[755] M. Röchell, Chronik, in J. Janssen, Gesch. des Bisthums Münster (1852), iii. 174; Cohn, cxxxiv (misdated 1599); Sh.-Jahrbuch, xxxvi. 274.

[756] Henslowe Papers, 31. Greg, Henslowe, ii. 8, disposes of the confusion between Robert Browne and Alleyn’s step-father, John Browne.

[757] Cohn, xxxi. There seems nothing to connect the Andreas Röthsch who appeared at Leipzig in July 1591 with Browne, or even to justify the conjecture (Sh.-Jahrbuch, xlv. 311) that he was English.

[758] L. Ph. C. van den Bergh, ’s Gravenhaagsche Bijzonderheden (1857), 51 from Hague Archives; Cohn, xxviii. A letter from R. Jones to Alleyn (Henslowe Papers, 33), often assigned to this date, seems to me probably to belong to 1615: cf. p. 287.

[759] Another Admiral’s passport is printed in Rye, 47.

[760] G. van Hasselt, Arnhemsche Oudheden, i (1803), 244, naming Robert Bruyn, Johan Bradsdret, Thomas Saxwiell, Richardus Jonas, and Everhart Sauss.

[761] Bolte in Sh.-Jahrbuch, xxxiii. 104.

[762] Mentzel, 23.

[763] Cf. vol. i, p. 343.

[764] Sh.-Jahrbuch, xxi. 247.

[765] Archiv, xiv. 116.

[766] Mentzel, 25.

[767] Henslowe, i. 29.

[768] Cohn, xxxiii, xxxviii; Goedeke, ii. 519; Herz, 8. A conventional clown, variously called ‘Jahn Clam’, ‘Jahn Posset’, ‘Jahn der Engelländische Narr’, &c., also appears in plays, from 1596 onwards, by Jacob Ayrer of Nuremberg, who has other debts, including the ‘jig’, to the English players (Cohn, lxi; Goedeke, ii. 545).

[769] Sh.-Jahrbuch, xxiii. 103.

[770] Archiv, xii. 320; xiii. 316; xiv. 118; xv. 115; Mentzel, 26, 37. Herz, 34, points out that about this date the Duke of Brunswick’s Ehebrecherin and Vincentius Ladislaus were played in Frankfort, probably by these men. They are referred to at length by Marx Mangoldt, Markschiffs-Nachen (1597), in a passage beginning:

Herz, 34, also assigns to the company anonymous appearances at Ulm, Munich, and Tübingen in 1597 (Archiv, xii. 319; xiii. 316; xv. 212).

[771] Cohn, xxxiv.

[772] Cf. p. 279.

[773] Cohn, xxxiv.

[774] Herz, 37; T. Coryat, Crudities, ii. 291. Cf. also Ein Discurss von der Frankfurter Messe (1615):

[775] Cohn, xxxiv; Sh.-Jahrbuch, xl. 342.

[776] Henslowe Papers, 37.

[777] Cohn, xviii, lvii; Goedeke, ii. 522; Duncker, Landgrave Moritz von Hessen und die Englischen Komödianten in Deutsche Rundschau, xlviii. 260.

[778] Sh.-Jahrbuch, xiv. 361.

[779] Cohn, lviii; Herz, 13.

[780] Könnecke in Z. f. vergleichende Litteralurgeschichte, N. F. i. 85.

[781] Hatfield MSS. v. 174. Browne was also the agent for a similar transaction licensed on 11 July 1597 (S. P. D. Eliz. cclxiv).

[782] Archiv, xiv. 117; xv. 114.

[783] Rommel, vi. 390, from Cassel archives, ‘Robert Brown und John Wobster begleiteten ihn’. The payment therefore on behalf of the Admiral’s men about Oct. 1596 ‘to feache Browne’ (Henslowe, i. 45) is not very likely to refer to Robert.

[784] Cohn, lviii; Duncker, 265.

[785] Mentzel, 41.

[786] Archiv, xv. 115. Herz, 17, assigns to them, conjecturally, performances by ‘Englishmen’ at Memmingen, Cologne, Munich, Ulm, and Stuttgart during 1600. But the wording of the Strassburg documents suggests a continuous stay.

[787] On 21 Oct. 1603 Joan Alleyn wrote to Edward Alleyn (Henslowe Papers, 59), ‘All the companyes be come hoame & well for ought we knowe, but that Browne of the Boares head is dead & dyed very pore, he went not into the countrye at all’. Obviously this is not Robert Browne, who lived many years longer. But it may have been a relative, as Lord Derby’s men are very likely to have preceded Worcester’s at the Boar’s Head. There was at least one other actor of the name, Edward Browne, and possibly more (cf. ch. xv).

[788] Mentzel, 46.

[789] Mentzel, 45, 48; Archiv, xiv. 119. A performance at Dresden in Oct. 1600, assigned to them by Herz, 38, is anonymous.

[790] Mentzel, 48.

[791] Duncker, 267, from chronicle of Wilhelm Buch, ‘Anno 1602 hat er die Engländer alle mit einander von sich gejagt und des springens und tanzens müde geworden’.

[792] Mentzel, 50.

[793] Mentzel, 51; Bolte, Das Danziger Theater, 34.

[794] Archiv, xv. 117.

[795] Mentzel, 52.

[796] Mentzel, 50; Archiv, xiv. 122.

[797] The Frankfort archives call them ‘Thomas Blackreude’ and ‘Johannes Fheer’, which has prevented their identity with Worcester’s men from being noticed.

[798] Mentzel, 51.

[799] Mentzel, 53; Archiv, xv. 117. Herz, 18, assigns to Browne anonymous appearances by Englishmen at Strassburg in June 1601, Ulm in Nov. 1602, Nördlingen in May 1605, and Ulm in May and June 1605. At Nördlingen a play from the prophet Jonah, possibly Greene and Lodge’s Looking Glass for London and England, was given.

[800] Archiv, xv. 120. Coryat, ii. 183, saw him at Strassburg in 1608.

[801] Mentzel, 53; Meissner in Sh.-Jahrbuch, xix. 125; Archiv, xiii. 320; Duncker, 268. The Ottonium was named after Maurice’s son Otto, the friend of Prince Henry Frederick, who paid a visit to England in 1611 (Rye, 141).

[802] Archiv, xiv. 124.

[803] Cohn, lviii; R. P. Wülcker in Sh.-Jahrbuch, xiv. 360.

[804] Mentzel, 53.

[805] Henslowe Papers, 63.

[806] Bolte, 35.

[807] This might be Heywood’s King Edward IV.

[808] F. von Hurter, Gesch. Kaiser Ferdinands II, v. 395.

[809] The Proud Woman of Antwerp might be the lost piece by Day and Haughton.

[810] Meissner, 74, and in Sh.-Jahrbuch, xix. 128; cf. pp. 284–6. The text of Nobody and Somebody is printed from a manuscript at Rein by F. Bischoff in Mittheilungen des hist. Vereins für Steiermark, xlvii. 127. I think it is just possible that the companies of 1608 and 1617 may have been Spencer’s. There seem to have been Saxoni, as well as Angli, playing. These do not seem to have constituted a distinct company, and are perhaps more likely to have been with Spencer than with Green. Spencer, as well as Green, was in relations with the imperial court in 1617; cf. p. 290. But I think that the evidence of the Rein manuscript is fairly decisive in favour of Green.

[811] This may have been Green himself. A drawing of a red-haired actor, in the traditional get-up of Nobody, is on the Rein manuscript.

[812] Mentzel, 54, 55, 56, 58.

[813] Archiv, xiv. 125; xv. 215. Herz, 41, ascribes to them anonymous appearances at Ulm, Nördlingen, and Augsburg. John Price, afterwards well known as a musician at Dresden and Stuttgart, is said to be recorded at Stuttgart in 1609 (Cohn, cxxxviii), and may have been with the Hessian company.

[814] Cohn, lix; Duncker, 272.

[815] Meissner, 46; Duncker, 272. Herz, 41, ascribes to them anonymous appearances at the wedding of the Margrave John George, brother of the Elector of Brandenburg, and the Princess Christina of Saxony at Jägerndorf in July, and at Nuremberg and Ulm in November.

[816] Cohn, lix, without reference. Herz, 41, adds an anonymous performance of The Merchant of Venice at the Court of Margrave Christian of Brandenburg at Halle.

[817] Archiv, xiv. 126.

[818] Duncker, 273.

[819] Archiv, xiii. 319. If this is the company which, according to Alvensleben, Allgemeine Theaterchronik (1832), No. 158, played Daniel, The Chaste Susanna, and The Two Judges in Israel at Ulm in 1602, the identification with the company found at Nördlingen and Rothenburg is assisted.

[820] Cohn, lxxvii, from Erhard Cellius, Eques Auratus Anglo-Wirtembergicus (1605); cf. Rye, cvii.

[821] Archiv, xi. 625; xiii. 70. They also played Daniel in the Lions’ Den, Susanna (? by Henry Julius of Brunswick or another version), The Prodigal Son, A Disobedient Merchant’s Son (? The London Prodigal), Charles Duke of Burgundy, Annabella a Duke’s Daughter of Ferrara (? Marston’s Parasitaster), Botzarius an Ancient Roman, and Vincentius Ladislaus (? by Henry Julius of Brunswick). Three of these plays (Romeo and Juliet, The Prodigal Son, and Annabella) are in the repertories of John Green; cf. p. 285.

[822] Archiv, xiv. 122.

[823] Zeitschrift für vergleichende Litteraturgeschichte, N. F. vii. 61. They played in 1604 Daniel in the Lions’ Den, Melone of Dalmatia, Lewis King of Spain, Celinde and Sedea, Pyramus and Thisbe, Annabella a Duke’s Daughter of Montferrat; and in 1606 Charles Duke of Burgundy, Susanna, The Prodigal Son, A Disobedient Merchant’s Son, An Ancient Roman, Vincentius Ladislaus. The Nördlingen and Rothenburg companies must be the same. Celinde and Sedea, however, is found in a repertory, not of Green, but of Spencer; cf. p. 289.

[824] Herz, 42, 65.

[825] A. van Sorgen, De Tooneelspeelkunst in Utrecht.

[826] Bolte, 41, 47. Herz, 27, conjectures that these may have been the English players at Wolfenbüttel in May 1615; cf. p. 277.

[827] Schlager, 168; Meissner in Sh.-Jahrbuch, xix. 139.

[828] Cohn, xciii; cf. p. 282 as to the inference that Green was at Gräz in 1607–8.

[829] Archiv, xiv. 129.

[830] Archiv, xv. 120.

[831] Mentzel, 60.

[832] Bolte, 51.

[833] Herz, 22, from Wolter, 97.

[834] Mentzel, 61; Meissner, 65.

[835] Archiv, xiv. 130; Mentzel, 61.

[836] Herz, 30, from Wolter, 97; A. van Sorgen, De Tooneelspeelkunst in Utrecht.

[837] Herz, 30.

[838] Goedeke, ii. 543, could find no copy of Musarum Aoniarum tertia Erato (Hamburg, 1611), the title-page of which claims ‘etlichen Englischen Comedien’ as a source.

[839] The last two plays have some kind of relation to Shakespeare’s Two Gentlemen of Verona and Titus Andronicus. Sidonia and Theagenes is a prose version of Gabriel Rollenhagen’s Amantes Amentes (1609). A supplement to the 1620 collection, with six other plays and two jigs, appeared as Liebeskampff oder Ander Theil der Englischen Comödien und Tragödien (1630), but none of these are traceable before the Thirty Years’ War.

[840] Cf. pp. 279, 281, 283. The Dresden list is in Cohn, cxv.

[841] Played at Nördlingen in 1604. Cohn, 309, prints a German version from a Vienna manuscript.

[842] Possibly Heywood’s The Silver Age.

[843] Green played at Gräz in 1608 ‘Von ein Herzog von Florenz der sich in eines Edelmann’s Tochter verliebt hat’. This seems too early for Massinger’s Great Duke of Florence, but suggests the same story.

[844] Possibly 1 Jeronimo.

[845] Possibly Dekker’s Patient Grissel.

[846] Played at Nördlingen and Rothenburg in 1604. Bolte, 177, prints from a Danzig manuscript a later German version based on Marston’s Parasitaster.

[847] Played by Green at Gräz in 1608, in a version extant in a Rein manuscript; a later one is in the 1620 collection. Cf. p. 282.

[848] Possibly Clyomon and Clamydes.

[849] Cohn, 236, prints a German version from a late copy.

[850] Possibly Robert Greene’s play.

[851] Played by Browne at Cassel in 1607; a text is in the 1620 collection.

[852] Probably Kyd’s Spanish Tragedy, played by Browne at Frankfort in 1601.

[853] Printed in the 1620 collection.

[854] Probably Dekker’s Virgin Martyr.

[855] Played by Green at Gräz in 1608.

[856] Possibly Robert Greene’s Alphonsus, King of Arragon or Mucedorus.

[857] Played by Green at Gräz in 1608. A version, related to Dekker’s Old Fortunatus, is in the 1620 collection.

[858] Played by an anonymous company at Halle in 1611; cf. p. 283. The Jew, played by Green at Passau and Gräz in 1607–8, might be either this play or The Jew of Malta. Dekker wrote a Jew of Venice, now lost; but a German version, printed by Meissner, 131, from a Vienna manuscript, is in part based on The Merchant of Venice.

[859] Could this be The Winter’s Tale?

[860] Green played The King of Cyprus and Duke of Venice at Gräz in 1608.

[861] Played at Nördlingen in 1604 and Rothenburg in 1606 and by Green at Passau and Gräz in 1607–8. A version is in the 1620 collection.

[862] Green played Dives and Lazarus at Gräz in 1608.

[863] Fleay, Sh. 307.

[864] Henslowe Papers, 33.

[865] Ibid. 94.

[866] Cf. ch. xvi, introd.

[867] C. F. Meyer in Sh.-Jahrbuch, xxxviii. 208.

[868] D. N. B. s.v. Giles Farnaby.

[869] Cf. pp. 279, 283.

[870] Cohn, lxxviii.

[871] Fürstenau, i. 76.

[872] Cf. p. 282. Herz, 44, identifies them with ‘English’ at The Hague (June 1606), Cologne (Feb. 1607), The Hague (April), Ulm (May), Nördlingen (June), and Munich (July).

[873] Wolter, 93.

[874] L. Schneider, Geschichte der Oper in Berlin, Beilage, lxx. 25; Fürstenau, i. 77.

[875] Cf. p. 283.

[876] Cohn, lxxxiv.

[877] Ibid. lxxxvii.

[878] Archiv, xiv. 128. Philole and Mariana may be Lewis Machin’s The Dumb Knight, and The Turk Mason’s play of that name. Celinde and Sedea had formed part of a repertory at Rothenburg in 1604 apparently related to those of Green; cf. p. 284. Spencer is not recorded to have played any other piece found in Green’s repertories.

[879] Archiv, xii. 320; xiv. 128.

[880] Schlager, 168; Elze in Sh.-Jahrbuch, xiv. 362; Meissner, 53, and in Sh.-Jahrbuch, xix. 120.

[881] Archiv, xiv. 129; Zeitschrift für vergl. Litt. vii. 64; Mentzel, 58.

[882] Archiv, xv. 118.

[883] Ibid. xii. 320; xiii. 322.

[884] Ibid. xv. 119.

[885] Ibid. xv. 215; cf. Herz, 48.

[886] Wolter, 96; Cohn in Sh.-Jahrbuch, xxi. 260; Cohn, xci, from Harl. MS. 3888, The Evangelic Fruict of the Seraphicall Franciscan Order.

[887] Archiv, xv. 119.

[888] Mentzel, 59.

[889] Cohn in Sh.-Jahrbuch, xxi. 261; Wolter, 96.

[890] Meissner, 59, and in Sh.-Jahrbuch, xix. 122.

[891] Cohn, lxxxviii.

[892] Ibid. lxxxiii; Mentzel, 54.

[893] Cohn in Sh.-Jahrbuch, xxi. 257; Wolter, 95.

[894] Archiv, xiv. 124; Mentzel, 54; Schlager, 168; Herz, 53.

[895] Cohn, xxxv; Bolte, 41.

[896] Cohn, xcii.

[897] Bolte, 51.

[898] Cohn, xcii; Meissner, 38, and in Sh.-Jahrbuch, xix. 122.

[899] Cf. pp. 275, 285.

[900] Archiv, xiv. 131.

[901] Ibid., xiii. 316; xiv. 116; Heywood, 60.

[902] Mentzel, 55. H. Chardon, La Troupe du Roman comique, 32, notices Maurice of Nassau’s company at Nantes in 1618 and Paris in 1625, but does not say that they were English.

[903] Archiv, xiii. 317; xiv. 121.

[904] Cohn, lxxvii.

[905] Sh.-Jahrbuch, xlv. 311.

[906] Cohn in Sh.-Jahrbuch, xxi. 253.

[907] Cf. p. 273.

[908] Pellicer, i. 80, citing the records of the Madrid hospital, ‘en 11 de Enero de 1583 voltearon unos ingleses en el Corral de la Pacheca’. The original record is probably lost, as it is not with those of 1579–82, 1590, and 1601–2 published from the Archivo de la Diputacion provincial de Madrid by C. Pérez Pastor in the Bulletin Hispanique (1906) and reprinted by Rennert, 345.

[909] E. Soulié, Recherches sur Molière, 153; cf. Rigal, 46; Jusserand, Shakespeare in France, 51.

[910] Henslowe, i. 114.

[911] Soulié et de Barthélemy, Journal de Jean Héroard, i. 88, 91, 92.

[912] H. C. Coote in Intermédiaire des Chercheurs et Curieux, ii. 105; cf. 5 N. Q. ix. 42. The idea was that ‘Tiph, toph’ represented a reminiscence of 2 Henry IV, II. i. 205, ‘This is the right fencing grace, my lord; tap for tap, and so part fair’. The phrase ‘tiff toff’ occurs in brackets in a speech of Crapula while he beats Mendacio in Lingua (Dodsley,⁴ ix. 434). Collier explains it as hiccups; Fleay, ii. 261, on the authority of P. A. Daniel, as an Italian term for the thwack of stage blows.

[913] E. Fournier, Chansons de Gaultier Garguille, lix, and L’Espagne et ses Comédiens en France au xvii^e Siècle (Revue des Provinces, iv. 496), cites H. Ternaux in Revue Françoise et Étrangère, i. 78, for statements that the head of the English at Fontainebleau was Ganassa, who in Spain had had a mixed company of English, Italians, and Spanish, and on 11 Jan. 1583 had a share in the receipts of a troupe of English volteadores. I have not been able to see the work of M. Ternaux, who does not inspire confidence by calling Ganassa Juan instead of Alberto. There seems to be nothing to connect Ganassa with the volteadores of 1583, except the fact that the Corral de la Pacheca where they played was leased to him for nine or ten years in 1574 (Rennert, 29), and they may therefore have paid him rent. His troupe in 1581–2, as given by Rennert, 479, consisted entirely of Italians, with two Spanish musicians. He is said to have been in Spain in 1603 (Pellicer, i. 57, 72; Rennert, 30), but there is nothing to show that, if so, he went on to France. But Héroard tells us that there was a Spanish rope-dancer at Fontainebleau in 1604, and a very obscure passage in his diary suggests that this Spaniard was really an Irishman. Irish marauders (voleurs) were then giving trouble in Paris, which led Louis to say ‘Ce voleur qui voloit sur la corde étoit Irlandois?’ and Héroard comments, ‘Il étoit vrai; il accommoda le mot de voleur à l’autre signification, il l’avoit vu voler à Fontainebleau’ (Journal, i. 90, 126).