[914] F. Bischoff in Mittheilungen des hist. Vereins für Steiermark, xlvii. 127; cf. p. 282.
[915] De Bry, India Orientalis (1613), xii. 137, ‘Angli ludiones per Germaniam et Galliam vagantur’.
[916] Alleyn’s life is more fully dealt with than is here possible in G. F. Warner and F. Bickley, Catalogue of Dulwich MSS. (1881, 1903); G. F. Warner in D. N. B. (1885); W. Young, History of Dulwich College (1889); W. W. Greg, Henslowe Papers (1907), Henslowe’s Diary, vol. ii (1908). An earlier treatment of the material is that by J. P. Collier, Memoirs of Edward Alleyn (1841), Alleyn Papers (1843). On an account by G. Steevens in Theatrical Review (1763) with a forged letter from Peele to Marlowe, cf. Lee, 646.
[917] Dulwich Muniments, 106.
[918] Cf. ch. xiv.
[919] Henslowe Papers, 34, from Dulwich MSS., i. 9–15; Edward to Joan Alleyn, 2 May 1593; Henslowe to Edward Alleyn, 5 July 1593; Edward to Joan Alleyn, 1 August 1593; Henslowe to Edward Alleyn, c. August 1593; Henslowe to Edward Alleyn, 14 August 1593; Henslowe to Edward Alleyn, 28 September 1593; John Pyk (Alleyn’s ‘boy’) to Joan Alleyn, c. 1593. Later letters of 4 June and 26 September 1598 from Henslowe to Edward Alleyn and of 21 October 1603 from Joan to Edward Alleyn are in Henslowe Papers, 47, 59, 97.
[920] Works, i. 215, 296.
[921] Henslowe Papers, 32. The verses on the same theme in Collier, Memoirs, 13, are forged.
[922] Dekker, Plays, i. 280.
[923] Epigrammes (1599), iv. 23:
[924] Heywood, Apology, 43.
[925] Fuller, Worthies (ed. 1840), ii. 385.
[926] S. Rowland, Knave of Clubs (1609), 29:
[927] Heywood, Epistle to The Jew of Malta (1633), ‘the part of the Jew presented by so vnimitable an Actor as Mr Allin’; and Prologue,
[928] E. Guilpin, Skialetheia (1598), Epig. xliii,
[929] Henslowe Papers, 155.
[930] For this myth, cf. ch. xxiii, s.v. Marlowe.
[931] Tarlton, 22, ‘How Tarlton made Armin his adopted sonne, to succeed him’. The earliest extant edition of Tarlton’s Jests is that of 1611, but the Second Part, here quoted, was entered in S. R. on 4 Aug. 1600.
[932] Extract in Halliwell-Phillipps, i. 321; the unique copy of this edition is described in his Calendar of Shakespeare Rarities (1887), 145.
[933] Reprinted in the Shakespeare Society’s Fools and Jesters (1842).
[934] Variorum, iii. 159, 241, 242; M. S. C. i. 345.
[935] Jeaffreson, ii. 107, 110, 114, 120, 128, 220.
[936] Harleian Soc. Registers, ix. 62; xvii. 131.
[937] Collier, Actors, xxxi.
[938] M. S. C. i. 344.
[939] McKerrow, Nashe, i. 255.
[940] Collier, iii. 364.
[941] The biographical material collected by C. C. Stopes, Burbage and Shakespeare’s Stage (1913), is supplemented by the lawsuit records in C. W. Wallace, The First London Theatre, Materials for a History (1913, Nebraska University Studies, xiii. 1).
[942] Variorum, iii. 199, 476; Collier, iii. 367; P. C. Carter, Hist. of St. Mary Aldermanbury, 9, 11, 21, 58, 86, 87.
[943] Variorum, iii. 200, from P. C. C.; Collier, iii. 376.
[944] Collier, iii. 376, 380.
[945] Varioram, iii. 211.
[946] Henslowe Papers, 61.
[947] Collier, iii. 406; Rendle, Bankside, xxvi.
[948] Variorum, iii. 482, from P. C. C.; Collier, iii. 409.
[949] Collier, iii. 389.
[950] H. R. Plomer in 10 N. Q. vi. 368, from London Archdeaconry Wills, vi, f. 22.
[951] Heywood, Apology, 43.
[952] Fleay, 190; cf. The Sharers Papers.
[953] Collier, iii. 457; Rendle, Bankside, xxvi.
[954] K. B. P. i. 104, ‘Were you neuer none of Mr. Monkesters schollars?’
[955] Collier, iii. 411.
[956] Fleay, 85; Greg, Henslowe Papers, 133.
[957] Collier, iii. 473; Rendle, Bankside, xxvii.
[958] Variorum, iii. 472; Chester, London Marriage Licenses.
[959] Variorum, iii. 187.
[960] Ibid. 188.
[961] Ibid. 187.
[962] Halliwell-Phillipps, i. 31.
[963] Variorum, iii. 198, 475; Collier, iii. 308; P. C. Carter, St. Mary, Aldermanbury, 11, 58, 86, 87. Malone misread Beavis as Beatrice. An earlier John (1598) and a Swynnerton (1613) died as infants.
[964] Variorum, iii. 191.
[965] D. N. B. s.v.; Wood, Athenae, iii. 277.
[966] O. v. H. 16; cf. C. W. Wallace, in The Times for 2 and 4 Oct. 1909.
[967] N. U. S. x. 311.
[968] Kemps Nine Daies Wonder. Performed in a Daunce from London to Norwich (1600) is reprinted with a biography by A. Dyce (1840, Camden Soc.) and in Arber, English Garner2, ii (Social England), 139, and E. Goldsmid, Collectanea Adamantea, ii (1884). Dissertations are J. Bruce, Who was ‘Will, my Lord of Leycester’s Jesting Player’? (1844, Sh. Soc. Papers, i. 88); B. Nicholson, Kemp and the Play of Hamlet (N. S. S. Trans. 1880–6, 57); Will Kemp (1887, Sh.-Jahrbuch, xxii. 255).
[969] Collier, iii. 391.
[970] Ibid. 395.
[971] Ibid. 396.
[972] Ibid. 397; Bodl.; Rendle, Bankside, xxvi.
[973] Norman, 91.
[974] For further details of his later career, cf. Collier and D. N. B.
[975] Downes, 24.
[976] Wright, 10.
[977] Variorum, iii. 211; Collier, iii. 403.
[978] Halliwell-Phillipps, i. 317.
[979] Collier, iii. 423.
[980] Henslowe, ii. 302; Henslowe Papers, 36, 41.
[981] Collier, iii. 322, 325; Rendle, Bankside, xxv.
[982] Variorum, iii. 470.
[983] S. Lee in Nineteenth Century for May 1906, quoting a manuscript by Smith in private hands, with the title A Brief Discourse of ye causes of Discord amongst ye Officers of arms and of the great abuses and absurdities comitted by painters to the great prejudice and hindrance of the same office. Northampton did not get his title until 1604.
[984] Collier, iii. 323.
[985] N. U. S. x. 308, 312; cf. ch. xvi (Globe).
[986] Henslowe, i. 72.
[987] Variorum, iii. 506; Collier, iii. 363.
[988] Collier, iii. 358; Rendle, Bankside, xxvi.
[989] Henslowe, i. 178; ii. 303.
[990] Cf. s.v. Phillips.
[991] Collier, iii. 488; J. 348; Bodl.
[992] Variorum, iii. 514; P. Cunningham in Sh. Soc. Papers, ii. 11; Collier, iii. 478.
[993] Halliwell-Phillipps, i. 314.
[994] Collier, iii. 482; Rendle, Bankside, xxvi.
[995] Collier, iii. 483.
[996] App. I (ii).
[997] Collier, iii. 481.
[998] Henslowe, i. 29.
[999] Henslowe Papers, 120.
[1000] Collier, iii. 381.
[1001] Variorum, iii. 477; Collier, iii. 385.
[1002] N. U. S. x. 317; O. v. H. 32.
[1003] J. O. Halliwell, Tarlton’s Jests ... With ... some Account of the Life of Tarlton (1844, Sh. Soc.; the Jests are reprinted with a few additions in Hazlitt, Jest-Books, ii. 189) and Papers respecting Disputes which arose from Incidents at the Death-bed of Richard Tarlton, the Actor (1866).
[1004] Collier, iii. 460; Rendle, Bankside, xxvi.
[1005] C. W. Wallace, Globe Theatre Apparel (1909).
[1006] M. L. Review, iv. 395, from Hist. MSS. iv. 299.
[1007] Downes, 21.
[1008] Wright, Hist. Hist. 405.
[1009] S. P. D. 1637–8, p. 99.
[1010] Cunningham, l.; Variorum, iii. 238.
[1011] Cunningham, l.; Wright, Hist. Hist. 411.
[1012] Variorum, iii. 484, from P. C. C.
[1013] Collier, iii. 447.
[1014] Henslowe, i. 152; Henslowe Papers, 61.
[1015] Collier, iii. 451.
[1016] Variorum, iii. 214.
[1017] Collier, iii. 443.
[1018] Halliwell-Phillipps, i. 313.
[1019] Mediaeval Stage, i. 383; ii. 184, 190, 380. It is, of course, doubtful whether the ‘theatrum nostrae civitatis’ at Exeter was permanent.
[1020] Ordish, 12, attempts to affiliate the ring type of baiting-place and theatre to Roman amphitheatres, Cornish ‘rounds’, and other circular places used for mediaeval entertainments. But a ring is so obviously the form in which the maximum number of spectators can see an object of interest, that too much stress must not be laid upon it as an evidence of folk ‘tradition’.
[1021] Cf. ch. xviii.
[1022] Mediaeval Stage, ii. 221.
[1023] G. Fothergill in 10 N. Q. vi. 287, from Guildhall MS. 1454, roll 70, ‘And wyth 22s 2d for money by them receyved for the hyer of Tryntie Halle for playes, the warmanthe [ward-moot] inquest and other assemblyes within the time of this accompt’.
[1024] Cf. ch. xxiii, s.v. Vennar.
[1025] Several galleried inns are illustrated in W. Rendle and P. Norman, The Inns of Old Southwark (1888), and by Ordish, 119 (Tabard), Baker, 200 (Four Swans), Adams, 4 (White Hart). Probably, however, none of these are pre-Restoration. The only ones still extant are the George in Southwark and a much later one in Theobalds Road (V. H. Surrey, iv. 128).
[1026] Mediaeval Stage, ii. 190, 223.
[1027] Cf. ch. ix.
[1028] Flecknoe tells us c. 1664 (App. I) that the actors, ‘about the beginning of Queen Elizabeth’s reign ... set up Theaters, first in the City (as in the Inn-yards of the Cross-Keyes, and Bull in Grace and Bishops-Gate Street at this day is to be seen)’.
[1029] Cf. App. C, No. xvii.
[1030] App. C, Nos. xv, xvii; App. D, No. xxii.
[1031] Cf. s.v. Hope.
[1032] K. D. Hassler, Die Reisen des Samuel Kiechel (1866) 29, ‘Werden auch täglichen commedien gehalten, sonderlichen ist lustig zu zusehen, wann der Königen comedianten agiren, aber einem frembden, der düe sprach nicht kan, verdrüslich, das ers nicht verstöth; es hat öttliche sonderbare heüser, wölche dozu gemacht sein, das ettwann drey genng ob ein ander sein, derowegen stöts ein grosse menge volckhs dohin kompt, solcher kurzweil zuzusehen. Es begibt sich wol, das süe uf einmal 50 in 60 dalr ufhöben; sonderlichen wann süe was neyes agiren, so zuvor nicht gehalten worden, mues mann doppelt gelt gebenn, und wehrt solchs vast alle tag durch düe wochen, onangesehen es freytag wüe auch samstags zu halten verbotten, würt es doch nicht gehalten.’ Cf. Rye, 87. Kiechel appears to have been in London from 12 Sept. to about 29 Oct. and from 14 to 17 Nov. 1585.
[1033] Lambarde, Perambulation of Kent (1596), 233. The passage is not in the first edition of 1576.
[1034] Mediaeval Stage, ii. 222; cf. ch. xiii (Oxford’s).
[1035] P. 2. Malone, in Variorum, iii. 46, refers the event to a date soon after 1580; but there is no justification for this in the text.
[1036] Cf. p. 477.
[1037] Rye, 216, from Itinerarium in Beckmann, Accessions Historiae Anhaltinae (1716), 165:
[1038] Text by H. B. Wheatley, On a Contemporary Drawing of the Interior of the Swan Theatre, 1596 (N. S. S. Trans. 1887–92, 215), from Utrecht Univ. Library MS. Var. 355, ff. 131v, 132, with facsimile reproduction of drawing. The passage was first made known by K. T. Gaedertz, Zur Kenntniss der altenglischen Bühne (1888). The reproduction of the drawing published by Gaedertz and further reproduced from him in many modern books is not an exact facsimile; the only material difference is that the engraver has made the figure at the door of the loft rather more obviously a man than it is in the original. Letters of the early part of the seventeenth century from de Witt to Buchell, who was his fellow-student at Leyden in 1583, are also in the Utrecht Library (Gaedertz, 57). The last sentence of the passage appears from ‘narrabat’ to be a report by Buchell either of something not directly copied by him or of de Witt’s conversation; but the rest is pretty clearly from ‘ea quae alio loco a me notata sunt’ a verbatim extract from a manuscript of de Witt’s own. If so, ‘adpinxi’ further shows that the eye-witness of de Witt and not the imagination of Buchell is the source of the drawing. Gaedertz, 63, indeed suggests that the drawing is an original given by de Witt to Buchell, but as Wheatley, 219, points out, this is impossible, as the paper is the same as that used in the rest of the volume. There remains the question of date. De Witt is traceable at Amsterdam in Nov. 1594, at Utrecht in the winters of 1595 and 1596, and in 1599, and at Amsterdam again in March 1604 (Gaedertz, 58). His visit to London obviously falls between Nov. 1594, when the Swan was still only an intention, and Dec. 1598, when the Theatre was pulled down. Gaedertz, 55, puts it in the summer of 1596, largely because Shakespeare, whom he thinks de Witt would certainly have mentioned if he had met him, may have been in Stratford about that time. This is hopeless. Nor does the further suggestion of Gaedertz that a lameness from which de Witt was suffering in Dec. 1596 was due to his travels carry much conviction. But he is not likely, before that year, to have appended the words ‘Ao. 1596’ to his notice of Sir John Burgh’s tomb. If this is intended to be the date, not of his visit, but of the tomb, it is an error. Camden, Reges ... in Ecclesia ... West-monasterii sepulti (1600), gives the final words of the inscription as ‘G. B. A. M. P. anno Dom. 1595’, and although the tomb itself has disappeared since 1868 and some modern guides date it 1594 or 1598, Camden is confirmed by J. C[rull], Antiquities of Westminster (1711), 198. Burgh’s death, also given on the monument, was 7 March ‘1594’. On the whole 1596 is the most probable date for de Witt’s visit. Arend van Buchell was himself a traveller, and his Diarium has been edited (1907) by G. Brom and L. A. van Langeraad. But he did not visit England.
[1039] The emendation is due to Wallace (E. S. xliii. 356). Adams, 168, suggests that ‘cijn’ is Flemish for ‘swan’, but the dictionary gives ‘zwaen’, which is perhaps what de Witt wrote.
[1040] Cf. plan of the manor in Rendle, Bankside, i.
[1041] Cf. p. 456.
[1042] Hentzner, 196.
[1043] Survey (ed. Kingsford), i. 93. In 1603 the words ‘as the Theater, the Curtine, &c.’ are omitted from the body of the passage.
[1044] Survey, ii. 73. This passage was omitted altogether in 1603. The early draft in Harl. MS. 538 (Kingsford, ii. 369) runs, ‘Neare adjoyning are builded two houses for the shewe of Activities, Comedies, tragedies and histories, for recreation. The one of them is named the Curtayn in Holy Well, the other the Theatre.’
[1045] G. Binz in Anglia, xxii. 456 (from Platter’s narrative written in 1604–5 of his travels in 1595–1600, now in the Basle University Library): ‘Den 21 Septembris nach dem Imbissessen, etwan umb zwey vhren, bin ich mitt meiner geselschaft [:v]ber dz wasser gefahren, haben in dem streüwinen Dachhaus die Tragedy vom ersten Keyser Julio Caesare mitt ohngefahr 15 personen sehen gar artlich agieren; zu endt der Comedien dantzeten sie ihrem gebrauch nach gar [:v]berausz zierlich, ye zwen in mannes vndt 2 in weiber kleideren angethan, wunderbahrlich mitt einanderen.
Auf ein andere Zeitt hab ich nicht weit von unserem wirdtshaus in der Vorstadt, meines behaltens an der Bischofsgeet, auch nach essens ein Comoedien gesehen, da presentierten sie allerhandt nationen, mit welchen yeder zeit ein Engellender vmb ein tochter kempfete, vndt vberwandt er sie alle, aussgenommen den teütschen, der gewan die tochter mitt kempfen, satzet sich neben sie, trank ihme deszwegen mit seinem diener ein starken rausch, also dasz sie beyde beweinet wurden, vndt warfe der diener seinem Herren den schu an kopf, vnndt entschliefen beyde. Hiezwischen stige der engellender in die Zelten, vnndt entfuhret dem teütschen sein gewin, also [:v]berlistet er den teütschen auch. Zu endt dantzeten sie auch auf Englisch vnndt Irlendisch gar zierlich vnndt werden also alle tag vmb 2 vhren nach mittag in der stadt London zwo biszweilen auch drey Comedien an vnderscheidenen örteren gehalten, damitt einer den anderen lustig mache, dann welche sich am besten verhalten, die haben auch zum meisten Zuhörer. Die örter sindt dergestalt erbauwen, dasz sie auf einer erhöchten brüge spilen, vnndt yederman alles woll sehen kan. Yedoch sindt vnderscheidene gäng vnndt ständt da man lustiger vnndt basz sitzet, bezahlet auch deszwegen mehr. Dann welcher vnden gleich stehn beleibt, bezahlt nur 1 Englischen pfenning, so er aber sitzen will, lasset man ihn noch zu einer thür hinein, da gibt er noch 1d, begeret er aber am lustigesten ort auf kissen ze sitzen, da er nicht allein alles woll sihet, sondern auch gesehen kan werden, so gibt er bey einer anderen thüren noch 1 Englischen pfenning. Vnndt tragt man in wehrender Comedy zu essen vndt zu trinken vnder den Leüten herumb, mag einer vmb sein gelt sich also auch erlaben.
Die Comedienspiler sindt beim allerköstlichsten vnndt zierlichsten bekleidet, dann der brauch in Engellandt, dasz wann fürnemme herren oder Ritter absterben, sie ihren dieneren vast die schönesten kleider verehren vndt vergaben, welche, weil es ihnen nicht gezimpt, solche kleider nicht tragen, sondern nachmahlen, den Comoedienspileren vmb ein ringen pfenning ze kaufen geben.
Was für zeit sie also in dem Comoedien lustig alle tag können zubringen, weisset yeglicher woll, der sie etwan hatt sehen agieren oder spilen....
... Midt solchen vndt viel anderen kurtzweilen mehr vertreiben die Engellender ihr zeit, erfahren in den Comedien, wasz sich in anderen Landen zutraget, vndt gehendt ohne scheüchen, mann vndt weibs personen an gemelte ort, weil mehrtheils Engellender nicht pflegen viel ze reysen, sondern sich vergnügen zehausz frembde sachen ze erfahren vnndt ihre kurtzweil ze nemmen.’
[1046] C. A. Mills in The Times (11 April 1914) from the travels of ‘a foreign nobleman, to be published by J. A. F. Orbaan from a Vatican MS.’. Mills says that the visit was to the Globe, but the passage quoted does not exclude the Rose or Swan.
[1047] G. von Bülow in 2 R. Hist. Soc. Trans. (1892), vi. 6, 10, from MS. penes Count von der Osten of Plathe, Pomerania; cf. Wallace, Blackfriars, 105, who identifies the Samson play, rightly, with that of the Admiral’s men at the Fortune (cf. p. 180), and that at the Blackfriars, wrongly I think, with Chapman’s The Widow’s Tears. He assumes that the theatre visited on 13 Sept, was the Globe, but it might have been the Rose.
[1048] ‘13. Den 13 ward eine comedia agirt, wie Stuhl-Weissenburg erstlich von den Türken, hernacher von den Christen wiederum erobert....
14. Auf den Nachmittag ward eine tragica comoedia von Samsone und dem halben Stamm Benjamin agirt. Als wir zu dem Theatro gingen ...’.
[1049] Cf. ch. xii (Chapel).
[1050] Grosart, Dekker, iv. 210 (S. R. July 1608, printed 1609). The ‘two houses’ are, of course, those of York and Lancaster. Note the final puns.
[1051] Cf. ch. x. Fynes Moryson says in his Itinerary, iii. 2. 2 (c. 1605–17), ‘The Theaters at London in England for Stage-plaies are more remarkeable for the number, and for the capacity, than for the building,’ and in the continuation (c. 1609–26, C. Hughes, Shakespeare’s Europe, 476), ‘The Citty of London alone hath foure or fiue Companyes of players with their peculiar Theaters capable of many thousands, wherein they all play euery day in the weeke but Sunday.... As there be, in my opinion, more Playes in London than in all the partes of the worlde I haue seene, so doe these players or Comedians excell all other in the worlde.’