (1594), ind. 1, which was a Pembroke’s play. Malone ‘presumes’, with some rashness, that he performed ‘all the principal female characters’ in Shakespeare’s plays.[945] It must be doubtful whether he was on the stage as early as 1592. He is traceable as a member of the King’s men in the casts of Sejanus (1603), Volpone (1605), Alchemist (1610), Catiline (1611), and The Captain (1612–13). The fact that in the first two of these his name occurs at the end of the lists has been somewhat hazardously accepted as an indication that he played women’s parts. He is also in the First Folio list of performers in Shakespeare’s plays. Augustine Phillips left him a legacy as his ‘fellow’ in 1605.
‘Mr. Cooke and his wife’ commend themselves to Alleyn in his wife’s letter of 21 October 1603.[946] The token-books of St. Saviour’s, Southwark, show an Alexander Cooke in Hill’s Rents during 1604, 1607, 1609, and 1610; and the parish register, recording the baptism of Francis Cooke, son of Alexander, ‘a player’, on 27 October 1605, makes an identification possible. There were three more children, Rebecca (bapt. 11 October 1607), Alice (bapt. 3 November 1611), Alexander (bapt. 20 March 1614). This last was posthumous; the register records Alexander Cooke’s burial on 25 February 1614.[947] His will, dated 3 January 1614, leaves £50 each to Francis, Rebecca, and the unborn child, and the residue to his wife.[948] He owned £50 ‘which is in the hand of my fellowes, as my share of the stock’. He appoints ‘my master Hemings’, to whom he had presumably been apprenticed, and Condell trustees for his children, and mentions brothers Ellis and John, of whom the latter is conjectured by Collier to be the author of Greene’s Tu Quoque.
COOKE, EDWARD. Chapel, 1509.
COOKE, LIONEL. Queen’s, 1583, 1588.
COOKE, THOMAS. Worcester’s, 1583.
COOKE, WILLIAM. Whitefriars lessee, 1608.
CORNISH, JOHN. Gentleman of Chapel, and pageant-master at wedding of Arthur in 1501.
CORNISH, KIT. A ‘ghost-name’ in Chapel records.
CORNISH, WILLIAM. Master of Song School, Westminster, 1479–80.
CORNISH, WILLIAM. Master of Chapel, 1509–23. Conceivably identical with the last, and in any case probably of the same family.
COWLEY, RICHARD, was of Strange’s men in 1593. He had played minor parts with that company or the Admiral’s in The Seven Deadly Sins of 1590–1, and is mentioned in Alleyn’s correspondence as travelling with the company. He joined the Chamberlain’s men, probably on their formation in 1594, and was payee for the company in 1601. The stage-directions to the Quarto (1600) and Folio texts of Much Ado about Nothing, IV. ii, show that he played Verges. He is in the 1603 and 1604 lists of the King’s men, and received a legacy from Augustine Phillips as his ‘fellow’ in 1605, but does not appear to have been a sharer in the houses of the Globe or Blackfriars. He is in the Folio list of performers in Shakespeare’s plays. He dwelt in Holywell, or for a short period in Alleyn’s Rents, both in the parish of St. Leonard’s, Shoreditch, whose register records his children, Robert (bapt. 8 March 1596, bur. (?) 20 March 1597), Cuthbert (bapt. 8 May 1597), Richard (bapt. 29 April 1598, bur. 26 February 1603), Elizabeth (bapt. 2 February 1602), as well as the funeral of his wife Elizabeth on 28 September 1616, and his own on 12 March 1619.[949] His will, dated on 13 January 1618, appoints his daughter Elizabeth Birch executrix and is witnessed by Heminges, Cuthbert Burbadge, Shank, and Thomas Ravenscroft, perhaps the madrigalist.[950]
CRANE, JOHN. A London player in 1550 (App. D, No. v).
CRANE, WILLIAM. Master of Chapel, 1523–45.
CROSSE, SAMUEL, is named amongst the performers of Shakespeare’s plays in the First Folio, but in no list of the Chamberlain’s or King’s men. Probably, therefore, he belongs to the very beginning of Shakespeare’s career, and is to be identified with the Crosse named by Heywood amongst famous actors of a generation before his time.[951]
CUMBER, JOHN. Anne’s, 1616–19. He lived in Aldermanbury in 1623, and died in that year (J. 347; Fleay, 279).
CURTEYS, JAMES. Chapel, 1509.
CUTLER, JAMES. Chapel, > 1605.
DABORNE, ROBERT. Revels patentee, 1610, and dramatist.
DANIEL, JOHN. Chamber of Bristol patentee, 1615–17.
DANIEL, SAMUEL. Allower of Revels’ plays, 1604, and dramatist.
DARLOWE. Admiral’s, >1590.
DAVIES, HUGH. Admiral’s (?), 1601 (H. ii. 255).
DAWES, ROBERT. Duke of York’s, 1610; Lady Elizabeth’s, 1614.
DAY, JOHN. Admiral’s (?), c. 1600. John, son of John Day, ‘player’, was baptized at St. Saviour’s, 3 June 1604 (B. 308; cf. ch. xxiii).
DAY, THOMAS. Chapel, 1601, 1602.
DOB. Admiral’s, 1598–1601.
DOWNTON (DOWTON, DOUTON (?), DOWTEN, DOWGHTON, DENYGTEN, DOUBTON), THOMAS. Strange’s, 1593; Admiral’s-Henry’s-Palsgrave’s, 1594–c. 1618. The St. Saviour’s registers record various family events, including the baptism of Christopher, son of Thomas Dowton ‘musycyon’ on 27 December 1592 and that of Thomas Dowton ‘baseborne, the supposed son of Thomas Dowton, a player’, 25 May 1600. He apparently married a vintner’s widow on 15 February 1618, became a vintner, and was still alive on 18 August 1622 (B. 316; H. ii. 262, 265). Dr. Greg regards him as one of the Dutton family.
DRAKE, ROBERT. A London player in 1550 (cf. App. D, No. v).
DRAYTON, MICHAEL. Whitefriars lessee, 1608, and dramatist.
DREWE, BARTHOLOMEW. A ‘player’, whose son George was baptized at St. Saviour’s on 12 November 1614 (B. 314).
DREWE, THOMAS. Anne’s, 1616–19.
DROM, THOMAS. Admiral’s, 1601.
DRUSIANO. Vide Martinelli.
DUKE, JOHN. Strange’s (?), 1590–1; Chamberlain’s, 1598; Worcester’s-Anne’s, 1602–9. Four children were baptized at St. Leonard’s, where he lived in Holywell Street, from July 1604 to January 1609 (H. ii. 265; Collier, Actors, xxxi).
DULANDT (DOWLAND?), ROBERT. Musician in Germany, 1623.
DUTTON, EDWARD. Admiral’s, 1597, with a boy ‘Dick’. Children of his were baptized at St. Saviour’s during 1600–2 (B. 326).
DUTTON, JOHN. Warwick’s, 1575–6; Oxford’s, 1580; Queen’s, 1583, 1588–91. Lincoln’s Inn paid him for musicians in 1567–8 (Walker, i. 362). There are family records of a John Dutton at St. Botolph’s, who is called ‘player’ in the entry of a daughter Elizabeth’s baptism of 3 July 1586 (B. 328).
DUTTON, LAURENCE. Lane’s, 1571–2; Clinton’s, 1572–5; Warwick’s, 1575–6; Oxford’s, 1580; Queen’s, 1589–91. It is curious that a John and a Laurence Dutton also appear as Court Messengers. I find a payment on 23 May 1578 to John for carrying letters to Antwerp (Pipe Office, Chamber Declared Account 541, m. 211v), and Laurence was paid for ‘sondry jorneys’ in 1561–2 (ibid. m. 39) and was during 1576–82 one of the regular Messengers of the Chamber in attendance on the Privy Council (Dasent, ix. 223, x. 223, 228, xi. 437, xii. 23, xiii. 135, 392, etc.). The ‘Edward’ Dutton of the last entry may be an error. In 1592 the Council (xxii. 493) recommended John the son of Laurence who had ‘of long tyme served her Majestie’ as Messenger, for admission as a Queen’s Scholar at Westminster. But this Laurence can hardly have been the actor, for he was acting as Messenger on 20 May 1580, while the affray for which Laurence the actor had been committed to the Marshalsea on 13 April was still uninquired into. Somewhat earlier a Thomas Dutton was employed as a post between Edward VI’s Council and Thomas Gresham in Antwerp, and was Gresham’s agent in Hamburg, c. 1571 (Burgon, Gresham, i. 109; ii. 421). It is easier again to conjecture than to prove a connexion between the actors and the house of Dutton, which had a hereditary jurisdiction over minstrelsy in Cheshire (cf. ch. ix), although in this the names John and Laurence both appear. It is perhaps an accident that two of the recorded visits of the Queen’s men to Lord Derby’s northern seats in 1588–90 synchronize with visits by a Mr. Dutton (Murray, ii. 296).
ECCLESTONE, WILLIAM, appears as a King’s man in the casts of The Alchemist (1610) and Catiline (1611). Mr. Fleay’s statement that he joined the company from the Queen’s Revels in 1609 rests upon a confusion with Field.[952] In 1611 he became a member of the Lady Elizabeth’s men, but left them in 1613 after playing in The Honest Man’s Fortune during that year. He returned to the King’s, and his name is found in the official lists of the company for 1619 and 1621 and in most of the casts of their plays, from Bonduca in 1613–14 to The Spanish Curate in 1622, as well as in the First Folio list of performers in Shakespeare’s plays. Nicholas Tooley forgave him a debt in his will of 3 June 1623. As he is not in the Caroline patent of 1625, he had probably died or retired by that date. He may be the W. E. who writes commendatory verses to The Wild-goose Chase in 1652. If he is also the ‘William Eglestone’ whose marriage to Anne Jacob is recorded in the register of St. Saviour’s, Southwark, on 20 February 1603, he lived to be an old man.[953]
EDMONDS, JOHN. Globe lessee, 1612; Chamber of Bristol, 1618–19. The St. Saviour’s registers record the marriage of a John Edmonds to Margaret Goodyere on 22 February 1600 and the baptism of children of John Edmonds, ‘player’, from 6 January 1605 to 17 July 1615 (B. 334). Probably the two are not identical and the player is the John Edmans who seems to have married his fellow-legatee, Mary Clarke, of the will of Thomas Pope (q.v.) in 1604.
EDWARDES, RICHARD. Master of Chapel, 1561–6, and dramatist.
EICHELIN. Germany, 1604.
ELDERTON, WILLIAM. One Elderton, dressed as a fool, played the part of one of the Lord of Misrule’s sons in George Ferrers’s Christmas revel of 1552–3 (Feuillerat, Edw. and Mary, 120; cf. Mediaeval Stage, i. 407). Conjecture may identify him with the Elderton who brought the Eton boys to Court on 6 January 1573 and the William Elderton who brought the Westminster boys on 1 January 1574, and with the rhyming William Elderton, some of whose ballads are preserved and reprinted in Collier, Old Ballads from Early Printed Copies (1842, Percy Soc.), 25, 45; H. Huth, Ancient Ballads and Broadsides (1867, Philobiblon Soc.); and H. L. Collman, Ballads and Broadsides (1912, Roxburghe Club); or recorded, with ballads against him, in the Stationers’ Register (Arber, i. 179, 180, 181, 199, 384, 403, 439; ii. 338, 363, 369, 388, 396, 399; cf. v. lxxvi), while his ‘ale-crammed nose’ and ‘rymes lying a steepe in ale’ are subject for much humour among the pamphleteers (Lyly, iii. 398; Nashe, i. 197, 256, 280; iii. 123, 133, 177, 354). Stowe (Survey, i. 272) makes him an attorney in the sheriff’s courts at the Guildhall about 1568, but he can hardly be the ‘master Elderton’ who sat as a justice at the Guildhall in a coining case of 1562 (Machyn, 290). He appears to have been dead by 1592 (Harvey, i. 163; Nashe, i. 280). A recent paper on Elderton by H. E. Rollins is in S. P. xvii (1920), 199.
ENGLISH, JOHN. Interluders, 1494–1531.
EVANS, HENRY. Blackfriars lessee, 1583, 1600–8; payee for Oxford’s, 1584; manager of Chapel, 1600–3. He was a scrivener, and overseer to the will of Sebastian Westcott, Master of Paul’s, in 1582.
EVANS, THOMAS. Blackfriars lessee, 1608.
EVESEED, HENRY. Chapel, >1585.
FARNABY, RICHARD. Musician in Germany, 1623.
FARRANT, RICHARD. Master of Children of Windsor, 1564–80; Acting Master of Chapel and Blackfriars lessee, 1576–80.
FERRABOSCO, ALFONSO. Italians, 1576, and Court musician (cf. ch. ii).
FETHERSTON, WILLIAM. Of Danby, Yorks., unlicensed player, 1612 (cf. ch. ix, p. 305).
FIDGE, WILLIAM. H. R. Plomer (3 Library, ix. 252) cites from a Canterbury record of 1571, ‘William Fidge and Whetstone owe the said [Robert] Bettes [a painter] for their portions in buying of certen playebookes 35s. 4d.’
FIELD, NATHAN, was the son of John Field, preacher and castigator of the stage (cf. App. C, No. xxxi), and was baptized at St. Giles’s, Cripplegate, on 17 October 1587 (Collier, iii. 425). His name is always spelt Nathan in formal contemporary documents, although he was familiarly known as Nat or Nid. But he appears in many reputable modern works of learning as Nathaniel. This error perhaps originated with the compilers of the 1679 Folio of Beaumont and Fletcher, who in four out of the six actor-lists in which his name is found used the form Nathan and in two (Loyal Subject and Mad Lover) Nathanael. It was certainly encouraged by a muddle of Collier, who finding in the Cripplegate registers that another son of John Field had been baptized Nathaniel on 13 June 1581, and not realizing that a cranky theological father might quite well use the names as distinct, thought it necessary to assume that this Nathaniel had died before 1587. As a matter of fact, he survived, was apprenticed to a stationer at Michaelmas 1596, took up his freedom on 3 June 1611, and between 1624 and 1627 published some books, including two sermons by a third brother, Theophilus Field, Bishop of Llandaff (McKerrow, Dict. 101). I need hardly linger over the suggestion that Nathan Field lived a double life as actor and bookseller. At this time of the apprenticeship he was not yet nine years old, and he was still a scholar of St. Paul’s Grammar School when, not earlier than 1600, he was impressed by Nathaniel Giles and his deputies to serve as one of the Children of the Chapel (Clifton v. Robinson in Fleay, 128). His education was not entirely interrupted, for he fell into the hands of Ben Jonson, who told Drummond in 1619 that ‘Nid Field was his schollar, and he had read to him the Satyres of Horace, and some Epigrames of Martiall’ (Laing, 11). Field remained a member of the Chapel and the Queen’s Revels throughout the vicissitudes of the company from 1600 to 1613. He is in the actor-lists of Cynthia’s Revels (1600), The Poetaster (1601), and Epicoene (1609), and presumably played Humfrey in K. B. P. (1607).[954] With his fellows he became absorbed into the Lady Elizabeth’s in March 1613, contracted with Henslowe and Meade on behalf of this company (Henslowe Papers, 23), acted as their payee in 1615, and appears in the actor-lists of The Coxcomb, The Honest Man’s Fortune, and Bartholomew Fair (1614), in the text of which Jonson compliments him (v. 3) as follows:
He seems to have been suspected by the company of taking bribes from Henslowe to connive at transactions contrary to their interest (Henslowe Papers, 88). Certainly he was in financial straits and on more than one occasion appealed to Henslowe to secure his release from an arrest (Henslowe Papers, 66, 67). Perhaps it was as a result of this friction with his fellows that he abandoned their amalgamation with Prince Charles’s men in 1615. Instead he joined, at or about this date, the King’s men, and appears as one in the actor-lists of The Loyal Subject, The Knight of Malta, The Queen of Corinth, and The Mad Lover. It must, I think, have been by a slip that Cuthbert Burbadge, in the Sharers Papers of 1635, spoke of him as joining the King’s with Ostler and Underwood in 1608 or 1609. It seems probable that Field brought with him to the King’s a share of the plays which had formed the repertory of the joint Lady Elizabeth’s and Queen’s Revels, including Chapman’s Bussy D’Ambois, in which a King’s prologue vaunts his success as Bussy. He did not stay with the company very long, for though he is in the patent of 27 March and the livery list of 19 May 1619, he is replaced by John Rice in the livery list of 7 April 1621. And as he does not appear and Rice does appear amongst the actors named in the stage-directions to Sir John von Olden Barnevelt in August 1619, it is probable that he had left in the course of the summer (M. L. R. iv. 395). If so, his departure synchronizes with a scandal which attached itself to his name. His moral character was hardly becoming to the son of a preacher. More than one manuscript commonplace book (e. g. Ashm. MS. 47, f. 49, which appears from the spelling of the name to be a late copy) contains an epigram with some such heading as On Nathaniell Feild suspected for too much familiarity with his Mris Lady May. And on 5 June 1619 Sir William Trumbull wrote from Brussels to Lord Hay (E. J. L. Scott in Athenaeum (1882), i. 103) that he was told that the Earl of Argyll had paid for the nursing of a child, ‘which the world sayes is daughter to my lady and N. Feild the Player’. Lady Argyll was Anne, daughter of Sir William Cornwallis of Brome. Field’s later life is obscure. There is an unimportant jest about him in John Taylor’s Wit and Mirth (1629). He was married to a wife Anne, and had children baptized and buried at St. Anne’s, Blackfriars, during 1619–25. If another epigram, printed by Collier, iii. 437, can be trusted, he very properly suffered from jealousy. In relevant register entries the name is given as Nathan. The Blackfriars registers give children both of Nathan and of Nathaniel Field, and on 20 February 1633 occurs the burial of Nathaniel Field, whom, if the entry does not indicate that the confusion of persons had already begun, we are bound to take to be the bookseller. There is no reason why both brothers should not have resided in Blackfriars.
Field was dramatist, as well as actor. In addition to the two plays published under his single name, he collaborated with Massinger in The Fatal Dowry, which was a King’s play and not likely, therefore, to fall outside the dates 1616–19. And as the Henslowe correspondence (Henslowe Papers, 65, 84) show him as collaborating also with Fletcher, Massinger, and Daborne for the Lady Elizabeth’s, he has been conjectured as a possible sharer in the authorship of several of the plays of the Beaumont and Fletcher series. He also, about the time of his joining the King’s, wrote a defence of the stage, in the form of a remonstrance to Mr. Sutton, a preacher of St. Mary Overies (App. C, No. lxiii). A portrait of Field is at Dulwich.
FLETCHER, LAWRENCE. Scotland, 1595, 1599, 1601; Admiral’s (?), 1596; King’s, 1603. Although included as a King’s man in the royal patent, there is no reason to suppose that Fletcher ever joined the company acting at the Globe; the absence of his name from the actor-list in the Shakespeare F1 of 1623 is strong evidence that he did not. He lived in St. Saviour’s, where he had a homonym, a victualler, who survived him. One of the two is shown by the token-books as housed in Hunt’s Rents, Maid Lane, during 1605–7; probably this was the actor, who was buried on 12 September 1608. The description ‘Lawrence Fletcher, a man: in the church’ of the register is amplified in a fee-book to ‘Lawrence Fletcher, a player, the King’s servant, buried in the church, with an afternoon’s knell of the great bell, 20s.’ (Collier, Memoirs of the Actors1, x; Rendle, Bankside, xxvii).
FLOWER. Admiral’s (?), c. 1600.
FOSTER, ALEXANDER. Lady Elizabeth’s, 1611, 1618; Charles’s, 1616.
FREYERBOTT, BARTHOLOMEUS. Germany, 1615.
FRITH, MOLL. It appears to be suggested in the Epilogue to The Roaring Girl (cf. ch. xxiii, s.v. Dekker) that this lady was to appear in person on the Fortune stage, c. 1610.
FROST, JOHN. Chapel, 1601.
GARLAND, JOHN. Queen’s, 1583, 1588; Lennox’s, 1605; Duke of York’s, 1610. He appears to have dwelt in 1605 at ‘the ould forde’ (H. ii. 267).
GARLICK. In I. H., This World’s Folly (1615), an actor of this name is apparently said to have personated himself on the Fortune stage, ‘behung with chaynes of Garlicke’ (App. C, No. lix); cf. Dekker, If This be not a Good Play (1610–12), sc. x (ed. Pearson, iii. 325), ‘Fortune fauours no body but Garlicke, nor Garlike neither now, yet she has strong reason to loue it; for tho Garlicke made her smell abhominably in the nostrills of the gallants, yet she had smelt and stuncke worse but for garlike’; H. Parrot, Laquei Ridiculosi (1613), Epig. 131, ‘Greene’s Tu Quoque and those Garlicke Jigs’; in Tailor, Hog Hath Lost his Pearl (1614, ed. Dodsley4, p. 434), a jig will draw more whores ‘than e’er Garlic had’.
GARRET, JOHN. Anne’s, 1619.
GEDION. Admiral’s, 1602.
‘GERRY.’ King’s Revels, 1607.
GEW. A blind player, referred to in 1 Ant. Mellida (1599), ind. 142, ‘’t had been a right part for Proteus or Gew. Ho! blind Gew would ha’ done ’t rarely, rarely’; E. Guilpin, Skialetheia (1598), Sat. v, ‘One that for ape tricks can put Gue to schoole’, and Epig. xi, ‘Gue, hang thy selfe for woe, since gentlemen Are now grown cunning in thy apishness’; Jonson, Epig. cxxix, ‘Thou dost out-zany Cokely, Pod; nay, Gue.’ Pod was a puppet-showman.
GIBBS. Admiral’s, 1602.
GIBSON, RICHARD. Interluders, 1494–1508; afterwards Yeoman of the Revels.
GILBURNE, SAMUEL, is recorded in the First Folio list of performers in Shakespeare’s plays. All that is known of him beyond this is that Augustine Phillips left him as his ‘late apprentice’ in his will of 1605 the sum of 40s., various garments, and a bass viol. Collier’s inference that he could play on the viol is a fairly harmless example of biographical conjecture.[955] The identification of him with the ‘b[oy?] Sam’ of the ‘plot’ of The Dead Man’s Fortune, a play probably belonging to the Admiral’s, and of a date not later than 1591, is more dangerous.[956]
GILES, NATHANIEL. Master of Windsor Choir, 1595–1634; Master of Chapel, 1597–1634.
GILES, THOMAS. Master of Paul’s, 1585–1590 <; Instructor in Music to Henry, 1606, and Charles, 1613.
GOODALE, BAPTISTE. ‘Ghost-name’ (?) in Queen’s list (1589) forged by Collier, New Facts, ii.
GOODALE, THOMAS. Berkeley’s, 1581; Strange’s (?), 1590–1; Chamberlain’s (?) at date of Sir Thomas More (cf. ch. xxiv). If he is the Thomas Goodale, mercer, who entered with John Alleyn and Robert Lee into a bond to Edward Alleyn on 18 May 1593 (H. ii. 295, from Dulwich MS. iv. 29), he was not improbably connected with the Admiral’s >1590.
GOUGHE or GOFFE, ROBERT, was probably the ‘R. Go.’ entered in the ‘plot’ of The Seven Deadly Sins, as playing Aspasia in Sloth for the Admiral’s or Strange’s men about 1590–1. Probably he belonged at an early date to the King’s men. He is a legatee in Thomas Pope’s will of 22 July 1603, and witnessed that of Augustine Phillips on 4 May 1605, in which Phillips names a sister Elizabeth Goughe, doubtless the Elizabeth —— recorded in the register of St. Saviour’s, Southwark, as marrying Robert Gough on 13 February 1603. The token-books of St. Saviour’s indicate Gough’s residence in Hill’s Rents during 1604, Samson’s Rents during 1605 and 1606, and Austin’s Rents in 1612–22; and the registers, which generally call him a ‘player’, record his children Elizabeth (bapt. 30 May 1605), Nicholas (bapt. 24 November 1608), Dorothy (bapt. 10 February 1611, bur. 12 January 1613), Alexander (bapt. 7 August 1614), and his own burial on 19 February 1624.[957] His son Alexander became in his turn a player. A stage-direction to l. 1723 of The Second Maiden’s Tragedy (1611) shows that he played Memphonius. He also played Leidenberch in Sir John von Olden Barnevelt in 1619, and appears in the official lists of the King’s men for 1619 and 1621 and in the First Folio list of performers in Shakespeare’s plays.
GOUGHE, THOMAS. Lane’s, 1572.
GRACE, FRANCIS. Henry’s-Palsgrave’s, 1610–22. He lived at George Alley, Golden Lane, in 1623 (J. 347).
GRAUNGER, JOHN. Chapel, 1509.
GREAVES, JOHN. Lane’s, 1572.
GREEN, JOHN. Germany, 1608; France, >1608; Holland, 1613; Germany, 1615–20, 1626. On his verses and portrait, 1608, cf. ch. xxiv, s.v. Nobody and Somebody. He may have been brother of the following.
GREENE, THOMAS. Anne’s, 1604–12. In R. Braithwaite, Remains after Death (1618) are four epigrams on him, one of which says that he ‘new come from sea, made but one face and dide’. A couplet on his death, signed W. R., is in Cooke’s Greene’s Tu Quoque. I. H., World’s Folly (1615), mentions his performance of a baboon (cf. App. C, No. lix). He was of St. James’s, Clerkenwell, in 1612, when he made his will (Fleay, 192), naming his wife Susan, daughter Honor, sons-in-law (i.e. stepsons) Robert and William Browne, daughters-in-law Susanna, Elizabeth, and Anne Browne, brothers John and Jeffery Greene, and sister Elizabeth Barrett. A conjecture that he was of Stratford origin has no foundation (Lee, 54).
GREUM, HENRY. Germany, 1608.
GRIFFEN. Admiral’s, 1597.
GRIGORIE, JACK. Admiral’s, 1602.
GRYMES, THOMAS. Chapel, 1600–1.
GUNNELL, RICHARD. Palsgrave’s, 1613–22. Family notes appear in the registers of St. Giles’s, 1614–30 (B. 409).
GYLLOME, FOKE. Player (?) to Alexander Houghton, 1581 (cf. ch. ix, p. 280).
GYRKE, RICHARD. A London player in 1550 (App. D, No. v).
HALLAWAIE, ‘the younger’. Paul’s, 1580.
HAMLEN (HAMLETT), ROBERT. Lady Elizabeth’s, 1611–13; Charles’s, 1616, 1625.
HAMMOND, JOHN. Interluders, 1494.
HAMOND. Worcester’s, 1565.
HARRISON, JOHN. A ‘player’ whose daughter Suzanna by wife Anne was baptized at St. Helen’s on 10 January 1602.
HARRISON, WILLIAM. Worcester’s, 1583.
HARVEY. Chamberlain’s, 1597.
HAWKINS, ALEXANDER. Blackfriars lessee, 1601; Revels patentee, 1604.
HAYNE, WILLIAM. Head Master of Merchant Taylors’, 1599–1625.
HAYSELL, GEORGE. Worcester’s, 1583. For a possible notice of the same man, cf. ch. xxiv, s.v. Misogonus.
HEARNE, THOMAS. Admiral’s, 1597.
HELLE, JOHN. Admiral’s, 1597.
HEMINGES, JOHN, whose name is variously spelt, appearing, for example, as ‘Heminge’ in his signature to the dedication of the First Folio of Shakespeare’s plays, and as ‘Hemmings’ in the actor-list in the same volume, is known to have had a wife Rebecca, and may fairly be identified with the ‘John Hemminge, gent.’ of St. Mary Cornhill, who was married on 10 March 1588 to Rebecca Knell, widow, relict of William Knell, gent., late of St. Mary Aldermanbury. In the same parish William Knell had married Rebecca Edwards on 30 January 1586, and an older William Knell had been buried on 24 September 1578.[958] One of these was not improbably the early actor celebrated by Heywood. Malone found a family of Heming at Shottery, and conjectured that of this family John was born at some date earlier than the opening of the Stratford-on-Avon register in 1558.[959] But this is rendered improbable by a confirmation of arms in 1629 to ‘John Hemings of London Gent. of long tyme Servant to Queen Elizabeth of happie Memory, also to King James hir Royal Successor and to King Charles his Sonne’, in which he is described as ‘Sonne and Heire of George Hemings of Draytwiche in the Countye of Worcester Gent.’[960] There seems little reason to doubt that this John Hemings is the player. He very probably began his theatrical career with the Queen’s company, to which also Knell had belonged. By May 1593, however, he had joined Strange’s men, from whom he passed to the Chamberlain’s men, probably on the original formation in 1594. Of this company, afterwards the King’s men, he remained a member to the end of his career. He appears in all the official lists of the company up to 1629, and regularly acted as their payee for Court performances, generally with a colleague from 1596 to 1601, and thereafter alone. This and his prominence in the negotiations of the company and the lawsuits arising out of them, suggest that he acted as their business manager. As an actor he appears in all the casts up to Catiline in 1611, but not thereafter; possibly he may have resigned acting, and devoted himself to business. The unreliable John Roberts, Answer to Pope (1729), conjectures that he was a ‘tragedian’. Malone had seen a statement in some tract of which he had forgotten the title, that he was the original performer of Falstaff.[961] The lines on the burning of the Globe in 1613 thus describe him:
He is ‘old Master Hemings’ in Jonson’s Masque of Christmas (1616). He lent his ‘boy’ John Rice (q.v.) to the Merchant Taylors for their entertainment of James on 16 July 1607, and another ‘boy’ for Chapman’s mask of 1613. He is named as a legatee and overseer in the will of Augustine Phillips in 1605, and as executor in the event of the widow’s re-marriage; also as a trustee in the will of Alexander Cooke, who calls him his ‘master’, in 1614; as a witness in that of Richard Cowley in 1618; as a legatee in that of Shakespeare in 1616; and as a legatee and overseer in those of Underwood in 1624 and of Condell in 1627. He was appointed a trustee for Shakespeare’s Blackfriars property in 1613,[962] and acted with Condell as editor of the First Folio of the plays in 1623. This fact is probably the origin of the statement of Roberts that he was engaged with Condell in business as a printer. He filled various parochial posts from 1608 to 1619 in St. Mary’s, Aldermanbury, and the registers contain records of the following children: Alice (bapt. 10 November 1590, married John Atkins 11 February 1612), Mary (bapt. 26 May 1592, bur. 9 August 1592), Judith (bapt. 29 August 1593), Thomasine (bapt. 15 January 1595), Joan (bapt. 2 May 1596), John (bapt. 12 August 1599), Beavis (bapt. 24 May 1601), William (bapt. 3 October 1602), George (bapt. 12 Feb. 1604), Rebecca (bapt. 4 February 1605), Elizabeth (bapt. 6 March 1608), Mary (bapt. 21 June 1611, bur. 23 July 1611).[963] In the same parish ‘John Heminge, player’ was himself buried on 12 October 1630, beside his wife Rebecca, who preceded him on 2 September 1619. He is registered as a ‘stranger’ and was therefore probably residing elsewhere. In his will, made on 9 October, he describes himself as ‘citizen and grocer of London’, appoints his son William executor and trustee for his unmarried and unadvanced children, and Cuthbert Burbadge and ‘Mr. Rice’, possibly the actor, overseers, and leaves legacies to his daughters Rebecca, wife of Captain William Smith, Margaret, wife of Mr. Thomas Sheppard, who is not mentioned in the register, Elizabeth, and Mrs. Merefield, and to his son-in-law Atkins ‘and his now wife’, and his grandchild Richard Atkins. He also leaves 10s. for a ring ‘unto every of my fellows and sharers, his majesties servants.[964] William Heminges went to Westminster and Christ Church, and became a playwright.[965] Unnamed in the will is Thomasine, who may have been dead, but certainly had quarrelled seriously with her father. She had married William Ostler of the King’s men in 1611 and her son Beaumont was baptized at St. Mary’s, Aldermanbury, on 18 May 1612. Ostler died intestate on 16 December 1614 in possession of shares in the leases both of the Globe and the Blackfriars. These passed of right to Thomasine as his administratrix, and formed all the provision left for her maintenance and her husband’s debts. The leases, however, passed into the hands of Heminges, who retained them and asserted that Ostler had created a trust, of which Thomasine declared that she knew nothing. On 20 September 1615 she entered a bill in Chancery against her father, and subpœnaed him to appear during the coming Michaelmas term. On 26 September Heminges promised that if she would withdraw her suit, and would also ‘doe her dutie’ to him and to her mother Rebecca, he would satisfy her to the value of the shares. Thomasine states that on the same day kneeling and in tears she made her submission at her father’s house in Aldermanbury. She also stayed her suit, but Heminges, although called upon to fulfil his promise on 5 October, failed to do so, and on 9 October Thomasine brought a common law action against him for damages to the amount of £600, which she estimated to be the value of the shares.[966] The issue of the case is unknown, but it would seem probable from the Sharers Papers of 1635 that Heminges succeeded in retaining the shares, and that at his death they passed to his son William. Professor Wallace states that in 1616 Thomasine Ostler was involved in another lawsuit with Walter Raleigh, son of Sir Walter, and obtained a verdict of £250 against him for insult and slander. One way and another, Heminges seems to have acquired a considerable financial interest in the Globe and Blackfriars. He had an original seventh of a moiety of the Globe lease in 1599, and an original seventh of the Blackfriars lease in 1608. But as executor to Phillips (q.v.) and otherwise he had opportunities of adding to these holdings. The Sharers Papers show that at his death he had four sixteenths of the Globe and probably two eighths of the Blackfriars; and these, or some of them, he had enjoyed ‘thirty yeeres without any molestacion, beeing the most of the sayd yeeres both player and houskeeper, and after hee gave over playing diverse yeeres’. In Witter v. Heminges and Condell he is described as being in 1619 of ‘greate lyveinge wealth and power’.[967] The play-house shares seem to have been the chief part of the property left by his will. They passed to William Heminges as his executor. He seems to have gradually disposed of them, first selling one share in the Globe by arrangement with the company to Taylor and Lowin, and later, by transactions which some of his fellows resented, one share in each house to John Shank during 1633 for £156, and the remaining shares also to John Shank during 1634, for £350. He was then in difficulties, and Shank disbursed additional small sums to him in prison. It was these sales to Shank which brought about the petition to the Lord Chamberlain recorded in the Sharers Papers.
HENSLOWE, FRANCIS. Queen’s, 1594; Lennox’s, 1605. He was son of Richard and nephew of Philip Henslowe, and various entries in the diary and other Dulwich MSS. record his imprisonments, more than once on criminal charges, his employment during 1593–4 in his uncle’s pawnbroking, and his loans, one of which on 1 June 1595 was of £9 ‘to laye downe for his hallfe share with the company which he dothe playe with all’ (H. i. 6), conceivably, as Dr. Greg suggests, some company other than the Queen’s, in which he had already acquired a half share in 1594. He dwelt in the Clink in 1594, took a house called the Upper Ground on Bankside in 1597, and was of St. George’s, Southwark, in 1606, in which year, between 30 March and 6 October, both he and his wife died (H. ii. 277).
HENSLOWE, PHILIP. Owner of Rose, Fortune, Hope, and perhaps lessee of Whitefriars; cf. ch. xi.
HERIOT, HENRY. Interluders, 1547–52.
HEYWOOD, JOHN. For his possible connexion with Paul’s, cf. ch. xii, s.v. Chapel.
HEYWOOD, THOMAS. Admiral’s, 1598; Worcester’s Anne’s, 1602–19, and dramatist.
HINSTOCK, ROBERT. Interluders, 1538–51.
HOBBES, THOMAS. Charles’s, 1610, 1616–25. He lived at the upper end of Shoreditch in 1623 (J. 348).
HOLE, RICHARD. Interluders, 1526–30.
HOLLAND, J. Strange’s (?), 1590–1.
HOLT, JAMES. Anne’s, 1604–19.
HOLT, JOHN. A ‘momer’, who helped the Westminster boys in 1561, probably identical with the Yeoman of the Revels of that name (cf. ch. iii), who helped them in 1564–5.
HOLZHEW, BEHRENDT. Germany, 1614–15.
HOVELL, WILLIAM. Licensee for 2 King’s Revels, 1615.
HOWARD, THOMAS. A ‘player’ named in St. Saviour’s records c. 1600 (Rendle, Bankside, xxvi).
HUDSON, RICHARD. Weaver of Hutton Bushell, Yorks, unlicensed player, 1612 (cf. ch. ix, p. 305).
HÜLL, JOHN. Germany, 1600–1.
HUNNIS, JOHN. A ‘ghost-name’ by an error for the following.
HUNNIS, WILLIAM. Master of Chapel, 1566–97, and dramatist.
HUNT (HONTE), THOMAS. Admiral’s, 1599, 1602; Lady Elizabeth’s, 1611 (H. ii. 285).
HUNTLEY, DICK. Actor in Summer’s Last Will and Testament (vide l. 14).
HUSE, RICHARD. Paul’s chorister, >1582.
IVY, NICHOLAS. Chapel, 1509.
JEFFES, ANTHONY. Chamberlain’s (?), 1597; Pembroke’s, 1597; Admiral’s-Henry’s, 1597–>1613. Anthony, son of Richard Jeffes, baptized at St. Saviour’s, Southwark, on 14 December 1578, may be the same who married Faith Jones there on 19 February 1601. Children of Anthony Jeffes ‘player’ are recorded in the registers of St. Giles’s, Cripplegate, from 11 June 1602 to 1 May 1609; in later entries from 30 May 1610 to 30 October 1616, Anthony is called ‘brewer’ (H. ii. 286; Bodl.).
JEFFES, HUMPHREY. Chamberlain’s (?), 1597; Pembroke’s, 1597; Admiral’s-Henry’s-Palsgrave’s, 1597–1616<. He was buried at St. Giles’s, 21 August 1618. A daughter Mary was baptized at St. Saviour’s, 25 January 1601 (H. ii. 287; Collier, Actors, xxx).
JOHNSON, WILLIAM. Leicester’s, 1572–4; Queen’s, 1583, 1587–8. The baptismal entries at St. Giles’s include on 10 February 1587 ‘Comedia, baseborne daughter of Alice Bowker, and, as she saithe, the father’s name is William Johnson, one of the Queen’s plaiers’, and the burials on 3 March 1593 ‘Comedia, daughter of William Johnson, player’. Is he the William Johnson, vintner, who was trustee of Shakespeare’s Blackfriars property 1613–18 (Lee, 459, 493)?
JONES, RICHARD. Worcester’s, 1583; Admiral’s (?), >1589; Germany, 1592–3; Admiral’s, 1594–6; Pembroke’s, 1597; Admiral’s, 1597–1602; Revels patentee, 1610; Germany (?), 1615; Germany, 1620, 1622–4. His wife Harris inherited a lease of the Leopard’s Head in Shoreditch from her father in 1620. A Richard Jones is traceable in the Southwark token-books from 1588 to 1607 and may or may not be the same who married Anne Jube there on 14 February 1602 (H. ii. 288; H. P. 94; Bodl.).
JONES, ROBERT. Germany, 1602; Porter’s Hall patentee, 1615.
JONNS, DANIEL. Denmark, 1586.
JONSON, BENJAMIN. Pembroke’s (?), 1597; Chamberlain’s (?), c. 1598; and dramatist.
JUBY, EDWARD. Admiral’s-Henry’s-Palsgrave’s, 1594–1618, Fortune lessee, 1618. An Edward Juby is traceable during 1598 to 1619 in the token-books of St. Saviour’s, Southwark. In the last year he is marked ‘dead’, and his burial was registered on 20 November 1618. In 1610 and 1614 he filled parish offices. He may fairly be identified with the ‘player’ whose children occur in the registers from 3 June 1599 to 15 September 1614. His widow Francis held his share of the Fortune lease in 1622 (H. ii. 290; Rendle, Bankside, xxvi; Bodl.).
JUBY, RICHARD. Admiral’s, 1602. His son Richard was baptized at St. Saviour’s, Southwark, on 1 May 1602 (Bodl.).
JUBY, WILLIAM (?). Admiral’s, 1599–1602 (H. ii. 290).
JUGLER, RICHARD. A London player in 1550 (cf. App. D, No. v).
KEMP, JOHN. Germany, 1601.
KEMPE, WILLIAM, cannot be securely identified or connected with any one of various homonyms who have been traced in D. N. B. and elsewhere.[968] He probably emerges as one of Leicester’s men in the Low Countries during 1585–6 and thence made his way to Denmark. He was in London and had already won a comic reputation by 1590 when the dedication of An Almond for a Parrat (Nashe, iii. 341), ‘To that most Comicall and conceited Caualeire Monsieur du Kempe, Jestmonger and Vice-gerent generall to the Ghost of Dicke Tarlton,’ tells how the anonymous author, possibly Nashe, had been asked by ‘that famous Francatrip’ Harlicken’ at Bergamo in the previous summer, whether he knew ‘any such Parabolano here in London as Signior Chiarlatano Kempino’ of whose ‘pleasance’ Harlicken had heard ‘report’. In Four Letters Confuted (1592) Nashe says of an action of Harvey’s, ‘Will Kempe, I mistrust it will fall to thy lot for a merriment, one of these dayes’ (i. 287). An example of Kempe’s merriments is to be found in sc. xii of A Knack to Know a Knave (1594) played by Strange’s men, to whom Kempe belonged by 1593. He was also famous for his jigs. Four of these are entered in the Stationers’ Register during 1591–5 (cf. ch. xviii) but are not preserved, and ‘Kemps jiggs’ is the heading to some music collected by John Dowland and preserved in Camb. Univ. Libr. MS. Dd. ii. 11 (cf. Halliwell, MS. Rarities, 8). Marston (iii. 372), Scourge of Villainy (1598), sat. xi. 30, ‘the orbs celestial Will dance Kempe’s jig,’ and E. Guilpin, Skialetheia (1598), sat. v, ‘Whores, bedles, bawdes, and sergeants filthily Chaunt Kemps Jigge, or the Burgonians tragedy,’ show his vogue. In 1594–5 he was one of the recently constituted Chamberlain’s men and the intrusion of his name into stage-directions to R. J. iv. 5. 102 (Q2) and M. Ado, iv. 2, shows that he played Peter in the one play and Dogberry in the other. Oddly enough, one of his speeches (iv. 2. 4) in M. Ado is assigned to ‘Andrew’, possibly a generic name for a clown or ‘merry-Andrew’. He is in the actor-list of Every Man in his Humour (1598) but not in that of Every Man out of his Humour (1599), and this fact, together with his sale of his share in the Globe soon after the lease of 21 February 1599 was signed, points to his leaving the company. ‘Would I had one of Kemps shooes to throw after you,’ says a speaker in E. M. O. IV. v (q.v.). This may be an allusion to some clownery by Kempe, perhaps in a performance with some other company at the Curtain in the autumn of 1599 after the Chamberlain’s left that house; or, less probably, to Kempe’s famous morris-dance for a wager from London to Norwich, at the end of which he hung his buskins in the Guildhall, for this began on 11 February 1600 and ended on 11 March, the year being fixed by the mayoralty (1599–1600) of Roger Weld at Norwich. Another allusion to ‘Kemps morice’ is in Jack Drum’s Entertainment (1600), i. 45. Dudley Carleton wrote to John Chamberlain on 13 October 1600 (S. P. D. Eliz. cclxxv. 93) that on his way from Witham to Englefield ‘we met a company of mad wenches, whereof Mrs. Mary Wroughton and young Stafford were ringleaders, who travelled from house to house, and to some places where they were little known, attended with a concert of musicians, as if they had undertaken the like adventure as Kemp did from London to Norwich’. Kempe’s own account of his adventure was entered in the Stationers’ Register as ‘Kemps morris to Norwiche’ on 22 April 1600 (Arber, iii. 160). In the Epistle to Anne Fitton, whom, possibly by confusion with her sister Mary, he describes as maid of honour to Elizabeth, he refers to unentered ballads on the subject, and when he says that ‘I haue daunst my selfe out of the world’ is not improbably jesting on his departure from the Globe. At the end he foreshadows crossing to Calais, which he no doubt did. A John Kemp, who was in charge of a touring company, which had been in Holland and reached Münster by November 1601, may have been a relative. But William Kempe had returned to England, after visiting Italy as well as Germany, on 2 September 1601, as is shown by the following interpolation in a diary of one William Smith of Abingdon, in Sloane MS. 414, f. 56 (wrongly cited by Halliwell, Ludus Coventriae 410, as Sloane MS. 392, f. 401; cf. F. J. Furnivall in N.S.S. Trans. 1880–6, 65):