The Project Gutenberg eBook of The Elizabethan Stage (Vol 4 of 4), by E. K. Chambers

Title: The Elizabethan Stage (Vol 4 of 4)

Author: E. K. Chambers

Release Date: November 17, 2022 [eBook #69371]

Language: English

Produced by: Tim Lindell, Karin Spence and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries)

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THE ELIZABETHAN STAGE
VOL. IV

Oxford University Press

London  Edinburgh  Glasgow  Copenhagen

New York  Toronto  Melbourne  Cape Town

Bombay  Calcutta  Madras  Shanghai

Humphrey Milford Publisher to the University

DESIGN BY INIGO JONES FOR THE COCKPIT THEATRE AT WHITEHALL

NOW IN THE LIBRARY OF WORCESTER COLLEGE OXFORD

THE ELIZABETHAN STAGE

BY E. K. CHAMBERS.

VOL. IV

OXFORD: AT THE CLARENDON PRESS

M.CMXXIII

Printed in England

I have found it convenient, especially in Appendix A, to use the symbol < following a date, to indicate an uncertain date not earlier than that named, and the symbol > followed by a date, to indicate an uncertain date not later than that named. Thus 1903 < > 23 would indicate the composition date of any part of this book. I have sometimes placed the date of a play in italics, where it was desirable to indicate the date of production rather than publication.

The documents from J. R. Dasent, Acts of the Privy Council (1890–1907), are reprinted by permission of the Controller of His Majesty’s Stationery Office.

[Here I bring together, giving them the same treatment as the individual works in ch. xxiii, pieces of which the authorship, as regards the whole or a large part, is unknown or conjectural. They are grouped as (A) Plays, (B) Masks, (C) Receptions and Entertainments. It has been convenient, for the sake of classification, to include in the third group a few which might alternatively have been brought into ch. xxiii under the name of a part-author or describer.]

A. PLAYS

An Alarum for London > 1600

S. R. 1600, May 27. ‘Allarum to London’ is included in a memorandum of ‘my lord chamberlens menns plaies Entred’ and noted as entered on this day to J. Roberts (Arber, iii. 37).

1600, May 29. ‘The Allarum to London, provided that yt be not printed without further Aucthoritie.’ John Roberts (Arber, iii. 161).

1602. A Larum for London, or The Siedge of Antwerpe. With the ventrous actes and valorous deeds of the lame Soldier. As it hath been playde by the right Honorable the Lord Chamberlaine his Seruants. For William Ferbrand. [Prologue and Epilogue.]

Editions by R. Simpson (1872), J. S. Farmer (1912, T.F.T.), and W. W. Greg (1913, M.S.R.).

The play has been ascribed to Shakespeare by Collier, to Shakespeare and Marston by Simpson, and to Lodge by Fleay, Shakespeare, 291, but no serious case has been made out for any of these claims. Bullen, Marlowe, 1, lxxiv, says that Collier had a copy with doggerel rhymes on the t.p. including the line,

which Bullen calls ‘a very ridiculous piece of forgery’.

Albion Knight > 1566

S. R. 1565–6. ‘A play intituled a merye playe bothe pytthy and pleasaunt of Albyon knyghte.’ Thomas Colwell (Arber, i. 295).

Fragment in Devonshire collection.

[The t.p. is lost, but the seventeenth-century play lists (Greg, Masques, xlvii) include an interlude called Albion. A fragment on Temperance and Humility, conjecturally assigned by Collier, i. 284, to the same play, is of earlier printing by thirty years or so (M.S.C. i. 243).]

[2]

Editions by J. P. Collier (1844, Sh. Soc. Papers, i. 55) and W. W. Greg (1910, M. S. C. i. 229).—Dissertations: M. H. Dodds, The Date of A. K. (1913, 3 Library, iv. 157); G. A. Jones, The Political Significance of A. K. (1918, J. G. P. xvii. 267).

Collier suggests that this was the play disliked at court on 31 Dec. 1559, but, as Fleay, 66, points out, that would hardly have been licensed for printing. Dodds thinks it motived by the Pilgrimage of Grace (1536–7) and written shortly after.

Alice and Alexis

A fragment (to iii. 1) of a play on the loves of Alice and Alexis, thwarted by Tanto, with an argument of the whole, is in Douce MS. 171 (Bodl. 21745), f. 48^v. The date ‘1604’ is scribbled amongst the pages. The manuscript also contains sixteenth-century accounts. There seems nothing to connect this with Massinger’s Alexius, or the Chaste Lover, licensed by Herbert on 25 Sept. 1639 and apparently included in Warburton’s list of burnt plays (3 Library, ii. 232, 249).

Alphonsus, Emperor of Germany > 1636

S. R. 1653, Sept. 9. ‘A play called Alphonso, Emperor of Germany, by John Poole.’ H. Moseley (Eyre, i. 428).

1654. The Tragedy of Alphonsus Emperour of Germany. As it hath been very often Acted (with great applause) at the Privat house in Black-Friers by his late Maiesties Servants. By George Chapman Gent. For Humphrey Moseley. [Epistle to the Reader. The B.M. copy of the play is dated ‘Novemb. 29, 1653’.]

Editions by K. Elze (1867) and H. F. Schwarz (1913), and in collections of Chapman (q.v.).

Alphonsus may reasonably be identified with the Alfonso given before the Queen and the Elector Palatine at the Blackfriars on 5 May 1636 (Cunningham, xxiv). The ascription on the title-page to Chapman is repeated therefrom by Langbaine who rejects that of Kirkman in 1661 and 1671 (Greg, Masques, xlviii) to Peele, but the intimate knowledge of German shown in the dialogue has led Elze and Ward, ii. 428, to give Chapman a German collaborator, conceivably one Rudolf Weckerlin of Würtemberg, who after a preliminary visit before 1614 settled permanently in England about 1624 and obtained political employment, which he varied with literary exercises. Later critics are inclined to reject Chapman’s authorship altogether, and the case against it has been effectively put by E. Koeppel, Quellen-Studien zu den Dramen Chapman’s, 78, and Parrott. The ascription to Peele has been revived by Robertson, T. A. 123, and though Parrott does not accept the full argument, he agrees in regarding the play as originally of Peele’s date, possibly by him, with or without a collaborator, and drastically revised at a later period, perhaps by Weckerlin in 1636. Fleay, ii. 156, 311, also accepts Peele and identifies the play with Harry of Cornwall,[3] revived by Strange’s for Henslowe on 25 Feb. 1592, but, as Greg (Henslowe, ii. 151) points out, the character in Alphonsus is not Henry, but Richard of Cornwall. It must be observed that no critic has noticed the S. R. ascription to John Poole, which may quite well be the origin of Kirkman’s ‘Peele’. Who John Poole was, I do not know.

Apius and Virginia > 1567–8

S. R. 1567–8. ‘A Tragedy of Apius and Virgine.’ Richard Jones (Arber, i. 357).

1575. A new Tragicall Comedie of Apius and Virginia, Wherein is liuely expressed a rare example of the vertue of Chastitie, by Virginias constancy, in wishing rather to be slaine at her owne Fathers handes, then to be deflowred of the wicked Iudge Apius. By R. B. William How for Richard Jones. [Prologue and Epilogue.]

Editions in Dodsley^{3, 4} (1825–76), and by J. S. Farmer (1908, T. F. T.) and R. B. McKerrow (1911, M. S. R.).

‘Haphazard, the Vice’ is a character. The stage-directions name ‘the stage’, ‘the scaffold’. A prologue addresses ‘lordings’; an epilogue has a prayer for the queen, nobles, and commons. The play is not controversial, but the tone is Protestant. Fleay, 61, thinks it a Westminster play of 1563–4; but no Westminster play of 1563–4 is on record. If Fleay means 1564–5, the Westminster play of that Christmas was Miles Gloriosus. There is nothing but the initials to identify the author with Richard Bower of the Chapel (q.v.), but the suggestion is more plausible than that of Wallace, i. 108, who gives the play to Richard Edwardes (q.v.), finding that the ‘R. E.’ subscribed to some of his manuscript poems is capable of being misread ‘R. B.’.

Arden of Feversham > 1592

S. R. 1592, April 3 (Bishop of London). ‘The tragedie of Arden of Feuersham and Blackwall.’ Edward White (Arber, ii. 607). [See s.v. Kyd, Spanish Tragedy, for the record of a piracy of the play in 1592 by Abel Jeffes.]

1592. The Lamentable and True Tragedie of M. Arden of Feuersham in Kent. Who was most wickedlye murdered, by the meanes of his disloyall and wanton wyfe, who for the love she bare to one Mosbie, hyred two desperat ruffins Blackwill and Shakbag, to kill him. Wherin is shewed the great mallice and discimulation of a wicked woman, the vnsatiable desire of filthie lust and the shamefull end of all murderers. For Edward White. [Epilogue.]

1599. J. Roberts for Edward White.

1633. Eliz. Allde.

Editions by E. Jacob (1770), A. H. Bullen (1887), R. Bayne (1897, T. D.), J. S. Farmer (1911, T. F. T.), and in Sh. Apocrypha.—Dissertations: C. E. Donne, Essay on the Tragedy of A. of F. (1873); C. Crawford, The Authorship of A. of F. (1903, Jahrbuch, xxxix. 74; Collectanea, i. 101); W. Miksch, Die Verfasserschaft des A. of F. (1907,[4] Breslau diss.); K. Wiehl, Thomas Kyd und die Autorschaft von ... A. of F. (1912, E. S. xliv. 356); H. D. Sykes, Sidelights upon Shakespeare, 48 (1919); L. Cust, A. of F. (1920, Arch. Cant. xxxiv. 101).

Jacob first claimed the authorship for Shakespeare. In spite of the advocacy of Swinburne (Study of Sh., 129) modern criticism remains wholly unconvinced. The play has tragic merit, but it is not of a Shakespearian character, and it is impossible to fit its manner, before 1592, into any coherent theory of Shakespeare’s development. More plausible is the case for Kyd, suggested by Fleay, ii. 28, who puts the date as far back as 1585 on quite unreliable grounds of improbable guess-work, and supported by Robertson, T. A. 151, and elaborately argued by Crawford and Sykes. But Boas, Kyd, lxxxix, thinks that the author was more likely an imitator of Kyd, and opinion remains divided. Oliphant (M. P. viii. 420) suggests Kyd and Marlowe, possibly with a third. The theme may also have been that of the Murderous Michael played at court by Sussex’s in 1579.

The Birth of Hercules. 1597 <

[MS.] B.M. Add. MS. 28722. ‘The birthe of hercules.’ [Prologus Laureatus; Mercurius Prologus; after text, ‘Testamentum poetae, ad peleum. Comoedarum pariter et histrionum princeps Peleu, tuo pro iudicio, volo hanc meam Comoediam, vel recitari, vel reticeri: hoc est: aut vivere aut mori. Scripsi, nec poeta, nec moriens: et tamen poeta moriens’. Written in one hand, with stage-directions by a second and corrections by a third and possibly a fourth, on paper datable by the watermark in 1597.]

Editions by M. W. Wallace (1903) and R. W. Bond (1911, M. S. R.).

This is pretty clearly a University play, and any connexion with the Hercules of the Admiral’s men in 1595 is highly improbable. As George Peele died in 1596, it seems difficult to identify him with the Peleus of the MS. Bond thinks that ‘the styles of composition and writing agree in placing a date before 1600 out of the question’.

Caesar’s Revenge > 1606

S. R. 1606, June 5. ‘A booke called Julius Caesars reuenge.’ J. Wright and N. Fosbrook, licensed by Dr. Covell and the wardens (Arber, iii. 323).

N.D. The Tragedie of Caesar and Pompey Or Caesars Reuenge. G. E. for Iohn Wright.

1607.... Priuately acted by the Studentes of Trinity Colledge in Oxford. For Nathaniel Fosbrook and Iohn Wright. [Re-issue with cancel t.p.]

Editions by F. S. Boas (1911, M. S. R.) and W. Mühlfeld (1911, 1912, Jahrbuch, xlvii. 132; xlviii. 37), and J. S. Farmer (S. F. T.).—Dissertations: T. M. Parrott, The Academic Tragedy of C. and P. (1910, M. L. R. v. 435); H. M. Ayres, C. R. (1915, M. L. A. xxx. 771); G. C. Moore Smith, The Tragedy of C. R. (1916, 12 N. Q. ii. 305).

There is no traceable connexion between this and any other of the[5] several plays on Caesar, extant and lost, which are upon record. C. Crawford (M. S. C. i. 290) indicates some parallels which suggest a date of authorship between 1592 and 1596.

Charlemagne or The Distracted Emperor c. 1600

[MS.] Egerton MS. 1994. At the end is the note, ‘Nella Φ δ Φ ν ρ la B’ = ‘Nella fedeltà finirò la vita’.

Editions by A. H. Bullen (1884, O. E. P. iii) and F. L. Schoell (1920).—Dissertation: F. L. Schoell, Un Drame Élisabéthain Anonyme C (1912, Revue Germanique, viii. 155).

Bullen suggests that the author was Chapman, and also thinks Tourneur or Marston conceivable. He quotes Fleay’s opinion in favour of Field. Fleay, ii. 319, withdraws Field and substitutes Dekker. He identifies the play with the ‘King Charlemagne’ of Peele’s Farewell of 1589 (cf. s.v. Peele, Battle of Alcazar). Schoell makes an elaborate case for Chapman, and thinks that the play might be The Fatall Love, a French Tragedy, entered as his in S. R. on 29 June 1660, and included, without author’s name, in Warburton’s list of burnt plays (3 Library, ii. 231). A date later than 1584 is indicated by the use of Du Bartas’s Seconde Semaine of that year. It may be added that the style points to c. 1600 rather than c. 1590.

Claudius Tiberius Nero > 1607

S. R. 1607, April 10 (Buck). ‘A booke called the tragicall Life and Death of Claudius Tiberius Nero.’ Francis Burton (Arber, iii. 346).

1607. The Tragedie of Claudius Tiberius Nero, Rome’s greatest Tyrant. Truly represented out of the purest Records of those Times. For Francis Burton. [Epistle to Sir Arthur Mannering, son of Sir George of Eithfield, Shropshire; Verses Ad Lectores.]

1607. The Statelie Tragedie of Claudius Tiberius Nero.... For Francis Burton. [Another issue.]

Edition by J. S. Farmer (S. F. T.).

The play, which is on Tiberius, not Nero, is to be distinguished from Nero (1624). The epistle, not apparently by the author, says that the play’s ‘Father was an Academician’.

Club Law. 1599–1600

[MS.] St. John’s College, Cambridge, MS. S. 62. [Without t.p. and imperfect; probably identical with a MS. of the play owned by Richard Farmer.]

Edition by G. C. Moore Smith (1907). [Epilogue.]—Dissertation: G. C. Moore Smith, The Date of C. L. (1909, M. L. R. iv. 268).

The play is described by Fuller, Hist. of Cambridge (1655), 156, as given at Clare Hall in 1597–8. But J. S. Hawkins, in his edition of Ruggle’s Ignoramus (1787), xvi, gives the alternative date 1599, and this has now been confirmed by the discovery of manuscript annals of Cambridge, probably by Fuller himself, with the entry, under the[6] academic year 1599–1600, ‘Aula Clarensis. Club Law fabula festivissima data multum ridentibus Academicis, frustra Oppidanis dolentibus’. The play is a satire on the townsmen, and especially the anti-gown mayor of 1599–1600, John Yaxley. Fuller says that the townsmen were invited to the performance and made to sit it through, and that they complained to the Privy Council, who first ‘sent some slight and private check to the principall Actors therein’, and then, when pressed, said that they would come to Cambridge, and see the comedy acted over again in the presence of the townsmen. The fact that there is no record of these letters in the extant register of the Council hardly disproves the substance of Fuller’s story. Hawkins ascribed the play to Ruggle (q.v.) on the authority of an eighteenth-century memorandum.

Sir Clyomon and Clamydes c. 1570

1599. The Historie of the two valiant Knights, Syr Clyomon knight of the Golden Sheeld, sonne to the King of Denmarke: And Clamydes the White Knight, sonne to the King of Suauia. As it hath been sundry times Acted by her Maiesties Players. Thomas Creede. [Prologue.]

Editions by W. W. Greg (1913, M. S. R.) and J. S. Farmer (S. F. T.), and in collections of Peele.

Subtle Shift ‘the vice’, Providence, and Rumour are among the characters.

Dyce ascribed the play to George Peele on the strength of a manuscript note ‘in a very old hand’ on a copy of the 1599 edition. Bullen thinks it of earlier date than Peele. Greg agrees, regarding it as about contemporary with Common Conditions. L. Kellner, in Englische Studien, xiii. 187, compares the language and style at great length with Peele’s and concludes against his authorship, unless indeed he wrote it in a spirit of parody. His arguments are challenged by R. Fischer in Englische Studien, xiv. 344. Fleay, 70, assigned it, with Common Conditions, to R. Wilson. Later (ii. 295), he substituted R[ichard] B[ower]. He noted a parallel to Thomas Preston’s Cambyses, and suggested as a date 1570 or 1578, the years, according to him, of the original production and of a revival of Cambyses. G. L. Kittredge, in Journal of Germanic Philology, ii. 8, suggests that Preston himself was the author of Sir Clyomon and Clamydes. If the ‘her Maiesties Players’ of the title-page means the later company of that name, the play, if not written, must have been revived 1583–94. Fleay, ii. 296, further identifies it with The Four Kings licensed for Henslowe (i. 103) in March 1599; but an old Queen’s play would not have needed a licence. An Anglo-German repertory of 1626 includes a ‘Tragikomödie vom König in Dänemark und König in Schweden’ (Herz, 66, 72).

Common Conditions > 1576

S. R. 1576, July 26. ‘A newe and pleasant comedie or plaie after the maner of common condycons.’ John Hunter (Arber, ii. 301). [Clearly ‘maner’ is a misreading of the ‘name’ of the t.p.]

[7]

Q₁, N.D. An excellent and pleasant Comedie, termed after the name of the Vice, Common Condicions, drawne out of the most famous historie of Galiarbus Duke of Arabia, and of the good and eeuill successe of him and his two children, Sedmond his sun, and Clarisia his daughter: Set foorth with delectable mirth, and pleasant shewes. William How for John Hunter. [T.p. adds ‘The Players names’ and ‘Six may play this Comedie’; Prologue.]

Q₂. Fragment, without t.p. or date, under r.t. ‘A pleasant Comedie called Common Conditions’.

Editions in Brandl, 597 (1898), and by J. S. Farmer (1908, Five Anonymous Plays) from Q₂, and by Tucker Brooke (1915, Yale Elizabethan Club Reprints, i) from Q₁.

The prologue refers to the audience ‘that sit in place’ and the ‘actours’ that ‘redy stand’. Fleay, ii. 296, suggests the authorship of Richard Bower, on grounds of style.

The Contention of York and Lancaster > 1592

S. R. 1594, March 12. ‘A booke intituled, the firste parte of the Contention of the twoo famous houses of York and Lancaster with the deathe of the good Duke Humfrey and the banishement and Deathe of the Duke of Suffolk and the tragicall ende of the prowd Cardinall of Winchester, with the notable rebellion of Jack Cade and the Duke of Yorkes ffirste clayme vnto the Crowne. Thomas Millington (Arber, ii. 646). [Part i.]

1602, April 19. Transfer from T. Millington to T. Pavier, ‘The first and Second parte of Henry the Vj^t, ij bookes’ (Arber, iii. 204). [Parts i and ii.]

1594. The First Part of the Contention betwixt the two famous Houses of Yorke and Lancaster, with the death of the good Duke Humphrey: And the banishment and death of the Duke of Suffolke, and the Tragicall end of the proud Cardinall of Winchester, with the notable Rebellion of Iacke Cade: And the Duke of Yorkes first claime vnto the Crowne. Thomas Creede for Thomas Millington. [Part i.]

1595. The true Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixt, with the whole contention betweene the two Houses Lancaster and Yorke, as it was sundrie times acted by the Right Honourable the Earle of Pembrooke his seruants. P. S. for Thomas Millington. [Part ii.]

1600. Valentine Simmes for Thomas Millington. [Part i.]

1600. W. W. for Thomas Millington. [Part ii.]

[1619] N.D. The Whole Contention betweene the two Famous Houses, Lancaster and Yorke. With the Tragicall ends of the good Duke Humfrey, Richard Duke of Yorke, and King Henrie the sixt. Diuided into two Parts: And newly corrected and enlarged. Written by William Shakespeare, Gent. For T. P. [Parts i and ii, printed continuously with Pericles, 1619 (q.v.).]

Editions by J. O. Halliwell (1843, Sh. Soc.), Wright and Clark (1863–6, 1893, Cambridge Shakespeare), W. C. Hazlitt (1875, Sh. Libr.[8] v, vi), F. J. Furnivall and T. Tyler (1886, 1889, 1891, Sh. Q), and J. S. Farmer (S. F. T.).—Dissertations: E. Malone, On the Three Parts of Hen. 6 (1821, Variorum, xviii. 553); R. Grant White, On the Authorship of Hen. 6 (Works of Sh. 1859–65, vii); J. Lee, On the Authorship of 2, 3 Hen. vi and their Originals (N. S. S. Trans. 1875–6, 219); C. F. T. Brooke, The Authorship of 2, 3 Hen. 6 (1912, Trans. of Connecticut Academy, xvii. 141).

The various claims of Marlowe, Kyd, Greene, Peele, Lodge, and Shakespeare himself to the Contention can only be discussed in relation to Shakespeare’s revision of them as 2, 3 Henry VI, which probably belongs approximately to the date of 1 Henry vi, produced by Strange’s on 3 March 1592.

Thomas Lord Cromwell > 1602

S. R. 1602, Aug. 11 (Jackson). ‘A booke called the lyfe and Deathe of the Lord Cromwell, as yt was lately Acted by the Lord Chamberleyn his servantes.’ William Cotton (Arber, iii. 214).

1602. The True Chronicle Historie of the whole life and death of Thomas Lord Cromwell. As it hath beene sundrie times publikely Acted by the Right Honorable the Lord Chamberlaine his Seruants. Written by W. S. For William Jones.

S. R. 1611, Dec. 16. Transfer from William Jones to John Browne of a ‘booke called the lyfe and death of the Lord Cromwell, by W: S.’ (Arber, iii. 474).

1613.... As it hath been sundry times publikely Acted by the Kings Maiesties Seruants. Written by W. S. Thomas Snodham.

1664; 1685. [Parts of F₃ and F₄ of Shakespeare.]

Editions printed by R. Walker (1734) and by T. E. Jacob (1889, Old English Dramas), J. S. Farmer (1911, T. F. T.), and in Sh. Apocrypha.—Dissertation: W. Streit, The L. and D. of T. L. C. (1904, Jena diss.).

The W. S. of the title-page was interpreted as William Shakespeare in Archer’s play-list of 1656 (Greg, Masques, lx). No modern critic accepts the attribution, except Hopkinson, who thinks that the original author was Greene, and that Shakespeare revised his work. Heywood was suggested by R. Farmer, and Drayton by Fleay, Shakespeare, 298; B.C. i. 152, 160. The guesses at Wentworth Smith and William Sly rest merely on their initials.

King Darius > 1565

S. R. 1565–6. ‘A playe intituled of the story of kyng Daryous beyinge taken oute of the iij^de and iiij^th chapeter of the iij^de boke of Esdras &c.’. Thomas Colwell (Arber, i. 298).

1565, October. A Pretie new Enterlude both pithie & pleasaunt of the Story of Kyng Daryus, Beinge taken out of the third and fourth Chapter of the thyrd booke of Esdras. Colwell. [On t.p. ‘Syxe persons may easely play it’.]

1577. Hugh Jackson. [B.M. C. 34, i. 21, from Irish sale of 1906.]

[9]

Editions by J. O. Halliwell (1860), A. Brandl (1898), 359, J. S. Farmer (1907, 1909, T. F. T.).

The characters, other than Darius and Zorobabell, are mainly abstract, and include Iniquitie, ‘the Vyce’. There is a Prolocutor.

The Dead Mans Fortune > 1591

[MS.] Add. MS. 10449. ‘The plotte of the deade mans fortune.’ [Probably from Dulwich.]

The text is given by Steevens, Variorum (1803), iii. 414; Boswell, Variorum (1821), iii. 356; Greg, Henslowe Papers, 133; and a facsimile by Halliwell, The Theatre Plats of Three Old English Dramas (1860).

The names of actors who took part in the play point to a performance by the Admiral’s, about 1590–1 (cf. ch. xiii).

The Reign of King Edward the Third > 1595

S. R. 1595, Dec. 1. ‘A book Intitled Edward the Third and the Blacke Prince their warres with kinge John of Fraunce.’ Burby (Arber, iii. 55).

1596. The Raigne of King Edward the third: As it hath bin sundrie times plaied about the Citie of London. For Cuthbert Burby.

1599. Simon Stafford for Cuthbert Burby.

Editions with Shakespeare Apocrypha, and by E. Capel (1759–60, Prolusiones), F. J. Furnivall (1877, Leopold Sh.), J. P. Collier (1878, Shakespeare), G. C. Moore Smith (1897, T. D.), J. S. Farmer (1910, T. F. T.).—Dissertations: H. von Friesen, Ed. iii, angeblich ein Stück von Sh. (1867, Jahrbuch, ii. 64); J. P. Collier, K. Edw. III, a Historical Play by W. Sh. (1874); A. Teetgen, Sh’s. K. Edw. iii, absurdly called, and scandalously treated, as a ‘Doubtful Play’: an Indignation Pamphlet (1875); A. C. Swinburne, On the Historical Play of K. Edw. iii (1879, Gent. Mag., 1880, &c., Study of Sh.); G. von Vincke, K. Edw. iii, ein Bühnenstück? (1879, Jahrbuch, xiv. 304); E. Phipson, Ed. iii (1889, N. S. S. Trans. 58*); G. Liebau, K. Ed. iii von England und die Gräfin von Salisbury (1900, 1901), K. Ed. iii von England im Lichte europäischer Poesie (1901); R. M. Smith, Edw. III (1911, J. G. P. x. 90).

The authorship was first ascribed to Shakespeare (with that of Edw. IV and Edw. II!) in Rogers and Ley’s play-list of 1656 (Greg, Masques, lxiv). The theory was advocated by Capell, and has received much support, largely owing to the assent of Tennyson, against whose authority, however, may be set that of Swinburne. In its latest and not altogether unplausible form, Shakespeare is regarded as the author, not of the whole play, but of i. 2 and ii, which deal with the episode of the wooing of Lady Salisbury by the king, and are possibly, although by no means certainly, due to another hand than that of the chronicle narrative, to which they are only slightly linked. The style of these scenes is not demonstrably un-Shakespearian, and they, and in less degree the play as a whole, contain many parallels with Hen. V and[10] other works of the ‘nineties, of which the repetition in II. i. 451 and in Sonnet XCIV of the line

is the most striking. The controversy cannot be dealt with in detail here. Shakespeare’s contribution, if any, may with most probability be assigned to the winter of 1594–5; but it does not follow that the original play may not have been of earlier date. No importance is to be attached to the argument of Fleay (ii. 62; Shakespeare, 282) that the use of the phrase ‘Ave, Caesar’ in I. i. 164 caused its use in Greene’s Francesco’s Fortunes of 1590 (cf. App. C, no. xliii), but it is noteworthy that a play on the subject was produced, apparently under Anglo-German influence, at Danzig in 1591 (Herz, 5). Of non-Shakespearian authors, for the whole or a part of the play as extant, Marlowe is preferred by Fleay, Greene by Liebau and Robertson, and Kyd by Sarrazin.

Edward the Fourth > 1599

S. R. 1599, Aug. 28. ‘Twoo playes beinge the ffirst and Second parte of Edward the iiij^th and the Tanner of Tamworth With the history of the life and deathe of master Shore and Jane Shore his Wyfe as yt was lately acted by the Right honorable the Erle of Derbye his seruantes.’ John Oxonbridge and John Burby (Arber, iii. 147).

1600, Feb. 23. Transfer of Busby’s interest to Humphrey Lownes (Arber, iii. 156).

1600. The First and Second Parts of King Edward the Fourth. Containing His mery pastime with the Tanner of Tamworth, as also his loue to faire mistrisse Shoare, her great promotion, fall and miserie and lastly the lamentable death of both her and her husband. Likewise the besieging of London, by the Bastard Falconbridge, and the valiant defence of the same by the Lord Maior and the Citizens. As it hath diuers times beene publikely played by the Right Honorable the Earle of Derbie his seruants. F. K. for Humfrey Lownes and John Oxenbridge.

1605; 1613; 1619; 1626.

Edition by B. Field (1842, Sh. Soc.).—Dissertation: A. Sander, T. Heywood’s Historien von König Edward iv und ihre Quellen (1907, Jena diss.).

Sander and others date the play 1594, by an identification with the anonymous Siege of London revived by the Admiral’s on 26 Dec. 1594. Greg (Henslowe, ii. 173) more cautiously says that the play of 1594 ‘may underlie’ certain scenes of 1 Edward iv. He regards Edward iv, ‘on internal evidence, as unquestionably Heywood’s’. This is the usual view, but Fleay, ii. 288, had doubted it. There is no external evidence for Heywood’s authorship, or for any connexion between him and Derby’s men. Moreover, in May 1603, he authorized Henslowe, on behalf of Worcester’s, to pay Chettle and Day for ‘the Booke of Shoare, now newly to be written’, also described as ‘a playe wherein Shores wiffe is writen’. If this was a revision of his own[11] play, he would hardly have left it to others. It is fair to add that in the previous January he had himself received payment with Chettle for an unnamed play, which might be the same (Henslowe, ii. 234). The ‘three-mans song’ on Agincourt in iii. 2 of Part I closely resembles Drayton’s Ballad of Agincourt (ed. Brett, 81), and must, I think, be his. Jane Shore is mentioned as a play visited by citizens in The Knight of the Burning Pestle (1607), ind. 57, and ‘the well-frequented play of Shore’ in Pimlyco or Runne Redcap (1609). A play, apparently on the same subject, was performed by English actors at Graz on 19 Nov. 1607 (Herz, 98).

Every Woman in Her Humour. 1607–8?

1609. Everie Woman in her Humor. E. A. for Thomas Archer. [Prologue.]

Editions by A. H. Bullen (1885, O. E. P. iv) and J. S. Farmer (1913, S. F. T.).—Dissertation: J. Q. Adams, E. W. I. and The Dumb Knight (1913, M. P. x. 413).

Fleay, ii. 321, suggests a date c. 1602 on the ground of apparent reference to the Poetomachia. But this is not conclusive, and Adams points to the use of a song (p. 335) from Bateson’s Madrigals (1604). He thinks that Lewis Machin was the author, as the style resembles that of the comic part of The Dumb Knight (vide s. Markham), and two passages are substantially reproduced in the latter. If so, this also may be a King’s Revels play. Allusions on p. 270 to the ‘babones’ (cf. s.v. Sir Giles Goosecap) and on p. 316 to the Family of Love (cf. s.v. Middleton) are consistent with a date of 1603–8.

Fair Em c. 1590

N.D. For T. N. and I. W.

[In Bodleian. Greg says that this is ‘considerably earlier’ than 1631. The t.p. is as in 1631. Chetwood mentions three early editions, including one undated and one of 1619. This is not now known.]

1631. A Pleasant Comedie of Faire Em, the Millers Daughter of Manchester. With the loue of William the Conqueror. As it was sundry times publiquely acted in the Honourable Citie of London, by the right Honourable the Lord Strange his Seruants. For John Wright.

Editions by R. Simpson (1878, S. of S. ii), J. S. Farmer (1911, T. F. T.), and in collections of Sh. Apocrypha.—Dissertations: R. Simpson, Some Plays Attributed to Sh. (1875–6, N. S. S. Trans. 155); K. Elze, Nachträgliche Bemerkungen zu Mucedorus und F. E. (1880, Jahrbuch, xv. 339); P. Lohr, Le Printemps d’Yver und die Quelle zu F. E. (1912).

The play has a double plot. One theme is the contest of William the Conqueror and the Marquess Lubeck for the loves of Princess Blanch of Denmark and of Mariana, a Swedish captive; the other is the contest of Manvile, Mountney and Valingford for Em, daughter of the Miller of Manchester. A ‘ballad intituled The Miller’s daughter of Manchester’ was entered on the Stationers’ Register by Henry Carr on 2 March 1581 (Arber, ii. 390). Fair Em has been included[12] in the Shakespeare Apocrypha on the strength of a volume formerly in the collection of Charles II, and then in that of Garrick, in which it was bound up with Mucedorus and The Merry Devil of Edmonton and lettered ‘Shakespeare, vol. i’. On the other hand, Edward Phillips, in his Theatrum Poetarum (1675), assigned it to Greene. Clearly Greene is not the author, although there are certain resemblances of situation between the play and Friar Bacon; for he satirizes it in the preface to Farewell to Folly (Works, ix. 232), quoting one or two of its expressions and blaming them as borrowed out of Scripture. Of the author he says, ‘He that cannot write true English without the help of clerks of parish churches will needs make himself the father of interludes’, and, ‘The sexton of St. Giles without Cripplegate would have been ashamed of such blasphemous rhetoric’. Farewell to Folly seems to have appeared in 1591 (cf. s.v. Greene), and Fair Em may perhaps therefore be dated between this pamphlet and Friar Bacon (c. 1589). Simpson adopts the theory, which hardly deserves serious discussion, of Shakespeare’s authorship. He finds numerous (but impossible) attacks by Greene upon Shakespeare from the Planetomachia (1585) onwards, and thinks that Shakespeare retorted in Fair Em, satirizing Greene as Manvile and Marlowe as Mountney, and depicting himself as Valingford. ‘Fair Em’ herself is the Manchester stage. In the story of William the Conqueror he finds an allusion to the travels of William Kempe and other actors in Denmark and Saxony. Fleay, Shakespeare Manual (1878), 281, adopts much of this fantasy, but turns ‘Fair Em’ into the Queen’s company and Valingford into Peele. In 1891 (ii. 282) he makes ‘Fair Em’ Strange’s company. His minor identifications, whether of 1878 or of 1891, may be disregarded. More plausible is his suggestion that the author of the play may be Robert Wilson (q.v.), which would explain the attack upon Greene (q.v.) for his Farewell to Folly in R. W.’s Martin Mar-sixtus (1591). The suggestion that the play was the Sir John Mandeville revived by Strange’s for Henslowe in 1592 rests on a confusion between Mandeville and Manvile, but it may have been the William the Conqueror similarly revived by Sussex’s on 4 Jan. 1594 (Greg, Henslowe, ii. 151, 158).

The Fair Maid of Bristow > 1604

S. R. 1605, Feb. 8. ‘A commedy called “the fayre Mayd of Bristoe” played at Hampton Court by his Maiesties players.’ Thomas Pavier (Arber, iii. 283).

1605. The Faire Maide of Bristow. As it was plaide at Hampton, before the King and Queenes most excellent Maiesties. For Thomas Pavier.

Editions by A. H. Quinn (1902, Pennsylvania Univ. Publ.) and J. S. Farmer (1912, T. F. T.).

The court performance must have been during the Christmas of 1603–4, which was at Hampton Court. Bullen, Works of Day, 10, rejects the theory of Collier that this was Day’s Bristol Tragedy,[13] written for the Admiral’s in May 1602, on the grounds that it is not a tragedy and does not resemble the known work of Day. Moreover, the King’s men are not likely to have acquired an Admiral’s play.

The Fair Maid of the Exchange c. 1602

S. R. 1607, April 24 (Buck). ‘A booke called the faire Mayde of the Exchaunge.’ Henry Rocket (Arber, iii. 347).

1607. The Fayre Mayde of the Exchange. With the pleasaunt Humours of the Cripple of Fanchurch. Very delectable, and full of mirth. For Henry Rockit. [Dramatis Personae headed ‘Eleauen may easily acte this Comedie’, and Prologue.]

1525. I. L.

1637. A. G.

Edition by B. Field (1845, Sh. Soc.).—Dissertations: L. A. Hibberd, The Authorship and Date of the Fair Maid of the Exchange (M. P. vii. 383); P. Aronstein, Die Verfasserschaft des Dramas The Fair Maid of the Exchange (1912, E. S. xlv. 45).

Heywood’s authorship was asserted by Kirkman in 1671 (Greg, Masques, lxvii), denied by Langbaine in 1687, accepted by Charles Lamb and out of respect to him by Ward, ii. 572, and is still matter of dispute. Fleay, ii. 329, assigned it to Machin on quite inadequate grounds. Hibberd argues the case for Heywood, and Aronstein attempts a compromise by giving ii. I, iv. I, and V to Heywood and the rest to some young academic student of Shakespeare and Jonson. The imitations of these point to a date c. 1602. I do not offer an opinion.

Fedele and Fortunio or Two Italian Gentlemen c. 1584

S. R. 1584, Nov. 12. ‘A booke entituled Fedele et Fortuna. The deceiptes in love Discoursed in a Commedie of ij Italyan gent and translated into Englishe.’ Thomas Hackett (Arber, ii. 437).

1585. Fedele and Fortunio. The deceites in Loue: excellently discoursed in a very pleasaunt and fine conceited Comoedie, of two Italian Gentlemen. Translated out of Italian, and set downe according as it hath beene presented before the Queenes moste excellent Maiestie. For Thomas Hacket.

[In the Mostyn sale (1919). Epistle ‘To the Woorshipfull, and very courteous Gentleman, Maister M. R. M.A. commendeth this pleasaunt and fine conceited comœdie’, signed M.A.; Prologue before the Queene; Epilogue at the Court, signed M.A. The compiler of the Mostyn sale catalogue says that this differs from the imperfect print in the Chatsworth collection, containing sheets B to G only, without t.p., epistle, prologue, or epilogue, which is the basis of the modern editions. Both have the running title, ‘A pleasant Comœdie of two Italian Gentlemen’. Collier, iii. 60, had seen a copy with the epistle as found in the Mostyn print, but addressed to John Heardson and signed A.M. This has been recently found in the Huntington collection.

Editions by P. Simpson (1909, M. S. R.) and F. Flügge (1909, Archiv,[14] cxxiii, 45), and extracts by Halliwell (1852, Literature of the Sixteenth and Seventeenth Centuries, 15).—Dissertations: W. W. Greg, Notes on Publications (1909, M. S. C. i. 218); F. Flügge, Fidele und Fortunio (1912, Breslau diss.).

The epistle says ‘I commende to your freendly viewe this prettie Conceit, as well for the inuention, as the delicate conueiance thereof: not doubting but you will so esteeme thereof, as it dooth very well deserue, and I hartely desire’. This praise of the ‘conueiance’ (which I take to mean either ‘style’ or possibly ‘translation’) does not suggest that M. A. (or A. M.) was the translator. It is true that ll. 224–41 appear in England’s Helicon (1600) signed ‘Shep. Tonie’, and that this signature is often taken to indicate Munday. On the other hand, two lines of this passage also appear in England’s Parnassus (1600, ed. Crawford, 306) over the initials S. G., which suggest Gosson. Another passage in E. P. (231) combines ll. 661–2 and 655–6 of the play over the signature G. Chapman. This has led Crawford (E. S. xliii. 203), with some support from Greg, to suggest Chapman’s authorship. I do not think the suggestion very convincing, in view of the inconsistency and general unreliability of E. P. and the fact that Chapman’s first clear appearance as a writer is ten years later, in 1594. The evidence is quite indecisive, but of Munday, Chapman, Gosson, I incline to think Gosson the most likely candidate. On the other hand, if M. R. is Matthew Roydon, he was the dedicatee of poems by Chapman in 1594 and 1595. For M. A. I hardly dare guess Matthew Arundel. In any case, the play is only a translation from L. Pasqualigo’s Il Fedele (1576).

2 Fortune’s Tennis c. 1602

[MS.] Add. MS. 10449. ‘The [plott of the sec]ond part of fortun[s Tenn]is.’ [A fragment, probably from Dulwich.]

The text is given by Greg, Henslowe Papers, 143. The actors named show that it belonged to the Admiral’s, and Greg suggests that it may be Dekker’s ‘fortewn tenes’ of Sept. 1600. Is it not more likely to have been a sequel to that, possibly Munday’s Set at Tennis of Dec. 1602?

Frederick and Basilea. 1597

[MS.] Add. MS. 10449. ‘The plott of Frederick & Basilea.’ [Probably from Dulwich.]

The text is given by Steevens, Variorum (1803), iii. 414; Boswell, Variorum (1821), iii. 356; Greg, Henslowe Papers, 135; and a facsimile by Halliwell, The Theatre Plats of Three Old English Dramas (1860).

The play was produced by the Admiral’s on 3 June 1597, and the actors named represent that company at that date (cf. ch. xiii).

George a Greene, the Pinner of Wakefield > 1593

S. R. 1595, April 1. ‘An Enterlude called the Pynder of Wakefeilde.’ Cuthbert Burby (Arber, ii. 295).

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1599. A Pleasant Conceyted Comedie of George a Greene, the Pinner of Wakefield. As it was sundry times acted by the seruants of the right Honourable the Earle of Sussex. Simon Stafford for Cuthbert Burby.

Editions in Dodsley^1–3 (1744–1825), by W. Scott (1810, A. B. D. i), F. W. Clarke (1911, M. S. R.), and J. S. Farmer (S. F. T.), and in collections of Greene.—Dissertation: O. Mertins, Robert Greene and the Play of G. a G. (1885, Breslau diss.).

Sussex’s men revived the play for Henslowe on 29 Dec. 1593 (Greg, Henslowe, ii. 158). The Chatsworth copy has on the title-page the following notes in two early seventeenth-century hands: ‘Written by ... a minister, who ac[ted] the piñers p̄t in it himself. Teste W. Shakespea[re]’, and ‘Ed Iuby saith that the play was made by Ro. Gree[ne]’. These, though first produced by Collier, appear (M. S. C. i. 288) to be genuine. Greene’s authorship has been very commonly accepted. Fleay, i. 264, ii. 51, supposed first Greene and Peele, then added Lodge, but, although the text has been abridged, there is no evidence of double authorship. Oliphant’s suggestion (M. P. viii. 433) of revision by Heywood only rests on the inclusion of the play next his in the Cockpit list of 1639 (Variorum, iii. 159). R. B. McKerrow thinks (M. S. C. i. 289) that the ‘by Ro. Greene’ of the note may mean ‘about Ro. Greene’ as a leading incident is apparently based on an episode of Greene’s life. An allusion in I. i. 42 to Tamburlaine gives an anterior limit of date.

Sir Giles Goosecap. 1601 < > 3

S. R. 1606, Jan. 10. (Wilson). ‘An Comedie called Sir Gyles Goosecap Provided that yt be printed accordinge to the Copie wherevnto master Wilson’s hand ys at.’ Edward Blount (Arber, iii. 309).

1606. Sir Gyles Goosecappe. Knight. A Comedie presented by the Chil: of the Chappell. John Windet for Edward Blount.

1636....A Comedy lately Acted with great applause at the private House in Salisbury Court. For Hugh Perry, sold by Roger Bell. [Epistle to Richard Young of Woolley Farm, Berks. Signed ‘Hugh Perry’.]

Editions by A. H. Bullen (1884, O. E. P. iii), W. Bang and R. Brotanek (1909, Materialien, xxvi), J. S. Farmer (1912, T. F. T.), and T. M. Parrott (1914, Chapman, ii).—Dissertations: G. L. Kittredge, Notes on Elizabethan Plays (1898, J. G. P. ii. 10); T. M. Parrott, The Authorship of S. G. G. (1906, M. P. iv. 25).

Bullen thought the author, who is stated in Perry’s epistle to be dead in 1636, might be some imitator of Chapman. Fleay, ii. 322, suggests Chapman himself. This view receives elaborate support from Parrott, and appears very plausible. As ‘your greatest gallants, for men, in France were here lately’ (III. i. 47) the date is after the visit of Biron in Sept. 1601 and possibly after that of Nevers in April 1602. It cannot be later than the beginning of 1603, as ‘She is the best scholar of any woman, but one, in Europe’ (I. i. 140) points to Elizabeth’s lifetime. Moreover, Dekker, in his Wonderful Year of[16] 1603 (Grosart, i. 116), has ‘Galen could do no more good, than Sir Giles Goosecap’, and though ‘goosecap’ is a known term for a booby, e.g. in Nashe’s Four Letters Confuted of 1592 (Works, i. 281), the play seems to be responsible for the ‘Sir Giles’. The phrase ‘comparisons odorous’ in IV. ii. 64 echoes Much Ado, III. v. 18. The later part of the period 1601–3 would perhaps best fit the allusions to the Family of Love (II. i. 263), as to which cf. s.v. Middleton’s play of that name, and to the baboons (I. i. 11), the memory of which is still alive in Volpone (1606) and Ram Alley (1607–8). Probably these had already amused London before 1605, as on Oct. 5 of that year the Norwich records (Murray, ii. 338) note that ‘This day John Watson ironmonger brought the Kyngs maiesties warrant graunted to Roger Lawrence & the deputacion to the seid Watson to shewe two beasts called Babonnes’. So, too, Kelly, 247, has a Leicester payment of 1606 ‘to the M^r of the Babons, lycensed to travell by the Kings warrant’. There is a story of a country fellow who wanted to go to a market town ‘to haue seene the Baboones’ as late as J. Taylor’s Wit and Mirth in 1629 (Hazlitt, Jest Books, iii. 43). Fleay’s identifications of Chapman himself with Clarence and Drayton with Goosecap hardly deserve consideration.

Grim the Collier of Croydon. 1600

[Alleged prints of 1599 (Chetwood), 1600 (Ward, i. 263), and 1606 (Jacob) probably rest on no authority.]

1662. Grim the Collier of Croyden; Or, The Devil and his Dame: With The Devil and Saint Dunston. [Part of Gratiae Theatrales, or, A choice Ternary of English plays. Composed upon especial occasions by several ingenious persons; viz.... Grim the Collier ... a Comedy, by I. T. Never before published: but now printed at the request of sundry ingenious friends. R. D. 1662, 12^mo.]

Editions by W. Scott (1810, A. B. D. iii), in Dodsley⁴, viii (1876), and by J. S. Farmer (S. F. T.).—Dissertation: H. D. Sykes, The Authorship of G. the C. of C. (1919, M. L. R. xiv. 245).

Of I. T. nothing is known. Greg (Henslowe, ii. 213) regards the play as clearly of the sixteenth century on internal evidence, and points out that Henslowe, on behalf of the Admiral’s, paid Haughton 5s. on 6 May 1600, ‘in earneste of a boocke which he wold calle the devell & his dame’. The entry was subsequently cancelled, and presumably Haughton transferred the play to another company. Sykes calls attention to analogies with Englishmen for my Money, which confirm the probability of Haughton’s authorship. It is only the ascription of 1662 to I. T. which causes hesitation. Farmer (Hand List, 19) suggests that this was John Tatham. Grim and the Devil both appear in the Like Will to Like of Ulpian Fulwell (q.v.), but I do not understand what kind of indirect connexion Greg thinks may have existed between Haughton’s play and a possible revival of Fulwell’s by Pembroke’s men in Oct. 1600.

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The Famous Victories of Henry the Fifth > 1588

S. R. 1594, May 14. ‘A booke intituled, The famous victories of Henrye the Fyft, conteyninge the honorable battell of Agincourt.’ Thomas Creede (Arber, ii. 648).

1598. The Famous Victories of Henry the fifth: Containing the Honourable Battell of Agincourt: As it was plaide by the Queenes Maiesties Players. Thomas Creede.

1617.... as it was Acted by the Kinges Maiesties Seruants. Bernard Alsop. [Another issue of the same sheets.]

Editions by J. Nichols (1779, Six Old Plays, ii. 317), W. C. Hazlitt (1875, Shakespeare’s Library, v. 321), P. A. Daniel (1887, Sh. Q.), and J. S. Farmer (S. F. T.).

In Tarlton’s Jests (ed. Halliwell for Sh. Soc. 24) is a story of Knell acting Henry V and Tarlton doubling the parts of the judge and the clown, which clearly refers to this play. The performance took place ‘at the Bull in Bishopsgate’. Tarlton died in 1588. Fleay, 67; ii. 259, suggests that Tarlton was the author. Nashe in Pierce Penilesse (1592, Works, i. 213) speaks of ‘Henrie the fifth represented on the stage’. This is obviously too early to be the new play of ‘harey the V’, given thirteen times for Henslowe between 28 Nov. 1595 and 15 July 1596 by the Admiral’s, in whose inventories of March 1598 Harry the Fifth’s doublet and gown appear. An earlier Henslowe entry on 14 May 1592, sometimes quoted as ‘harey the v^th’ by Collier, is really ‘harey the 6’ (Greg, Henslowe, ii. 152, 177; Henslowe Papers, 121). Sykes thinks the author S. Rowley (q.v.).

Histriomastix. 1589 (?), 1599

S. R. 1610, Oct. 31 (Buck). ‘A booke called, Histriomastix or the player whipte.’ Thomas Thorpe (Arber, iii. 447).

1610. Histrio-Mastix. Or, the Player whipt. For Thomas Thorp.

Editions by R. Simpson (1878, S. of S. ii. 1) and J. S. Farmer (1912, T. F. T.).—Dissertation: F. Hoppe, Histriomastix-Studien (1906, Breslau diss.).

Fleay, ii. 69, gives the whole play to Marston, but the sounder view of Simpson that Marston, whose style in places is unmistakable, was only the reviser of an earlier play, is revived in the elaborate and mainly satisfactory study of Small, 67. The passages assigned by Small to Marston are ii. 63–9, 128–9, 247–79; iii. 179–v. 191; v. 234; vi. 259–95. I should be inclined to add v. 244–67, but to omit ii. 128–9; iii. 218–64; iv. 159–201; v. 61–102; v. 147–180; vi. 259–95, which may just as well belong to the original play. No doubt vi. 259–95 is an addition, constituting an alternative ending for a court performance before Elizabeth; but this may just as well have been a contemporary as a Marstonian addition, and in fact there is no court performance at the end of the century available for it, while the attempt to find one led Fleay to the impossible theory that it was given by Derby’s men. As its whole substance is a satire on professional players, it must have been both produced and revived by amateurs or boys; and the same conclusion is pointed to by the[18] enormous number of characters. The original matter is so full of the technical learning of the schools as to suggest an academic audience; I think it was a University or possibly an Inns of Court, not a choirboy, play. The theme is the cyclical progression of a state through the stages Peace, Plenty, Pride, Envy, War, Poverty, and Peace again. It is illustrated by the fortunes of a company of players, who wax insolent in prosperity, and when war comes, are pressed for soldiers. Their poet Posthaste is clearly Munday and not, as Simpson and others have vainly imagined, Shakespeare. With him is contrasted the scholar-poet, Chrisoganus, a philosopher with whom the players will have nothing to do. He seems to belong to the order of ideas connected with the scientific school of Thomas Harriott. Small thinks that the date was 1596, when there was scarcity of food, a persecution of players, and a pressing of men for service against Spain; and that the author might be Chapman. Certainly Chapman was an early admirer of Harriott. But I disagree as to the date. The style seems to me to be that of Peele or some imitator, the attitude to the players an academic reflection of the attacks of Greene, and the political atmosphere that of the years following the Armada, when the relief of peace was certainly not unbroken by fears of renewed Spanish attempts. Impressment was not a device of 1596 alone. The only notice of it known to me in which players are known to have especially suffered is in an undated letter of Philip Gawdy, assigned by his editor to 1602 (Gawdy, 121), ‘All the playe howses wer besett in one daye and very many pressed from thence, so that in all ther ar pressed ffowre thowsand besydes fyve hundred voluntaryes, and all for flaunders’. This is too late for the proto-Histriomastix, and probably also for the revival, but men were being pressed for foreign service as early as 1585, and again in 1588 and possibly in 1589 and 1591 (Cheyney, i. 158, 197, 219, 255; Procl. 805, 809). As to the revival, Small puts it definitely in August 1599, when a scare of a Spanish invasion, which had lasted for a month, came to a crisis in London on Aug. 7 (Stowe, Annales, 788; Chamberlain, 59; Sydney Papers, ii. 113; Hist. MSS. xv, app. v, 66), and he thinks that the words ‘The Spaniards are come!’ (v. 234) are an insertion of this date. They are not ‘extra-metrical’, as Fleay says, for the passage is not in metre. There had, however, been earlier scares, e.g. in Oct. 1595 (Sydney Papers, i. 355; cf. Arber, iii. 55, 56) and in Oct. 1597 (Edmondes Papers, 303). The date of 1599 would agree well enough with the career of Marston, and with that of the Paul’s boys, to whom the revival was probably due, although I do not agree with Small that it was their court play of 1 Jan. 1601, because I see no evidence that the court ending belongs to the revision. I take it that Histriomastix was one of the ‘musty fopperies of antiquity’ with which we learn from Jack Drum’s Entertainment, v. 112, that the Paul’s boys began. The revision leaves Posthaste untouched, save for the characteristic Marstonian sneer of ‘goosequillian’ (iii. 187). Munday of course was still good sport in 1599. But Chrisoganus is turned from a scientific into a ‘translating’ scholar (ii. 63). I agree with Small[19] that Marston has given him Jonsonian traits, and that he intended to be complimentary rather than the reverse. I do not know that it is necessary to suppose that Jonson misunderstood this and took offence, for the real offence was given by Jack Drum’s Entertainment in the next year. But certainly some of the ‘fustian’ words put in the mouth of Clove in Every Man Out of His Humour, III. i. 177 sqq., later in 1599 come from Histriomastix, and their origin is pointed by the phrase ‘as you may read in Plato’s Histriomastix’. One of the fragments of plays recited by the players contains the lines (ii. 269):

I am not convinced with Small that this belongs to the revision, even though it seems discontinuous with the following fragment of a Prodigal Child play. But in any case the hit at Shakespeare, if there really is one, remains unexplained. There is nothing else which points to so early a date as 1599 for his Troilus and Cressida. I note the following parallel from S. Rowlands, The Letting of Humors Blood in the Head-Veine (1600), Sat. iv:

The Honest Lawyer > 1615

S. R. 1615, Aug. 14. (Taverner). ‘A play called The Honest Lawyer.’ Richard Redmer (Arber, iii. 571). [Assigned by Redmer, apparently at once, to Richard Woodriffe.]

1616. The Honest Lawyer. Acted by the Queenes Maiesties Seruants. Written by S. S. George Purslowe for Richard Woodroffe. [Epilogue.]

Edition by J. S. Farmer (1914, S. F.).

A conceivable author is Samuel Sheppard (q.v.), but the absence of extant early work by him makes a definite attribution hazardous.

How a Man may Choose a Good Wife from a Bad c. 1602

1602. A pleasant conceited Comedie, Wherein is shewed how a man may chuse a good Wife from a bad. As it hath bene sundry times Acted by the Earle of Worcesters Seruants. For Mathew Law.

1605; 1608; 1614; 1621; 1630; 1634.

Editions: 1824 (for Charles Baldwin), in O. E. D. (1825, i) and Dodsley⁴ (1876–9, ix), and by A. E. H. Swaen (1912, Materialien, xxxv) and J. S. Farmer (1912, T. F. T.).—Dissertations: C. R. Baskervill, Sources and Analogues of H. (1909, M. L. A. xxiv. 711); J. Q. Adams, Thomas Heywood and H. (1912, E. S. xlv. 30).

[20]

The B.M. copy of 1602 (C. 34, b. 53) has the note ‘Written by Ioshua Cooke’ in ink on the title-page. Presumably the author of Greene’s Tu Quoque (q.v.) is meant, with which Swaen, xiii, declares that the play shows ‘absolutely no similarity or point of agreement’. Fleay, i. 289, suggested an ascription to Heywood on the ground of parallelisms with The Wise Woman of Hogsdon, and this case is elaborately and plausibly argued by Swaen and Adams. The date must be before Worcester’s begin to appear in Henslowe’s diary, 17 Aug. 1602. Fleay’s attempt to twist its mentions of a certain ‘Thomas’ in the text (l. 790) into references to Heywood himself and Thomas Blackwood, the actor, is mere childishness.

Impatient Poverty (?)

S. R. 1560, June 10. ‘ ... nyce wanton; impaciens poverte ...’ John King (Arber, i. 128).

1560. A Newe Interlude of Impacyente pouerte newlye Imprynted. John King. [B.M. C. 34, i. 26, from Irish sale of 1906 (cf. Jahrbuch, xliii. 310). Engraved t.p.; on tablet at foot ‘T. R.’ Thomas Petit’s mark after colophon. The t.p. has also ‘Foure men may well and easelye playe thys Interlude’, with an arrangement of the parts.]

N.D. An new enterlude of Impacient pouerte newly Imprynted. [In Mostyn sale (1919). The t.p. has three woodcut figures. There is no imprint, but as the woodcuts are also found in W. Copland’s print of Youth and as King’s copy of Lusty Juventus also passed to Copland (1548–69), he was probably the printer.]

S. R. 1582, Jan. 15. Transfer from Sampson Awdeley to John Charlwood (Arber, ii. 405).

Editions by J. S. Farmer (1907, T. F. T.) and R. B. McKerrow (1911, Materialien, xxxiii).

The play has come to light since the issue of The Mediaeval Stage, and I therefore include it here, although it is pre-Elizabethan. The characters are Peace, Envy, Impatient Poverty (afterwards Prosperity), Conscience, Abundance, Misrule, ‘Collhasarde’, and a Summoner. The drama is a moral, non-controversial, and not even necessarily Protestant in tone. It sets out the mutability of the world and the defects of poverty and prosperity. The scene is a ‘place’, and there are allusions to Newgate and Tyburn. If the T. R. of the title-page is the same whose name is at the end of Nice Wanton, the play is probably not later than the reign of Edward VI; but the Summoner and allusions to penance and courts spiritual suggest an even earlier date. The final address to the ‘Soueraynes’ contains the following stanza:

[21]

The form of the companion stanzas suggests that the two last lines originally rhymed, and that a line has dropped out before them. Possibly an ending originally meant for Henry VIII and Jane Seymour has been altered with a view to making it appropriate to Elizabeth. The play is offered with other pre-Elizabethan plays by the company in Sir Thomas More, IV. i. 42, and was also in the obsolete library of Captain Cox (Robert Laneham’s Letter, ed. Furnivall, 30).

Jack Drum’s Entertainment. 1600

S. R. 1600, Sept. 8. ‘A booke Called Jack Drum’s enterteynmente. A commedy as yt bathe ben diuerse tymes Acted by the Children of Paules.’ Felix Norton (Arber, iii. 172).

1600, Oct. 23. Transfer from Norton to Richard Oliff (Arber, iii. 175).

1601. Iacke Drums Entertainment: Or the Comedie of Pasquill and Katherine. As it hath bene sundry times plaide by the Children of Powles. For Richard Olive. [Introduction, i.e. Induction.]

1616.... Newly Corrected. W. Stansby for Philip Knight.

1618.... The Actors 12 men, and 4 women. For Nathaniel Fosbrooke.

Editions by R. Simpson (1878, S. of S. ii. 125) and J. S. Farmer (1912, T. F. T.).

All critics have recognized the style as Marston’s and some of the vocabulary is vomited in Poetaster; cf. Small, 93. The date is fixed to 1600 by allusions to hopes of ‘peace with Spaine’, ‘Kemps morice’, and ‘womens yeare’ (i. 37, 45, 166). There is little doubt that the critical Brabant Senior is Jonson, and that the play is that in which he told Drummond that Marston staged him. The cuckolding of Brabant Senior is based upon a story narrated by Jonson to Drummond (Laing, 21) as one in which he had played the active, not the passive, part. If he had imparted the same story to Marston, he not unnaturally resented the use made of it. The minor identifications suggested by Fleay, ii. 74, have nothing to commend them, except possibly that of Sir Edward Fortune with Edward Alleyn, who was building the Fortune in 1600. Were not this a Paul’s play, one might infer from the closing line,

that it was given at the Fortune. Can the Admiral’s have shared it with Paul’s, as the Chamberlain’s shared Satiromastix? In iv. 37–48 Brabant Senior criticizes three ‘moderne wits’ whom he calls ‘all apes and guls’ and ‘vile imitating spirits’. They are Mellidus, Musus, and Decius. I take them to be Marston, Middleton, and Dekker, all writers for Paul’s; others take Decius for Drayton, to whom Sir John Davies applied the name, and Musus, by a confusion with Musaeus, for Chapman or Daniel. For v. 102–14, which bears on the history of the company, cf. ch. xii (Paul’s).

[22]

The Life and Death of Jack Straw > 1593

S. R. 1593, Oct. 23. ‘An enterlude of the lyfe and deathe of Jack Strawe.’ John Danter (Arber, ii. 639).

1593. [Colophon, 1594]. The Life and Death of Iacke Straw, A notable Rebell in England: Who was kild in Smithfield by the Lord Maior of London. John Danter, sold by William Barley.

1604. For Thomas Pavier.

Editions in Dodsley⁴ (1874, v), and by H. Schütt (1901) and J. S. Farmer (1911, T. F. T.).

Fleay, ii. 153, Schütt, and Robertson, 121, all incline to suggest the authorship, whole or in part, of Peele. Schütt would date c. 1588, but the theme is that of T. Nelson’s pageant of 1590–1, for which year a member of Walworth’s company, the Fishmongers, was Lord Mayor. The text of the play is very short, with only four acts.

Jacob and Esau > 1558

S. R. 1557–8. ‘An enterlude vpon the history of Jacobe and Esawe out of the xxvii chapeter of the fyrste boke of Moyses Called genyses.’ Henry Sutton (Arber, i. 77).

1568. A newe mery and wittie Comedie or Enterlude, newely imprinted, treating vpon the Historie of Iacob and Esau, taken out of the xxvij. Chap. of the first booke of Moses, entituled Genesis. Henrie Bynneman.

Editions in Dodsley⁴ (1874, ii), and by J. S. Farmer (1908, T. F. T.).

The play must necessarily, from the date of the S. R. entry, be pre-Elizabethan, and should have been included in Appendix X of The Mediaeval Stage. C. C. Stopes, Hunnis, 265, and in Athenaeum (28 April 1900), claims the authorship for Hunnis; W. Bang has suggested Udall, which seems plausible. The parts of Mido and Abra point to boy-actors.

1 Jeronimo c. 1604

1605. The First Part of Ieronimo. With the Warres of Portugall, and the life and death of Don Andræa. For Thomas Pavier. [Dumbshows.]

Editions by W. Scott (1810, A. B. D. i), in Dodsley⁴ (1874, iv), and by F. S. Boas (1901, Works of Kyd).—Dissertations: J. E. Routh, T. Kyd’s Rime Schemes and the Authorship of Soliman and Perseda and 1 J. (1905, M. L. N. xx. 49); A. L. Elmquist, Zur Frage nach dem Verfasser von 1 J. (1909, E. S. xl. 309); A. Seeberger (1909, Archiv für Stenographie, iv. 306); K. Wiehl, Thomas Kyd und die Autorschaft von ... 1 J. (1912, E. S. xliv. 343); B. Neuendorff, Zur Datierung des 1 J. (1914, Jahrbuch, l. 88).

The ascription by Fleay, ii. 27, and Sarrazin to Kyd is rejected on stylistic grounds by R. Fischer, Zur Kunstentwicklung der Englischen Tragödie, 100, with whom Boas and other writers concur. A reference to the jubilee of 1600 (I. i. 25) points to a date at the beginning of[23] the seventeenth century. If so, the play cannot be that revived by Strange’s for Henslowe in Feb. 1592 and given, sometimes under the title of Don Horatio, and sometimes under that of the Comedy of Jeronimo, during a run of, and several times on the night before, the Spanish Tragedy (Greg, Henslowe, ii. 150, 154). It is, moreover, not a comedy. It may, however, be a later version of the same theme, motived by another revival of the Spanish Tragedy by the Admiral’s in 1601–2. If so, it was probably itself due, not to the Admiral’s, but to the Chamberlain’s, and a piracy of their property by the Revels boys explains the jest at ‘Ieronimo in decimo sexto’ in the induction to the 1604 version of Marston’s Malcontent. It must be uncertain whether 1 Jeronimo was the ‘Komödie vom König in Spanien und dem Vice-Roy in Portugall’ given at Dresden in 1626 (Herz, 66, 76).

The Troublesome Reign of King John 1587< >91

1591. The Troublesome Raigne of Iohn King of England, with the discouerie of King Richard Cordelions Base sonne (vulgarly named, The Bastard Fawconbridge): also the death of King Iohn at Swinstead Abbey. As it was (sundry times) publikely acted by the Queenes Maiesties Players, in the honourable Citie of London. For Sampson Clarke. There is a Second part with separate signatures and title-page. The Second part of the troublesome Raigne of King Iohn, conteining the death of Arthur Plantaginet, the landing of Lewes, and the poysning of King Iohn at Swinstead Abbey. As ... London ... 1591. [The text of each part is preceded by lines ‘To the Gentlemen Readers’, and a head-piece, which has the initials W. D.]

1611. The First and Second Part ... As they were (sundry times) lately acted by the Queenes Maiesties Players. Written by W. Sh. Valentine Simmes for John Helme. [The signatures are continuous through both parts.]

1622.... as they were (sundry times) lately acted. Written by W. Shakespeare. Augustine Mathewes for Thomas Dewes.

Editions by G. Steevens (1760, T. P. ii), J. Nichols (1779, Six Old Plays, ii), W. C. Hazlitt (1875, Sh. Libr. v), F. G. Fleay, King John (1878), F. J. Furnivall (1888, Sh. Q), J. S. Farmer (1911, T. F. T.), F. J. Furnivall and J. Munro (1913, Sh. Classics).—Dissertations: E. Rose, Shakespeare as an Adapter (Macmillan’s Magazine, Nov. 1878); G. C. Moore Smith, Sh.’s K. J. and the T. R. (1901, Furnivall Miscellany, 335); H. D. Sykes, Sidelights on Shakespeare, 99 (1919).

The authorship was assigned by Malone to Marlowe, by Pope to Shakespeare and W. Rowley, by Fleay, ii. 53, and King John, 34, to Greene, Peele, and Lodge, working on a Marlowian plot. Furnivall and Munro accept none of these theories, and the latter suggests a common authorship with the early Leir. Sykes argues strongly for Peele. The lines prefixed to Part I begin

They do not claim to be a prologue, and may have been added on[24] publication. The play is not therefore necessarily later than Tamburlaine (c. 1587). But the tone is that of the Armada period. Shakespeare used the play, with which, from the booksellers’ point of view, his King John seems to have been treated as identical.

Judith c. 1595 (?)

[MS.] National Library of Wales, Peniarth (formerly Hengwrt), MS. 508.

G. A. Jones, A Play of Judith (1917, M. L. N. xxxii. 1) describes the MS. which contains the Latin text of the Judithae Constantia of Cornelius Schonaeus, of which a reprint was issued in London in 1595, together with an incomplete English translation in unrhymed verse written as prose, perhaps as a school exercise, in a late sixteenth-century or early seventeenth-century hand.

A Knack to Know an Honest Man. 1594

S. R. 1595, Nov. 26. ‘A booke intituled The most Rare and plesaunt historie of A knack to knowe an honest man.’ Cuthbert Burby (Arber, iii. 54).

1596. A Pleasant Conceited Comedie, called, A knacke to know an honest Man. As it hath beene sundrie times plaied about the Citie of London. For Cuthbert Burby.

Editions by H. De Vocht (1910, M. S. R.) and J. S. Farmer (1912, T. F. T.).

The play was produced by the Admiral’s on 22 Oct. 1594, and twenty-one performances were given between that date and 3 Nov. 1596 (Greg, Henslowe, ii. 171). The text is confused and probably surreptitious.

A Knack to Know a Knave. 1592

S. R. 1594, Jan. 7. ‘A commedie entitled “a Knack to knowe a knave” newlye sett fourth as it hath sundrye tymes been plaid by Ned. Allen and his Companie with Kemps applauded Merymentes of the menn of Goteham.’ Richard Jones (Arber, ii. 643).

1594. A most pleasant and merie new Comedie, Intituled, A Knacke to knowe a knave. Newlie set foorth, as it hath sundrie tymes bene played by Ed. Allen and his Companie. With Kemps applauded Merrimentes of the men of Goteham, in receiuing the King into Goteham. Richard Jones.

Editions by J. P. Collier (1851, Five Old Plays), in Dodsley⁴ (1874, vi), and by J. S. Farmer (1911, T. F. T.).

Strange’s men produced ‘the Knacke to Knowe a Knave’ on 10 June 1592, and played it seven times to 24 Jan. 1593. Henslowe usually enters it as ‘the cnacke’. Fleay, 100, suggests that the Osric, revived by the Admiral’s men on 3 and 7 Feb. 1597, may also be this play. Both Fleay, ii. 310, and Greg, Henslowe, ii. 156, suggest that Kempe’s ‘merriments’ are to be found in sc. 12, and that of the rest the romantic part may be Peele’s and the moral part Wilson’s.[25] Gayley (R. E. C. i. 422) would like to find in the play the comedy written by Greene and the ‘young Juvenall’, Nashe. The character Cuthbert Cutpurse the Conicatcher is from the pamphlet (cf. s.v. Greene) entered in S. R. on 21 April 1592, and the story of Titus Andronicus is alluded to in F_{2}^v:

Leire > 1594

S. R. 1594, May 14. ‘A booke entituled, The moste famous Chronicle historye of Leire kinge of England and his Three Daughters.’ Adam Islip (Arber, ii. 649). [Islip’s name is crossed out, and Edward White’s substituted.]

1605, May 8. ‘A booke called “the Tragecall historie of kinge Leir and his Three Daughters &c”, As it was latelie Acted.’ Simon Stafford (Arber, iii. 289). [Assigned the same day by Stafford with the consent of William Leake to John Wright, ‘provided that Simon Stafford shall haue the printinge of this booke’.]

1605. The True Chronicle History of King Leir, and his three daughters, Gonorill, Ragan, and Cordelia. As it hath bene diuers and sundry times lately acted. Simon Stafford for John Wright.

S. R. 1624, June 29. Transfer of ‘Leire and his daughters’ from Mrs. White to E. Alde (Arber, iv. 120).

Editions by J. Nichols (1779, S. O. P. ii), W. C. Hazlitt (1875, Sh. Libr. ii. 2), W. W. Greg (1907, M. S. R.), S. Lee (1909, Sh. Classics), J. S. Farmer (1910, T. F. T.), R. Fischer (1914, Quellen zu König Lear).—Dissertations: W. Perrett, The Story of King Lear (1904, Palaestra, xxxv); R. A. Law, The Date of King Lear (1906, M. L. A. xxi. 462); H. D. Sykes, Sidelights on Shakespeare, 126 (1919).

The Queen’s and Sussex’s revived ‘kinge leare’ for Henslowe on 6 and 8 April 1594, shortly before the first S. R. entry (Greg, Henslowe, ii. 162). As the play is not named in the Sussex’s repertory of 1593–4, there is a presumption that it belonged to the Queen’s. The authorship is quite obscure. Fleay, 90, assigns it to Lodge and Peele; Fleay, 97, to Lodge and Greene; Fleay, ii. 51, to Lodge and Kyd. Robertson, 176, thinks the claim for Lodge indecisive, and surmises the presence of Greene. Sykes argues for Peele. Lee hints at Rankins. The publishing history is also difficult. The entries of 1605 appear to ignore White’s copyright, although this was still alive in his son’s widow in 1624. Lee suggests that the Stafford-Wright enterprise was due to negotiation between Wright and White, whose apprentice he had been. The play was clearly regarded as distinct from that of Shakespeare, which was entered to N. Butter and J. Busby on 22 Nov. 1607, and it, though based on its predecessor, is far more than a revision of it. It seems a little improbable that Leire should have been revived as late as 1605, and the ‘Tragecall’ and ‘lately acted’ of the title-page, taken by themselves, would point to an attempt by Stafford to palm off the old play as Shakespeare’s. But although 1605 is not an[26] impossible date for Shakespeare’s production, 1606 is on other grounds more probable.

Liberality and Prodigality. 1601

1602. A Pleasant Comedie, Shewing the contention betweene Liberalitie and Prodigalitie. As it was playd before her Maiestie. Simon Stafford for George Vincent. [Prologue and Epilogue.]

Editions by J. S. Farmer (1912, T. F. T.) and W. W. Greg (1913, M. S. R.).

A reference to ‘childish yeeres’ in the prologue points to boy actors. The trial (l. 1261) is for an alleged crime on 4 Feb., 43 Eliz. (1601), and the next court performance after this date was on 22 Feb. 1601 by the Chapel, to which occasion the production may be assigned. Elizabeth could be described as a ‘prince’, so that the use of this term does not bear out Fleay, ii. 323, in assuming a revival of an Edwardian play, but the characters are mainly abstract and the style archaic for the seventeenth century, and it is conceivable that the Prodigality of 1567–8 had been revived.

Locrine c. 1591

S. R. 1594, July 20. ‘The lamentable Tragedie of Locrine, the eldest sonne of Kinge Brutus, discoursinge the warres of the Brittans, &c.’ Thomas Creede (Arber, ii. 656).

1595. The Lamentable Tragedie of Locrine, the eldest sonne of King Brutus, discoursing the warres of the Britaines, and Hunnes, with their discomfiture: The Britaines victorie with their Accidents, and the death of Albanact. No lesse pleasant then profitable. Newly set foorth, ouerseene and corrected, By W. S. Thomas Creede. [Prologue and Epilogue.]

1664; 1685. [F₃; F₄ of Shakespeare.]

Editions of 1734 (J. Tonson), 1734 (R. Walker), and by R. B. McKerrow (1908, M. S. R.), J. S. Farmer (1911, T. F. T.), and in Sh. Apocrypha.—Dissertations: R. Brotanek (1900, Anglia-Beiblatt, xi. 202); C. Crawford, Edmund Spenser, L. and Selimus (1901, 9 N. Q. vii. 61; Collectanea, i. 47); W. S. Gaud, The Authorship of L. (1904, M. P. i. 409); T. Erbe, Die L.-Sage (1904); J. M. Robertson, Did Sh. Write T. A.? (1905); E. Köppel, L. und Selimus (1905, Jahrbuch, xli. 193); A. Neubner, König Lokrin. Deutsche Übersetzung mit literar-historischer Einleitung (1908); F. G. Hubbard (MS. cited by J. W. Cunliffe in C. H. v. 84); C. A. Harper, L. and the Faerie Queene (1913, M.L.R. viii. 369).

The interpretation of the W. S. of the title-page in F₃ of 1664 as indicating Shakespeare may be accurate, but does not suggest anything more than revision for a revival, or perhaps only for the press. Some revision is proved by the allusion in the epilogue to Elizabeth,

an allusion which was not chronologically accurate until the close of[27] the thirty-eighth regnal year on 16 Nov. 1596, after the play was in print, and could hardly have been made before the beginning of that year on 17 Nov. 1595, after it had been entered in S. R. As to the original author, one is bound to be sceptical of the unconfirmed notice by J. P. Collier (Bibliographical Account, i. 95) of an ‘inscription on an existing copy of the play ... assigning the authorship of it to Charles Tylney’. This, says Collier, ‘is the handwriting of Sir George Buck. He adds the information that he himself had written the dumb shows by which it was illustrated, and that it was originally called Elstrild’. Charles Tilney was a cousin of the Master of the Revels, and was executed for complicity in the Babington plot in 1586 (Camden, transl. 303). The statement, if true, would give an early date to the play, which the dumb shows and other ‘Senecan’ characteristics have been supposed to confirm. Fleay, ii. 321, boldly conjectures that the epilogue originally referred to ‘eight and twentie yeares’, and that the play was ‘by’ in the sense of ‘about’, Tilney, supposing the moral drawn against ‘ciuill discord’ instigated by ‘priuate amours’ to point at Mary of Scots. Recent investigations, however, concerning the relations of the play to Spenser on the one hand, and to Selimus (q.v.) on the other, suggest a date not earlier and not much later than 1591, either for the original composition of the play, or for a very substantial revision of it. Most of the points are well summed up by Cunliffe in C. H. v. 84. Locrine may borrow historical facts from the Faerie Queene (1590); it does not borrow phrases from it. It does, however, borrow phrases and whole lines, with more than Elizabethan plagiarism, from Spenser’s Complaints (1591). There is also an apparent loan from Wilmot’s Tancred and Gismund (1591). Some of the Complaints passages are also borrowed by Selimus, which makes similar booty both of Locrine itself and of the Faerie Queene. I agree with Cunliffe that the evidence is clearly in favour of Selimus being the later of the two plays, but am not so certain that the second borrowing of the Complaints passages tells against a common authorship of the two. It would be so, ordinarily, but here we have to do with an abnormal plagiarist. Whoever the author, he belongs to the school of the university wits. Marlowe is preferred by Malone, Peele by Fleay, Ward, Gaud, and for all but the comic scenes by Hopkinson, Greene by Brooke, Peele and Greene by Robertson.

The London Prodigal. 1603 < > 05

1605. The London Prodigall. As it was plaide by the Kings Maiesties seruants. By William Shakespeare. T. C. for Nathaniel Butter.

1664; 1685. [F₃; F₄ of Shakespeare.]

Editions in 1709, 1734 (J. Tonson), 1734 (R. Walker), by J. S. Farmer (1910, T. F. T.), and in Sh. Apocrypha.

Shakespeare’s authorship is accepted by few modern critics. An exception is Hopkinson. Fleay, Shakespeare, 299; B. C. i. 152, thinks that he may have ‘plotted’ the play, but that the writer is the same[28] as that of Thomas Lord Cromwell, whom he believes to be Drayton. Perhaps he is right in regarding an allusion to service ‘under the king’ (II. i. 16) as pointing to a Jacobean date. Brooke suggests Marston or Dekker. A play ‘von einem ungehorsamen Khauffmanns Sohn’ appears in Anglo-German repertories of 1604 and 1606 (Herz, 65, 94).

Look About You. 1599 (?)

1600. A Pleasant Commodie, Called Looke about you. As it was lately played by the right honourable the Lord High Admirall his seruaunts. For William Ferbrand.

Editions in Dodsley⁴ (1874, vii), and by J. S. Farmer (1912, T. F. T.) and W. W. Greg (1913, M. S. R.).

At the end of the play Gloucester proposes to fight the Saracens in Portugal, and as Anthony Wadeson (q.v.) was writing The Honourable Life of the Humorous Earl of Gloster with his Conquest of Portugal in June or July 1601, it has been suggested by Fleay, ii. 267, and Greg, Henslowe, ii. 204, that Wadeson was also the author of Look About You. The play ought itself to appear somewhere in Henslowe’s diary, and Fleay may be right in identifying it with the Bear a Brain of 1599, although the only recorded payment for that play was not to Wadeson, but to Dekker. There are reminiscences of R.J. II. iv. 42; III. v. 221 in l. 2329, and of 1 Hen. IV, II. iv. 295 in l. 2426.

The Rare Triumphs of Love and Fortune. 1582 (?)

1589. The Rare Triumphs of Loue and Fortune. Plaide before the Queenes most excellent Maiestie: wherein are many fine Conceites with great delight. E. A. for Edward White.

Editions by J. P. Collier (1851, Roxb. Club) and in Dodsley⁴ (1874, vi).

Fleay, ii. 26, assigns the play to Kyd on account of the similarity of the plot to that of Soliman and Perseda, but this is hardly convincing. On 30 Dec. 1582 Derby’s players performed A History of Love and Fortune at court, for which a city and battlement were provided by the Revels office. If the two plays were identical, as dates and style make not improbable, the city presumably served as a background for the scenes at court, while the battlement was used for the presenters Venus and Fortune, who are said in Act I to be ‘set sunning like a crow in a gutter’.

Love Feigned and Unfeigned (?)

[MS.] On first and last leaves (sig. a 1 and ii. 8 of a copy (Brit. Mus. IB. 2172) of Johannes Herolt, Sermones Discipuli (1492).

Edition by A. Esdaile (1908, M. S. C. i. 17).—Dissertation: E. B. Daw, L. F. and U. and the English Anabaptists (1917, M. L. A. xxxii. 267).

The text is a fragment, but there may have been more, as the original fly-leaves and end papers of the volume are gone. Sir G. F.[29] Warner thinks the hand ‘quite early seventeenth century’. The corrections in the same hand are such as rather to suggest an original composition, but may also be those of an expert copyist. Miss Daw thinks that the date of composition was in the seventeenth century, and that the play represents ideas belonging to (a) the Anabaptists and (b) the Family of Love, both of which were then active. She even suggests the possible authorship of the controversialist Edmond Jessop. Personally, I find it difficult to assign to the seventeenth century a moral written precisely in the vein of the middle of the sixteenth century, even to the notes (2, 69, 103) of action ‘in place’ (cf. ch. xix), and a phrase (76),

closely parallel to Wit and Wisdom, 12, which is probably pre-Elizabethan. The Jacobean activity of Anabaptism and Familism only revived movements which had been familiar in England from Edwardian times, were particularly vigorous in 1575, and had apparently died down during the last decade of Elizabeth’s reign; cf. for Anabaptists C. Burrage, The Early English Dissenters (1912), and for Familists s.v. Middleton, Family of Love.

The Maid’s Metamorphosis. 1600

S. R. 1600, July 24 (Hartwell). ‘Two plaies or thinges thone called the maides metamorphosis thother gyve a man luck and throw him into the Sea.’ Richard Oliffe (Arber, iii. 168).

1600. The Maydes Metamorphosis. As it hath beene sundrie times Acted by the Children of Powles. Thomas Creede for Richard Olive. [Prologue.]

Editions by A. H. Bullen (1882, O. E. P. i), R. W. Bond (1902, Lyly, iii. 341), and J. S. Farmer (1912, T. F. T.).

Archer’s play list of 1656 (Greg, Masques, lxxxvi) started an ascription to Lyly, which was probably suggested by the similarity of name to Love’s Metamorphosis. Daniel, with Lyly as reviser, is substituted by Fleay, ii. 324; Day by Gosse and Bullen; Day, with Lyly as reviser, by Bond. A limit of date is given by the reopening of Paul’s in 1599, and IV. i. 157 points to the ‘leape yeare’ 1600. Fleay thinks that the play was performed at Anne Russell’s wedding on 16 June 1600 (cf. ch. V), but, though ‘three or foure Muses’ dance at the end of the play, there is no indication of a mask, while the accounts of the wedding say nothing of a play.

The Marriage of Wit and Science > 1570

S. R. 1569–70. ‘A play intituled the maryage of Wytt and Scyence.’ Thomas Marsh (Arber, i. 399).

N.D. A new and Pleasant enterlude intituled the mariage of Witte and Science. Thomas Marsh.

Editions in Dodsley⁴ (1874, ii) and by J. S. Farmer (1909, T. F. T.).

An allegorical moral, indebted to John Redford’s Wit and Science[30] (Med. Stage, ii. 454). Fleay, 64; ii. 288, 294, proposes to identify this with the Wit and Will played at court in 1567–8 (cf. App. B), as Will is a character.

Meleager (?)

B. Dobell, in Athenaeum for 14 Sept. 1901, described a MS. in his possession with the title A Register of all the Noble Men of England sithence the Conquest Created. The date of compilation is probably 1570–90. On f. 3 is the argument in English of a play headed:

Presumably the play was in English also. It was classical in manner with five acts, a chorus, and dumb-shows. Act I opened with a dumb-show before Melpomene of the Fates, Althea and the burning brand. It seems distinct from the Meleager of W. Gager (q.v.).

The Merry Devil of Edmonton c. 1603

S. R. 1607, Oct. 22 (Buck). ‘A Plaie called the Merry Devill of Edmonton.’ Arthur Johnson (Arber, iii. 362). [The Life and Death of the Merry Devil of Edmonton, entered 5 April 1608, is a pamphlet by T. B.]

1608. The Merry Devill of Edmonton. As it hath beene sundry times Acted, by his Maiesties Seruants, at the Globe, on the banke-side. Henry Ballard for Arthur Johnson. [Prologue; Induction.]

1612; 1617; 1626; 1631.

S. R. 1653, Sept. 9. ‘The merry devil of Edmonton, by W^m: Shakespeare.’ H. Moseley (Eyre, i. 429).

1655. For William Gilbertson.

Editions in Dodsley (1875, x), and by H. Walker (1897, T. D.), J. S. Farmer (1911, T. F. T.), J. M. Manly (1913, R. E. C. ii), and in collections of Sh. Apocrypha.

Moseley’s attribution was repeated in the play lists of Archer in 1656 and Kirkman in 1661 (Greg, Masques, lxxxix), and the play was bound with Mucedorus and Fair Em as ‘Shakespeare, vol. i’ in Charles II’s library. The attempt of Fleay, ii. 313 (cf. his Shakespeare, 294), to show that Sir John the priest was originally called Oldcastle and gave a name to the play is too far-fetched, but it leads him to support a tradition originally based on a note by Coxeter (Dodsley², v. 247) that the author was Drayton. He puts it in 1597, apparently because Jessica calls Lancelot a ‘merry devil’ in M. V. II. iii. 2. But the Host is pretty clearly copied from him of the Merry Wives (c. 1599), and allusions to the king’s hunting (IV. i. 158, 186), although perhaps merely part of the historic action, might also have been topical under James I. The play existed by 1604, when it is mentioned in T. M.’s Black Book (Bullen, Middleton, viii. 36). Jonson calls it ‘your dear delight’ in the prologue to The Devil is an Ass (1616), and it was revived at court on 3 May 1618 (Cunningham, xlv).

[31]

Minds. 1575 <

N.D. Comoedia. A worke in ryme, contayning an Enterlude of Myndes, witnessing the Mans Fall from God and Christ. Set forth by H. N. and by him newly perused and amended. Translated out of Base-Almayns into English. [No imprint or colophon.] [Preface to the Reader; Prologue in dialogue.]

This is a translation of the Low German Comoedia: Ein Gedicht des Spels van Sinnen, anno 1575 of Henrick Niklaes, the founder of the mystical sect known as the Family of Love (cf. s.v. Middleton).

Misogonus. 1560 < > 77

[MS.] In collection of the Duke of Devonshire. [By two hands, of which one is only responsible for the t.p. and some corrections in the text. The t.p. has the heading ‘A mery and ρ ... Misogonus’, followed by the names of the speakers and ‘Laurentius Bariωna Ketthering die 20 Novembris Anno 1577’. The text, which is apparently imperfect, stopping in iv. 4, is probably all in one other hand, together with a prologue, at the end of which is ‘Thomas Rychardes’. The inscriptions ‘Anthony Rice’ on the title-page, ‘Thomas Warde Barfold 1577’ on the prologue-page, and ‘W. Wyll[~m]’ and ‘John York Jesu’ in margins of the text, are all in later hands, some of them not of the sixteenth century.]

Editions by A. Brandl (1898, Q. W. D.), J. S. Farmer (1906), and R. W. Bond (1911, E. P. I.).—Dissertation: G. L. Kittredge, The M. and Laurence Johnson (1901, J. G. P. iii. 335).

Brandl, following Collier, ii. 368, 378, dates the play in 1560, on the ground of an allusion in IV. i. 131 to ‘the rising rection ith north’, i.e. the Pilgrimage of Grace of 1536, as twenty-four years before the time of action, but it is not quite clear that the rambling dialogue of rustics, in which the passage occurs, justifies the interpretation put upon it; nor is the allusion in III. ii. 3 to the weathercock of Paul’s, set up in 1553 and destroyed in 1561, any more conclusive, as the phrase may have become proverbial. The style might be either of c. 1560 or, in a provincial play, of c. 1577, or, as Bond suggests, a reviser of c. 1577 might have revised a text of ten or twelve years earlier. For author, Fleay, 16, 58, 60, taking the piece to be that disliked at court on 31 Dec. 1559, offered Richard Edwardes, and is followed by Wallace, i. III. There is nothing to suggest that the play was ever performed at court at all. It seems more natural to look for him, either in the Thomas Richards or in the Laurence Barjona of the MS. Conceivably Richards might be the T. R. whose initials appear on the prints of Impatient Poverty and Nice Wanton (cf. Mediaeval Stage, ii. 460) in 1560. Barjona might be the name of a converted Jew. But Kittredge regards it as an anagram of Johnson, and points out that a Laurence Johnson matriculated at Christ’s College, Cambridge, in 1570, and took his B.A. in 1574 and his M.A. in 1577, while a Thomas Richards of Trinity took his B.A. in 1571, and a Thomas Ward of Jesus in 1580. A reference to Cambridge[32] learning (III. iii. 74) does not, of course, go far to prove Cambridge authorship. Anyway, the Barjona of the title-page is probably the ‘Laur. Bariona’ who signed, also from Kettering, the epistle to a book called Cometographia on 20 Jan. 1579. It is the work of an Anglican; not therefore of the Laurence Johnson, who was an Oxford Jesuit. I can add a few facts. A Laurence Jonson, with one Chr. Balam and George Haysyll of Cambridge, made a complaint through Lord North to the queen against the Bishop of Ely in Dec. 1575 (S. P. D. Eliz. cv. 88). This is interesting, because George Haysell of Wisbech was apparently one of Worcester’s players (cf. ch. xiii) in 1583. There is also a Laurence Johnson who on 12 June 1572 wrote to Lord Burghley about his service in the Mint (S. P. D. Eliz. lxxxviii. 17); possibly the same of whom Burghley wrote to his ‘brother’ William Herlle on 3 April 1575, that he could do nothing for him (S. P. D. Eliz. ciii. 24). Finally a Laurence Johnson engraved plates in 1603 (D. N. B.).

Sir Thomas More c. 1596

[MS.] B.M. Harleian MS. 7368. [The wrapper is endorsed, ‘The Booke of Sir Thomas Moore’, and is in part composed of a vellum leaf also used for that of Munday’s John a Kent and John a Cumber. The character of the damp stains on the two MSS. shows that they must for some time have lain together. Two passages of the original text have disappeared, and six passages have been inserted, on fresh leaves or slips, to replace these and other cancelled matter. One of these leaves appears to have been misplaced. Greg finds seven distinct hands: (a) the writer of the original text, whom he has now identified (M. L. R. viii. 89) with Munday; (b) five contributors to the insertions, of whom one appears also to have acted as a playhouse corrector, another (writing 30 lines) seems clearly to be Dekker, and a third (writing 148 lines) has been taken (v. infra) for Shakespeare; (c) the Master of the Revels, Edmund Tilney, who has given some directions as censor, of which the most important, at the beginning, runs: ‘Leaue out the insurrection wholy & the Cause ther off & begin with S^r Tho: Moore att the mayors sessions with a reportt afterwardes off his good service don being Shriue off London vppon a mutiny Agaynst the Lumbardes only by A shortt reporte & nott otherwise att your own perrilles E. Tyllney’. Whether Greg is right in calling this a ‘conditional licence’ I am not sure, but he corrects earlier writers by pointing out that the extant insertions do not carry out Tilney’s instructions, and were probably made before the play reached him. Although therefore the appearance of an actor’s name in a s.d. suggests that the play was cast for performance, it is not likely that it was actually performed, at any rate in its present state.]

Editions by A. Dyce (1844, Sh. Soc.), A. F. Hopkinson (1902), C. F. Tucker Brooke (1908, Sh. Apocrypha), J. S. Farmer (1910, photo-facsimile in T. F. S.), and W. W. Greg (1911, M. S. R.).—Dissertations: R. Simpson, Are there any extant MSS. in Sh.’s Handwriting? (1871, 4 N. Q. viii. 1); J. Spedding, Sh.’s Handwriting (1872, 4 N. Q. x. 227), On a Question concerning a Supposed Specimen of[33] Sh.’s Handwriting (1879, Reviews and Discussions); B. Nicholson, The Plays of S. T. M. and Hamlet (1884, 6 N. Q. x. 423); C. R. Baskervill, Some Parallels to Bartholomew Fair (1908, M. P. vi. 109); W. W. Greg, Autograph Plays by A. Munday (1913, M. L. R. viii. 89); L. L. Schücking, Das Datum der pseudo-Sh. S. T. M. (1913, E. S. xlvi. 228); E. M. Thompson, Shakespeare’s Handwriting (1916) and The Autograph MSS. of Anthony Munday (1919, Bibl. Soc. Trans. xiv. 325); P. Simpson, The Play of S. T. M. and Sh.’s Hand in It (1917, 3 Library, viii. 79); J. D. Wilson and others, Sh.’s Hand in the Play of S. T. M. (1919, T. L. S. 24 April onwards); W. J. Lawrence and others, Was S.T.M. ever Acted? (1920, T.L.S. 1 July onwards); M. A. Bayfield and E. M. Thompson, Shakespeare’s Handwriting (1921, T. L. S. 30 June, 4 Aug.).

The play has been dated c. 1586 and c. 1596, in both of which years there were disturbances with some analogy to the ‘Ill May Day’ of the plot, and an early date has been regarded as favoured by mentions (ll. 1006, 1148) of Oagle a wigmaker, since men of the name were serving the Revels Office in this and similar capacities from 1571 to 1585 (Feuillerat, Eliz., passim), and by the appearance as a messenger in a stage-direction (Greg, p. 89) of T. Goodal, an actor traceable with Berkeley’s men in 1581 and with the Admiral’s or Strange’s in the plot of The Seven Deadly Sins, c. 1590–1. But Goodal may have acted much longer, and the Admiral’s men had business relations with a ‘Father Ogell’ in Feb. 1600 (Greg, Henslowe, ii. 300). Greg, after comparing Munday’s script in the play with other and better datable examples of that script, inclines to put it ‘between 1596 and 1602, say 1598–1600’, and Sir E. M. Thompson, on a further review of the same evidence, suggests 1592 or 1593. This, however, involves putting the MS. of John a Kent and John a Cumber (cf. ch. xxiii, s.v. Munday) back to 1590, which, although palaeographically possible, is inconsistent with evidence pointing to its production by the Admiral’s in 1594. Certain parallels with Julius Caesar and Hamlet might suggest the latter part of the possible period, although the parallel suggested by Schücking with Fletcher’s The Tamer Tamed is too slight to bear out his date of 1605–8, and the attempt of Fleay (ii. 312; Shakespeare, 292) to identify the play with the Abuses of Paul’s in 1606 is guess-work. Jonson’s apparent debt to S. T. M. in Bartholomew Fair, pointed out by Baskervill, is also in favour of a latish date. Obviously the mention of ‘Mason among the Kings players’ (l. 1151) does not prove a Jacobean date, as Henry VIII had players. No actor of the name in either reign is known, although an Alexander Mason was marshal of the royal minstrels in 1494 (Collier, i. 45). Account must be taken of the support given by Sir E. M. Thompson to the theory of R. Simpson and Spedding that three of the added pages are in the hand of Shakespeare. This is based on a minute comparison with the few undoubted fragments, almost entirely signatures, of Shakespeare’s writing. Both hands use ‘the native English script’ and are ‘of an ordinary type’, without marked individual character ‘to any great extent’, although slight peculiarities, such as ‘the use of the fine upstroke as an ornamental adjunct to certain letters’, are[34] common to them. The demonstration would have been more convincing had the hands been less ‘ordinary’, but Sir E. M. Thompson’s authority is great, and some support is furnished by P. Simpson from the character of the punctuation in the addition, and by J. D. Wilson from some orthographic resemblances to the more reliable Shakespearian quartos. Sir E. M. Thompson’s views are criticized in G. Greenwood, Shakespeare’s Handwriting (1920). If Shakespeare was the author, the analogies between the matter of the addition and the Jack Cade scenes of Henry VI would be in favour of an earlier date, if that were possible, than 1596 or even 1594, although I should not like to be committed to the view that Shakespeare might not have scribbled the fragment at any time in the sixteenth century. On a balance of the mixed literary and palaeographical evidence before us, the safest guess seems to be 1596. As to the rest of the authorship, Dr. Greg’s discoveries point to Munday, with some help from Dekker. Fleay’s argument (Sh. 292) for Lodge and Drayton is flimsy. If Shakespeare had a share, the company was probably the Chamberlain’s. Goodal’s name proves nothing as to this.

Mucedorus > 1598; 1611

1598. A most pleasant Comedie of Mucedorus, the Kings sonne of Valentia and Amadine the Kings daughter of Arragon, with the merie conceites of Mouse. Newly set foorth, as it hath bin sundrie times plaide in the honorable Cittie of London. Very delectable and full of mirth. For William Jones. [Arrangement of parts for eight actors; Induction.]

1606. For William Jones.

1610.... Amplified with new additions, as it was acted before the Kings Maiestie at Whitehall on Shroue-sunday night. By his Highness Seruants vsually playing at the Globe. Very delectable, and full of conceited Mirth. For William Jones. [Arrangement of parts for ten actors; Prologue. Collier professes to follow a print of 1609 with this altered title, otherwise unknown; cf. Greg in Jahrbuch, xl. 104.]

1611; 1613; 1615.

S. R. 1618, Sept. 17. Transfer by Sarah, widow of William Jones, to John Wright (Arber, iii. 632).

1618; 1619; 1621; 1626; N.D. [1629] fragm.; 1631; 1634; 1639; N.D. [1639 < > 63]; 1663; 1668.

Editions by J. P. Collier (1824) and with Shakespeare (1878), N. Delius (1874), in Dodsley⁴, vii (1874), Warnke-Proescholdt (1878), J. S. Farmer (1910, T. F. T.), and with Sh. Apocrypha.—Dissertations: R. Simpson, On Some Plays Attributed to Sh. (1875, N. S. S. Trans. 155); W. Wagner, Ueber und zu M. (1876, Jahrbuch, xi. 59), Neue Conjecturen zum M. (1879, Jahrbuch, xiv. 274); K. Elze, Noten und Conjecturen (1878, Jahrbuch, xiii. 45), Nachträgliche Bemerkungen zu M. (1880, Jahrbuch, xv. 339), Last Notes on M. (1883, E. S. vi. 217); E. Soffé, Ist M. ein Schauspiel Sh.’s? (1887, Brünn Progr.); W. W. Greg, On the Editions of M. (1904, Jahrbuch, xl. 95).

[35]

It is difficult to date with precision the revival for which the additions printed in the Q. of 1610 (1610/1?) were written, especially as the genuineness of the Q. of 1609, in which Collier stated that he found these additions, cannot be verified, since the accounts of the Treasurer of the Chamber do not specify the exact days on which the numerous appearances of the King’s men at court during the winters of 1608–9, 1609–10, and 1610–11 took place. The conjecture of Fleay (ii. 50; Shakespeare, 303) that the additions date from 1606 was largely based on a guess that they appeared in the Q. of 1606, which he had not seen. The added or altered passages are the prologue; i. 1, 2; iv. 1; parts of v. 2; and the final lines of the induction. The prologue wishes James security

A bear is introduced in i. 2, as in W. T. iii. 3, and I venture to conjecture that both episodes were inspired by the successful bear in Jonson’s Mask of Oberon on 1 Jan. 1611, to which there is also an allusion in his Love Restored of 6 Jan. 1612. If so, the revival must have been on Shrove Sunday, 3 Feb. 1611. In I. i. 50 Anselmo says that he was a shepherd in ‘Lord Iulios Maske’. Oberon, however, had no shepherds proper, only satyrs and sylvans. The induction is altered to compliment James instead of Elizabeth, and the following dialogue between Comedie and Envie is introduced:

[36]

Fleay, with 1606 in his mind, finds here an apology for The Fox, thinking Jonson the raven and Eastward Hoe the ‘trap for Boyes’. In 1610 there had been no trouble about any London play, although one in Lincolnshire had given offence. But a careful reading of the passage will show that it is no apology at all, but a boast, and an attack upon informers against the stage.

As the play had been in print since 1598, it must not be assumed that, because the King’s revived it in 1610–11, it was originally a Chamberlain’s play. It may have belonged to the Queen’s or some other extinct company. Evidently it was a popular play, as the number of editions shows. K. B. P. ind. 91 tells us that Ralph has ‘play’d ... Musidorus before the Wardens of our Company’.

The ascription to Shakespeare is due to Archer’s list of 1656 (Greg, Masques, xci) and to the inclusion of the play with Fair Em and The Merry Devil of Edmonton in a volume in Charles II’s library, lettered ‘Shakespeare, vol. i’ (Variorum, ii. 682). It now receives little support, even as regards the added passages. Greene is preferred as the original author by Malone and Hopkinson, Peele by von Friesen, and Lodge by Fleay.

After the suppression of the theatres in 1642, Mucedorus was acted by strolling players in various parts of Oxfordshire. An accident during a performance at Witney on 3 Feb. 1654 is recorded in John Rowe, Tragi-Comoedia. Being a brieff relation of the strange and wonderful hand of God, discovered at Witney in the Comedy acted February the third, where there were some slaine, many hurt and several other remarkable passages (1653/4).

Either Mucedorus or Greene’s Alphonsus (q.v.) may have been the play on a king of Arragon given at Dresden in 1626. It has also been suggested (Herz, 95) that Mucedorus influenced Pieter Hooft’s Dutch pastoral Granida (1605).

Narcissus. 6 Jan. 1603

[MS.] Bodl. MS. 147303 (Rawl. Poet. MS. 212), f. 82^v. ‘A Twelfe Night Merriment. Anno 1602.’ [Porter’s speech ‘at the end of supper’, Wassail Song, Prologue, and Epilogue.]

Edition by M. L. Lee (1893).

The porter’s name is Francis, and from some speeches and a letter composed for him, which appear in the same manuscript, it is clear that he was Francis Clark, who became porter of St. John’s, Oxford, on 8 May 1601, at which house therefore the play was doubtless given. It has borrowings from M. N. D. and 1 Hen. IV.

New Custom. 1558 < > 73

1573. A new Enterlude No less wittie: then pleasant, entituled new Custome, deuised of late, and for diuerse causes nowe set forthe, neuer before this tyme Imprinted. William How for Abraham Veale.

[37]

Editions in Dodsley⁴ (1874, iii) and by J. S. Farmer (1908, T. F. T.).

A moral of Protestant controversy, with typical personages, bearing allegorical names, arranged for four actors.

The final prayer is for Elizabeth, and Avarice played in the days of Queen Mary. Fleay, 64; ii. 294, thinks it a revised Edward VI play, on the ground of an allusion to a ‘square caps’ controversy of 1550. But this was still vigorous in 1565 (cf. Parker’s Letters, 240). Fleay also says that the Nugize of Captain Cox’s collection (Laneham, 30) is Mankind (Med. Stage, ii. 438) in which New Gyse is a character. But Mankind was first printed in 1897, and probably this play is the one Laneham had in mind.

Nobody and Somebody > 1606

S. R. 1606, Jan. 8. ‘The picture of No bodye.’ John Trundell (Arber, iii. 308).

1606, March 12 (Wilson). ‘A Booke called no bodie and somme bodie &c.’ John Trundell (Arber, iii. 316).

N.D. No-Body, and Some-Body. With the true Chronicle Historie of Elydure, who was fortunately three seuerall times crowned King of England. The true Coppy thereof, as it hath beene acted by the Queens Maiesties Seruants. For John Trundle. [Prologue and Epilogue.]

Editions by A. Smith (1877), R. Simpson (1878, S. of S. i), J. S. Farmer (1911, T. F. T.), of the early German translation by F. Bischoff, Niemand und Jemand in Graz im Jahre 1608 (1899, Mitteilungen des historischen Vereins für Steiermark, xlvii. 127), and of Tieck’s translation by J. Bolte (1894, Jahrbuch, xxix. 4).—Dissertation: J. Bolte, Eine Hamburger Aufführung von N. a. S. (1905, Jahrbuch, xli. 188).

The play is probably Jacobean. There is a reference to the unwilling recipients of knighthood (l. 325), and the use of Essex’s nickname for Cobham, Sycophant, as the name of a courtier, must be later than Cobham’s disgrace in 1603. Simpson thought that an allusion to the misuse of the collections for rebuilding Paul’s steeple (l. 754) pointed to an original date c. 1592, when the matter caused a scandal, but the steeple was still unbuilt in James’s reign. Greg, Henslowe, ii. 230, revising a conjecture of Fleay, i. 293, suggests that Albere Galles, written by Heywood and Smith for Worcester’s in Sept. 1602, may be this play, and Henslowe’s title a mistake for Archigallo, one of the characters. The play seems to have reached Germany by 1608. A performance at Graz in that year was probably the occasion of the dedication by ‘Joannes Grün Nob. Anglus’ to the archduke Maximilian of a manuscript German translation, now in the Rein library. To it is attached a coloured drawing of a bearded man in a doublet which hides his breeches, and with a book and chain in his hands. Above is written ‘Nemo’ and ‘Neminis Virtus ubique Laudabilis.’ A version is also in the Anglo-German collection of 1620 (Herz, 66, 112).

[38]

Parnassus. 1598–1602 (?)

[MSS.] Bodl. Rawlinson MS. D. 398. ‘The Pilgrimage to Parnassus’, ‘The Returne from Parnassus’. [1 Parnassus with Prologue; 2 Parnassus with Stagekeeper’s speech for Prologue. The cover bears the name of ‘Edmunde Rishton, Lancastrensis’, who took his M.A. from St. John’s, Cambridge, in 1602.]

Halliwell-Phillipps MS. ‘The Returne from Pernassus: or The Scourge of Simony.’ [3 Parnassus, with induction for Prologue, which says, ‘The Pilgrimage to Pernassus, and the returne from Pernassus have stood the honest Stagekeepers in many a Crownes expence for linckes and vizards: ... this last is the last part of the returne from Pernassus’.]

S. R. 1605, Oct. 16 (Gwyn). ‘An Enterlude called The retourne from Pernassus or the scourge of Simony publiquely Acted by the studentes in Sainct Johns College in Cambridg.’ John Wright (Arber, iii. 304).

1606. The Returne from Pernassus: Or The Scourge of Simony. Publiquely acted by the Students in Saint Iohns Colledge in Cambridge. G. Eld, for Iohn Wright. [Two issues. 3 Parnassus only.]

Editions of 3 Parnassus by T. Hawkins (1773, O. E. D. iii), W. Scott (1810, A. B. D. i), in Dodsley⁴ (1874, ix), by E. Arber (1878) and O. Smeaton (1905, T. D.), and of 1, 2, 3 Parnassus by W. D. Macray (1886) and J. S. Farmer (S. F. T.).—Dissertations: B. Corney (1866, 3 N. Q. ix. 387); J. W. Hales, The Pilgrimage to P. (1887, Academy and Macmillan’s Magazine; 1893, Folia Litteraria, 165); W. Lühr, Die drei Cambridger Spiele vom P. in ihren litterarischen Beziehungen (1900, Kiel diss.); E. B. Reed, The College Element in Hamlet (1909, M. P. vi. 453); G. C. Moore Smith, The P. Plays (1915, M. L. R. x. 162).

There are several notes of time and authorship. At the end of 1, which was ‘three daies studie’ (l. 3), the pilgrimage has lasted ‘4 yeares’ (712). Kinsader’s, i.e. Marston’s, Satires and Bastard’s Epigrams, both of 1598, are mentioned (212). The prologue to 2, which is a ‘Christmas toy’ (18), deprecates the former courtesy of ‘our stage’:

It is now seven years since the scholars started for Parnassus (62). Gullio has been ‘verie latelie in Irelande’ and ‘scapt knightinge’ (878), obviously with Essex in 1599. The Epigrams (1599) of ‘one Weaver fellow’, i.e. John Weever, are alluded to (982). The prologue to 3, also a ‘Christenmas toy’ (30), calls it ‘an old musty show, that[39] hath laine this twelue moneth in the bottome of a coalehouse’ (25). ‘The Authors wit’ (48) has stood ‘hammering upon ... 2 schollers some foure (1606, whole) yeare’ (37). This is the third play of a series (76):

Belvedere (1600) is published (179) and Nashe is dead (314). The Dominical letters are C, or for the Annunciation year D and C (1105), and the moon is in ‘the last quarter the 5 day, at 2 of the cloke and 38 minuts in the morning’ (1133). These indications fit Jan. 1602 (Lühr, 15, 105). The siege of Ostend, which extended from 1601 to 1604, has begun (1333). Jonson has ‘brought vp Horace giving the Poets a pill’ (1811), and Kempe is back ‘from dancing the morrice over the Alpes’ (1823). Both events took place in 1601. It is still Elizabeth’s reign (1141).

A quite clear conclusion as to date is not possible. The calendar references, the four years of hammering (in 3), and the probability that the writer would try to have his allusions to literary events up to date, suggest performances at the Christmases of 1598–9, 1599–1600, and 1601–2. This allows for a twelve-months’ delay, followed by a good deal of revision, in the performance of 3. On the other hand, the difference between four (in 1) and seven (in 2) years of pilgrimage points to 1598–9, 1601–2, and 1602–3. On the whole, I lean to the first alternative.

So far as we know, the association of Kempe with the Chamberlain’s men was out of date either in 1601 or 1602; conceivably he returned to the company for a while in 1601, but he was certainly of Worcester’s in 1602.

Moore Smith thinks that the ‘ruder quill’ of the prologue to 3 implies that the author of 2 and 3 was distinct from the author of 1. But the same prologue speaks clearly of a single author. Hales took the account of his troubles in getting his degree literally, and pointed out that foreign students at German universities were called ‘Käsebettler’ and ‘Käsejäger’. Moore Smith doubts, and thinks the degree may have been given at Cambridge by the influence of William Holland, senior fellow of St. John’s, and his name glanced at in ‘Germanie’. The absence alike of matriculation books and college admission registers for the period makes identification difficult. Corney found a copy of the print of 3 with the inscription ‘To my Lovinge Smallocke J. D.’, which he thought in the same hand as the Lansdowne MS. of John Day’s Peregrinatio Scholastica. Bullen was inclined to support Day’s authorship on internal grounds, but Day was a Caius man, whose university career closed in disgrace, and is not very likely to have written plays for St. John’s some years later. And it is but a slight connexion with Cheshire that ‘dey’ means ‘dairy’ in the dialect of that county. Cheshire ought to be our clue. Charles Chester was not, so far as I know, a writer. Hales seems to have thought[40] that the theatrical Beestons of London may have been connected with the Cheshire family of that name. There was a Cheshire foundation at St. John’s, and Moore Smith cites a suggestion that the author may have been William Dodd, a Cheshire man, who became Scholar of St. John’s in 1597, B.A. in 1599, and Fellow in 1602. The ‘priviledge’ reminds me of the traditional jurisdiction of the Dutton family over minstrelsy in Cheshire (Mediaeval Stage, ii. 259), but I do not know whether any Dutton can be traced at St. John’s.

In i. 2 of 3 Judicio is exercising the occupation of a ‘corrector of the presse’, apparently in the employment of a particular printing-house, not of the licensing authorities. The house would be Danter’s, who is himself introduced in i. 3 bargaining with Ingenioso to give him 40s. for a pamphlet. In iv. 3 Burbage and Kempe appear, and here is the famous passage in which Kempe says:

Fleay, Shakespeare, 221, suggests that the ‘purge’ was the description of Ajax in Troilus and Cressida, I. ii. 15, and is supported by Small, 167. If so, it was very irrelevant to its setting. The purge ought to be Satiromastix, and though there is nothing to indicate that Shakespeare had any responsibility for Satiromastix, it is just conceivable that a Cambridge man, writing before the play was assigned to Dekker in print, may have thought that he had. The allusion is clearly to Shakespeare as a writer, or one might have thought that he acted Horace-Jonson in Satiromastix.

Especially in 3, the writer is much occupied with contemporary literature, but this does not justify the slap-dash attempt of Fleay, ii. 347, to identify nearly all his characters with individual literary men. They are, of course, not individuals, but types, and types of university men. The most that can be said is that there may be something of Marston in Furor Poeticus, and a good deal of Nashe, with probably also a little of Greene, in Ingenioso, who ultimately takes flight, with Furor and Phantasma, to the Isle of Dogs (v. 3, 4):

Il Pastor Fido > 1601

S. R. 1601, Sept. 16 (Pasfield). ‘A booke called the faythfull Shepheard’. Waterson (Arber, iii. 192).

1602. Il Pastor Fido: Or The faithfull Shepheard. Translated out of Italian into English. For Simon Waterson. [Sonnets by S. Daniel and the Translator to Sir Edward Dymocke; Epistle to the same, dated 31 Dec. 1601, and signed ‘Simon Waterson’.]

[41]

1633. For John Waterson. [Epistle by John Waterson to Charles Dymock.]

1633. Augustine Matthewes for William Sheares. [Another issue.]

The preliminary matter of 1602 and 1633 is shown by Greg, Pastoral, 242, to point to a kinsman, but not the son, of Sir Edward Dymocke as the translator. He may be a John Dymmocke, to whom Archer’s play-list of 1656 (Greg, Masques, xcvi) assigns in error The Faithful Shepherdess. The translation is from G. Battista Guarini’s Il Pastor Fido (1590). For a Latin translation see App. L.

The Pedlar’s Prophecy > 1594

S. R. 1594, May 13. ‘A plea booke intituled the Pedlers Prophesie.’ Thomas Creede (Arber, ii. 649).

1595. The Pedlers Prophecie. Thomas Creede, sold by William Barley. [Prologue.]

Editions by J. S. Farmer (1911, T. F. T.) and W. W. Greg (1914, M. S. R.).

The analogies of title and date of publication to The Cobler’s Prophecy have led Fleay, ii. 283, and others to ascribe the authorship to Wilson. To me the play reads more like a belated piece of c. 1560–70.

Pericles c. 1607–8

See Shakespeare (ch. xxiii), except in relation to whose work the play can hardly be discussed.

Philotus > 1603

1603. Ane verie excellent and delectabill Treatise intitulit Philotus. Quhairin we may persaue the greit inconveniences that fallis out in the Mariage betwene age and zouth. Robert Charteris, Edinburgh. [At end are verses beginning ‘What if a day or a month or a zeere’, possibly Campion’s; cf. Bullen, Campion (1903), 270.]

1612. A verie excellent and delectable Comedie.... Andro Hart, Edinburgh.

Editions by J. Pinkerton (1792, Scottish Poems, iii) and for Bannatyne Club (1835).

This has been ascribed to Robert Sempill (1530?-95), but merely because his play before the Regent of Scotland on 17 June 1568 (Diary of Robert Birrel in Dalyell, Fragments of Scottish History, 14) is not otherwise known. R. Brotanek (1898, Festschrift zum viii allgemeinen deutschen Neuphilologentage in Wien; cf. Jahrbuch, xxxv. 302) suggests Alexander Montgomery.

The Puritan. 1606

S. R. 1607, Aug. 6 (Buck). ‘A book called the comedie of “the Puritan Widowe”.’ George Elde (Arber, iii. 358).

1607. The Puritaine Or The Widdow of Watling-streete. Acted by[42] the Children of Paules. Written by W. S. G. Eld. [Running-title ‘The Puritaine Widdow’.]

1664; 1685. [Parts of F₃ and F₄ of Shakespeare.]

Editions in 1734 (J. Tonson), 1734 (R. Walker), by J. S. Farmer (1911, T. F. T.), and in Sh. Apocrypha.

The W. S. of the title-page was interpreted as William Shakespeare in Archer’s play-list of 1656 (Greg, Masques, c). The attribution is accepted by no modern critic, and guesses at Wentworth Smith and William Smith rest similarly on nothing but the initials. Internal evidence points to an author who was an Oxford man, and familiar with the plays of Shakespeare. Middleton is preferred by Fleay, ii. 92, Bullen (Middleton, i. lxxix), and others; Marston by Brooke, who dwells on a general resemblance to Eastward Hoe, and seems inclined to think that Jonson, whose Bartholomew Fair the play foreshadows, might also have contributed. The character George Pyeboard is clearly meant for Peele, and the play uses episodes which appear in The Merrie Conceited Jests of George Peele Gent. This, though the extant print is of 1607, was entered in S. R. on 14 Dec. 1605. The Paul’s plays seem to have terminated in 1606, and Fleay points out that an almanac allusion in III. vi. 289 is to Tuesday, 15 July, which fits 1606. The attack on the Puritan ministers was resented in W. Crashaw’s Paul’s Cross sermon of 13 Feb. 1608 (cf. App. C, no. lvi).

The Revenger’s Tragedy. 1606 < > 7

S. R. 1607, Oct. 7 (Buck). ‘Twoo plaies, thone called the revengers tragedie.’ George Eld (Arber, iii. 360).

1607. The Revengers Tragœdie. As it hath beene sundry times Acted, by the Kings Maiesties Seruants. G. Eld.

1608. G. Eld.

Editions in Dodsley^1–4 (1744–1876), and by W. Scott (1810, A. B. D. ii) and A. H. Thorndike (1912, M. E. D.).

The authorship is ascribed to ‘Tournour’ in Archer’s list of 1656 and to ‘Cyril Tourneur’ in Kirkman’s lists of 1661 and 1671 (Greg, Masques, cii). Fleay, ii. 264, is sceptical, thinking the work too good for the author of The Atheist’s Tragedy, and inclined to suggest Webster. Oliphant (M. P. viii. 427) thinks Tourneur impossible, in view of the difference of manner, and suggests, only to reject, Middleton. E. E. Stoll, John Webster, 107, 212, points out that both plays are much under the influence of Marston, and that the date may be fixed by the borrowing of the name and character of Dandolo from The Fawn (1606).

The True Tragedy of Richard Duke of York > 1592

See The Contention of York and Lancaster.

1 Richard the Second c. 1592 < > 5

[MS.] Egerton MS. 1994. The play forms a separate section of this composite MS. It has no title-page and a few lines at the end[43] are missing. The handwriting is of the late sixteenth or early seventeenth century.

Editions by J. O. Halliwell (1870) and W. Keller (1899, Jahrbuch, xxxv. 3.—Dissertations: F. I. Carpenter, Notes on the Anonymous Richard II (1899, Journ. Germ. Phil. iii. 138); F. S. Boas, A Seventeenth Century Theatrical Repertoire (Library for July 1917).

The play deals with an earlier part of the reign than that of Shakespeare’s Richard II. Keller concludes from a study of parallel passages that it was known to Shakespeare, and that the author knew Marlowe’s Edward II and 2 Henry VI. This gives a date of about 1592–5. Fleay, ii. 320, dates the play about 1591 and assigns it, for no apparent reason, to the Queen’s men. Boas accepts the date 1590–5 on internal evidence, but finds the names ‘George’ and ‘Toby’ in the stage-directions as players of servants’ parts, and supposes the MS. to belong to a seventeenth-century revival and to have been collected with others in Egerton MS. 1994 by the younger William Cartwright, who was one of a late King’s Revels company traceable during 1629–37 (Murray, i. 279). He identifies ‘George’, rather hazardously, with George Stutfield, who belonged to this company, and ‘Toby’ with an Edward Tobye, who is not known to have belonged to it, but is found in 1623 among the Children of the Revels to the late Queen Anne (Murray, i. 361; ii. 273). My difficulty about this is that the relation of 1 Rich. II to Shakespeare’s play is so close as to make it natural to regard it as having become a Chamberlain’s play, and therefore unlikely to get into the hands of either of these Revels companies. Any company might have a George. George Bryan, for example, is a possibility. Toby, no doubt, is a rarer name. Toby Mills died in 1585, but might have left a son or godson of his name.

The True Tragedy of Richard the Third > 1594

S. R. 1594, June 19. ‘An enterlude entituled, The Tragedie of Richard the Third wherein is showen the Death of Edward the FFourthe with the smotheringe of the twoo princes in the Tower, with a lamentable end of Shores wife, and the Coniunction of the twoo houses of Lancaster and Yorke.’ Thomas Creede (Arber, ii. 654).

1594. The True Tragedie of Richard the Third: Wherein is showne the death of Edward the fourth, with the smothering of the two yoong Princes in the Tower: With a lamentable ende of Shore’s wife, an example for all wicked women. And lastly the conjunction and ioyning of the two noble Houses, Lancaster and Yorke. As it was playd by the Queenes Maiesties Players. Thomas Creede, sold by William Barley. [Induction; Epilogue.]

Editions in Variorum (1821), xix. 251, and by B. Field (1844, Sh. Soc.) and W. C. Hazlitt (1875, Sh. Libr.).—Dissertation: G. B. Churchill, Richard the Third up to Shakespeare (1900, Palaestra, x).

Collier, Shakespeare, v. 342, put the play earlier than 1588 on the ground that the epilogue in praise of Elizabeth makes no mention of the Armada. But ‘She hath put proud Antichrist to flight’ may[44] pass for such a mention. Fleay, 64, dates it about 1587: in ii. 28 he says ‘1586 or late in 1585’ as a ballad on the subject was entered on the Stationers’ Register on 15 Aug. 1586; in ii. 315 he prefers 1591, regarding the play as a continuation of The Contention between York and Lancaster. He considers a later date as excluded by the close of the court career of the Queen’s men in 1591. This, however, did not close until 1594, and the epilogue was not necessarily given at court. Churchill also thinks the play a continuation of the Contention, and finds influences, not very striking, of Marlowe’s Tamburlaine, Faustus, and Edward II. He concludes for 1590–1. There is very little trace of any use by Shakespeare of this play for his Richard III.

Boswell groundlessly took the author to be that of Locrine (q.v.). Fleay, ii. 315, tries to divide the scenes between Lodge and Peele, and suggests that they were re-writing Kyd.

Robin Hood > 1560

S. R. 1560, Oct. 30. ‘A newe playe called——.’ William Copland (Arber, i. 152).

N.D. A mery geste of Robyn Hoode and of hys lyfe, wyth a newe playe for to be played in Maye games very plesaunte and full of pastyme. [Colophon] Imprinted at London vpon the thre Crane wharfe by Wyllyam Copland.

N.D. For Edward White.

Editions in J. Ritson, Robin Hood (1795), ii. 199, F. J. Child, English and Scottish Popular Ballads, iii (1888) 114, 127, and Manly (1897), ii. 281.

The play, which deals with the episodes of Robin Hood and the Friar and Robin Hood and the Potter, is appended to a reprint of the narrative Geste, originally printed by Wynken de Worde. Manly assigns Copland’s edition to c. 1550, but Arber, v. 32, to ‘c. 1560, by the Printer’s address’, and Furnivall, Captain Cox, to c. 1561. Apparently Copland is not traceable at the Three Cranes before that year and had earlier addresses. If so, I think that his anonymous entry of 1560 in the Stationers’ Register may fairly be supposed to relate to Robin Hood.

Ruff, Cuff and Band c. 1615

[MS.] Add. MS. 23723.

S. R. 1615, Feb. 10 (Taverner). ‘A booke called a Diologue betwene Ruffe Cuffe and Band &c.’ Miles Patriche (Arber, iii. 563).

1615. A merrie Dialogue, Betwene Band, Cuffe, and Ruffe: Done by an excellent Wit, And Lately acted in a Shew in the famous Vniversitie of Cambridge. William Stansby for Miles Partrich.

1615. Exchange Ware at the second hand, Viz. Band, Ruffe and Cuffe, lately out, and now newly dearned vp. Or Dialogue, acted in a Shew in the famous Vniversitie of Cambridge. The second Edition. W. Stansby for Myles Partrich.

[45]

1661. [Title as in ed. 1.] For F. K.

Editions in Harleian Miscellany², x (1813), and by J. O. Halliwell (1849, Contributions to Early English Literature) and C. Hindley, Old Book Collector’s Miscellany, ii (1872).

The Second Maiden’s Tragedy. 1611

[MS.] B.M., Lansdowne MS. 807, f. 29, formerly penes John Warburton. [Greg distinguishes four contemporary hands: (a) a scribe or copyist of the original text and certain additions on inserted slips; (b) a corrector, probably the author; (c) the Master of the Revels, Buck; (d) a theatre official, who added stage-directions. The contributions of (b) and (c) are not wholly distinguishable, especially where mere deletions are in question, as the author may, besides literary corrections, have made others due to the hints, or known views, of Buck as censor. The presence of a second literary corrector is just possible. On the verso of the last leaf Buck has written: ‘This second Maydens tragedy (for it hath no name inscribed) may w^th the reformations bee acted publikely. 31 octob^r. 1611. G. Buc.’ In later hands are the title ‘The Second Maydens Tragedy’ at the beginning, and a note following Buck’s endorsed licence, which originally ran, ‘The Second Maydens Tragedy October 31^th 1611 By Thomas Goffe A Tragedy indeed’. Here Goffe’s name has been cancelled, and two successive correctors have substituted, firstly, ‘George Chapman’, and then ‘By Will Shakspear’. Warburton’s hand is not discernible, and the last correction was probably made after his time, as his list of manuscript plays (3 Library, ii. 232) includes ‘2^d. p^t. Maidens Trag̃. Geo. Chapman’.]

S. R. 1653, Sept. 9. ‘The Maid’s Tragedie, 2^d. part.’ H. Moseley (Eyre, i. 428).

Editions in 1824–5 (O. E. D. i), Chapman’s Works (1875, iii), and Dodsley⁴ (1875, x), and by W. W. Greg (1909, M. S. R.).—Dissertations: J. Phelan, Philip Massinger (1879, Anglia, ii. 47); A. S. W. Rosenbach, The Curious-Impertinent (1902, M. L. N. xvii. 179); W. Nicholson, The S. M. T. (1912, M. L. N. xxvii. 33).

The play may be assigned to the King’s men, in view of stage-directions to ll. 1724, 1928, which show that ‘M^r Goughe’ played Memphonius and ‘Rich Robinson’ the Lady. Perhaps this also explains the ascription of authorship to Thomas Goffe, which, like those to Chapman and Shakespeare, now finds no favour. Tieck, who translated the play in his Shakespeare’s Vorschule (1829, ii), argued for Massinger, whose lost Tyrant he took the play to be. No doubt the chief character is only entitled ‘Tyrant’ in the manuscript. But the Tyrant has a separate existence both in S. R. and in Warburton’s list. Fleay, ii. 331, thought that the title was originally meant to be The Usurping Tyrant, and that the play was by the author of The Revenger’s Tragedy, generally assigned to Tourneur. Rosenbach doubts Massinger, and thinks Tourneur’s hand traceable. Swinburne seems to have suggested Middleton.

[46]

Selimus. 1591 < > 94

1594. The First part of the Tragicall raigne of Selimus, sometime Emperour of the Turkes, and grandfather to him that now raigneth. Wherein is showne how hee most vnnaturally raised warres against his owne father Baiazet, and preuailing therein, in the end caused him to be poysoned: Also with the murthering of his two brethren, Corcut, and Acomat. As it was playd by the Queenes Maiesties Players. Thomas Creede. [Prologue and Conclusion.]

1638. The Tragedy of Selimus Emperour of the Turkes. Written T. G. For John Crooke and Richard Serger. [Re-issue of 1594 sheets with new t.p.]

Editions by A. B. Grosart (1898, T. D.) and W. Bang (1908, M. S. R.), and in collections of Greene (q.v.).—Dissertation: H. Gilbert, Robert Greene’s S. (1899, Kiel diss.); cf. s. Locrine.

The T. G. of the 1638 title-page is probably meant for Thomas Goffe, the author of contemporary plays on Turkish history. He, however, was only born in 1591. Six passages from the play are assigned to Greene in R[obert] A[llot’s] England’s Parnassus (1600). This is fairly strong evidence, and Greene’s authorship is supported by Grosart, Brooke (Sh. Apocrypha, xix), and Gilbert. Ward and Gayley (R. E. C. i. 420) take the opposite view. Crawford, who points out (E. P. xxxv, 407) that Allot is not impeccable, prefers Marlowe. Fleay, ii. 315, would divide the play between Greene and Lodge. The problem is bound up with that of the authorship of Locrine (q.v.), from which Selimus clearly borrows. It can therefore hardly be of earlier date than 1591. The Conclusion, or epilogue, promises a second part, of which nothing is known.

Soliman and Perseda c. 1589 < > 92

S. R. 1592, Nov. 20 (Bp. of London). ‘The tragedye of Salamon and Perceda.’ Edward White (Arber, ii. 622).

N.D. The Tragedye of Solyman and Perseda. Wherein is laide open, Loues constancy, Fortunes inconstancy, and Deaths Triumphs. Edward Allde for Edward White. [Induction.]

1599. E. Allde for E. White. [In some copies ‘newly corrected and amended’ is stamped on the t.p.]

[1815]. [A facs. reprint, with date 1599 and imprint Edward Allde for Edward White, of which two copies, C. 57. c. 15 and G. 18612, are in B.M.; cf. W. W. Greg in M. L. Q. iv. 188, and R. B. McKerrow, Bibl. Evid. 302. Some copies have ‘J. Smeeton, Printer, St. Martin’s Lane’ on the v^o. of the t.p.]

Editions by T. Hawkins (1773, O. E. D. ii), in Dodsley⁴, v (1874), and by F. S. Boas (1901, Works of Kyd) and J. S. Farmer (S. F. T.).—Dissertations: E. Sieper (1897, Z. f. vergleichende Litteraturgeschichte, N. F. x); G. Sarrazin, Die Verfasser von S. u. P. (1891, E. S. xv. 250); E. Koeppel, Beiträge zur Geschichte des elisabethanischen Dramas (1892, E. S. xvi. 357); J. E. Routh, T. Kyd’s Rime Schemes and the Authorship of S. P.[47] and 1 Jeronimo (1905, M. L. N. xx. 49); K. Wiehl, Thomas Kyd und die Autorschaft von S. u. P. (1912, E. S. xliv. 343).

Fleay, ii. 26, Sarrazin, and Boas claim the play for Kyd, partly on grounds of style, partly because the plot is an elaboration of the ‘play within the play’ of The Spanish Tragedy (c. 1589), iv. 4; Wiehl doubts on metrical grounds. Schick (Archiv, xc) suggests Peele, who is said in the Merry Conceited Jests (Bullen, Peele, ii. 389) to have written, or pretended to have written, a play of The Knight of Rhodes, a title which would apply to Soliman and Perseda. Robertson, 109, 150, 166, thinks that Greene collaborated with Kyd.

Captain Thomas Stukeley. 1596

S. R. 1600, Aug. 11 (Vicars). ‘Ye history of the life and Deathe of Captaine Thomas Stucley, with his Mariage to Alexander Curtis his daughter, and his valiant endinge of his life at the battell of Alcazar.’ Thomas Pavier (Arber, iii. 169).

1605. The Famous Historye of the life and death of Captaine Thomas Stukeley. With his marriage to Alderman Curteis Daughter, and valiant ending of his life at the Battaile of Alcazar. As it hath beene Acted. For Thomas Pavier.

Editions by R. Simpson (1878, S. of S. i) and J. S. Farmer (1911, T. F. T.).—Dissertations: E. H. C. Oliphant (1905, 10 N. Q. iii. 301, 342, 382); J. Q. Adams, C. T. S. (1916, J. G. P. xv. 107).

‘Tom Stucley’ is named as a stage hero by Peele in his Farewell (1589); but the present play is probably the Stewtley produced by the Admiral’s on 11 Dec. 1596 (Greg, Henslowe, ii. 181). There are allusions to ‘the Theatre fields’ (611) and ‘her Majesty’ (752), which may only represent historic time. Although Sebastian of Portugal is a character, there is no reference to the legend of his survival, which was well known in England in 1598. Simpson regards the play as belonging to the Chamberlain’s, on the ground of certain political proclivities which he chose to ascribe to that company. The text is incoherent, and several theories representing it as a contamination of two distinct plays have been promulgated. Simpson supposed that part of a play on Don Antonio has been inserted into one dealing in five acts with Stukeley’s adventures in England, Ireland, Spain, Rome, and Africa respectively, and this view is elaborated by Oliphant, who attempts to disentangle several original and revising hands, including that of John Fletcher, to whom he assigns 245–335. Fleay, i. 127, thinks that Dekker made up the play for Paul’s, c. 1600, out of Stewtley and a Mahomet by Peele. Apparently he starts from Satiromastix, 980, where Horace says that Demetrius Fannius ‘cut an innocent Moore i’ the middle, to serue him in twice; & when he had done, made Poules-worke of it’. But surely there is a difference between making two plays out of one and making one play out of two.

1 Tamar Cham > 1592

[MS.] ‘The plott of The First parte of Tamar Cham.’ In the possession of Steevens, but now unknown.

[48]

The text is given by Steevens, Variorum (1803), iii. 414; Boswell, Variorum (1821), iii. 356; Greg, Henslowe Papers, 144.

The actors’ names point to a performance by the Admiral’s, near 2 Oct. 1602, when they bought the book from Alleyn (cf. ch. xiii). The play was produced as ‘n. e.’ by the same company on 6 May 1596, but probably Henslowe’s ‘n. e.’ in this case only indicates a substantial revision, as the letters are also attached to the notice of a performance of Part ii on 11 June 1596, and Part ii had already been played as ‘n. e.’ by Strange’s on 28 April 1592. Obviously a Part i must already have existed (Greg, Henslowe, ii. 155).

The Taming of A Shrew c. 1589

S. R. 1594, May 2. ‘A booke intituled A plesant Conceyted historie called “the Tayminge of a Shrowe”.’ Peter Short (Arber, ii. 648).

1594. A Pleasant Conceited Historie, called The taming of a Shrew. As it was sundry times acted by the Right honorable the Earle of Pembrook his seruants. Peter Short, sold by Cuthbert Burby. [Induction.]

1596. Peter Short, sold by Cuthbert Burby.

1607. V. S. for Nicholas Ling.

Editions by J. Nicholls (1779, Six Old Plays, i), T. Amyot (1844, Sh. Soc.), W. C. Hazlitt (1875, Sh. Libr. vi), E. W. Ashbee (1876, facs.), F. J. Furnivall (1886, Sh. Q), F. S. Boas (1908, Sh. Classics), and J. S. Farmer (S. F. T.).

The Admiral’s and Chamberlain’s revived ‘the tamynge of A shrowe’ for Henslowe on 11 June 1594, shortly after the entry in S. R. (Greg, Henslowe, ii. 164). Presumably it belonged to the Chamberlain’s, who had acquired it from Pembroke’s, and the 1594 performance may have been either of the original, or of Shakespeare’s revision, The Taming of The Shrew, for which 1594 is a plausible date. An early reference to the printed book is in Harington’s Metamorphosis of Ajax (1596), 95, ‘For the shrewd wife, read the book of Taming a Shrew, which hath made a number of us so perfect, that now every one can rule a shrew in our country, save he that hath her’. It is to be noted that, unlike Leire (q.v.) and King Lear, the two versions counted, from the copyright point of view, as one, so that the transfer of A Shrew to Smethwick made an entry of The Shrew in S. R. for the purposes of F₁ of Shakespeare unnecessary. Probably Pembroke’s in their turn got the play from the earlier Admiral’s or Strange’s. Its date has been placed in or before 1589, because certain lines of it appear to be parodied both in Greene’s Menaphon of that year, and in the prefatory epistle to Menaphon by Nashe. Some such date is confirmed by its direct imitations from Marlowe’s Tamburlaine (c. 1587) and to a less extent from Dr. Faustus (c. 1588), which are collected by Boas, 93. For author, Marlowe, Kyd, Greene, and Peele have all been suggested, but, so far as we know, Marlowe did not repeat himself, and the others did not plagiarize him, in this flagrant manner. Shakespeare also is still often credited with a hand in the old play,[49] as well as in the revision, and the problem can best be discussed in connexion with Shakespeare. Sykes gives part to S. Rowley (q.v.).

The Thracian Wonder c. 1600

1661. Two New Playes: Viz. A Cure for a Cuckold: A Comedy. The Thracian Wonder: A Comical History. As it hath been several times Acted with great Applause. Written by John Webster and William Rowley. Tho. Johnson, sold by Francis Kirkman. [Separate t.p. The Thracian Wonder ... as above. Epistle to the Reader, signed ‘Francis Kirkman’.]

Editions by C. W. Dilke (1815, O. E. P. vi), and in collections of Webster (q.v.).—Dissertations: J. le G. Brereton, The Relation of T. W. to Greene’s Menaphon (1906, M. L. R. ii. 34); J. Q. Adams, Greene’s Menaphon and T. W. (1906, M. P. iii. 317); O. L. Hatcher, The Sources and Authorship of T. W. (1908, M. L. N. xxiii. 16).

The ascription of the title-page is rejected by Stoll, Webster, 34, and modern writers generally, although Stork, Rowley, 61, thinks that Rowley may have added comic touches. The use of Webster’s name may be due to the identity of the plot with that of William Webster’s Curan and Argentile (1617). But William Webster took it from Warner’s Albion’s England (1586), iv. xx. From the same source Greene took it, with a change of names, for Menaphon (1589), and it is Menaphon, with another change of names, that the play follows. Brereton ascribes it to Greene himself; Hatcher thinks that the direct plagiarisms from the source and the archaistic phrase ‘old Menaphon’ (iv. 2), whereas Greene’s hero is a youth, point to an early sixteenth-century admirer of Greene. Adams supports the suggestion of Fleay, i. 287, that this is the War Without Blows and Love Without Suit written by Heywood for the Admiral’s in 1598, but this is a mere guess based on Heywood’s title (Greg, Henslowe, ii. 199). Fleay then supposed that it was revised for Queen Anne’s about 1607; elsewhere (ii. 332) he supposes it a dramatization of Webster’s story for Prince Charles’s about 1617.

Timon c. 1581 < > 90 (?)

[MS.] Dyce MS. 52. [Epilogue. The MS. is a transcript in two hands.]

Editions by A. Dyce (1842, Sh. Soc.) and W. C. Hazlitt (1875, Sh. Libr. ii. 2).—Dissertation: J. Q. Adams, The Timon Plays (1910, J. G. P. ix. 506).

Greek quotations and other pedantries suggest an academic audience, but there is little indication of place or date, beyond parallels with Pedantius, which lead Moore Smith (M. L. R. iii. 143) to suggest Cambridge and c. 1581–90. Adams thinks that the piece may have been performed by London schoolboys, and known to Shakespeare.

[50]

Tom Tyler and his Wife > 1563

S. R. 1562–3. ‘These ballettes folowynge ... an other of Tom Tyler.’ Thomas Colwell (Arber, i. 210).

1661. Tom Tyler and His Wife. An Excellent Old Play, As It was Printed and Acted about a hundred Years ago. The second Impression. [Prologue and ‘concluding Song’. There is no imprint, but as most of the extant copies have a variant t.p. with the additional words ‘Together, with an exact Catalogue of all the playes that were ever yet printed’, and as Kirkman’s catalogue of 1661 is appended, he was doubtless the publisher.]

Editions by F. E. Schelling (1900, M. L. A. xv. 253), G. C. Moore Smith and W. W. Greg (1910, M. S. R.), and J. S. Farmer (1912, T. F. T.).

The S. R. entry may refer to a ballad based on the play, or may possibly be a loose description of the play itself. In any case there is no reason to doubt the existence of a print of about that date. The evidence of the 1661 title-page is confirmed by the entry of ‘Tom tyler’ in Archer’s play-list of 1656 (Greg, Masques, cxii). Chetwood, who cannot be relied on, gave the date as 1598, and an inaccurate reproduction of this seems to be responsible for the 1578 of other writers. The text of 1661 has been shown by C. P. G. Scott (in Schelling’s introduction) to be a rendering into seventeenth-century orthography of a play whose vocabulary may be put, with decreasing certainty, within the limits 1530–80, 1540–70, and 1550–60. The prologue says that the play is ‘set out by prettie boyes’, and the ‘concluding Song’ has a prayer for the preservation of the queen, ‘from perilous chance that hath been seen’. Fleay, ii. 295, somewhat arbitrarily thinks the Chapel ‘more likely’ to have presented it than Paul’s. A misinterpretation of Kirkman’s list of 1661 led E. Phillips, Theatrum Poetarum (1675), to assign the authorship to W. Wager (M. S. C. i. 325).

The Trial of Chivalry c. 1600

S. R. 1604, Dec. 4 (Pasfield). ‘A book called The life and Deathe of Cavaliero Dick Boyer.’ Nathaniel Butter (Arber, iii. 277).

1605. The History of the tryall of Cheualry, With the life and death of Caualiero Dicke Bowyer. As it hath bin lately acted by the right Honourable the Earle of Darby his seruants. Simon Stafford for Nathaniel Butter.

1605. This Gallant Caualiero Dicke Bowyer, Newly acted. [Another issue.]

Editions by A. H. Bullen (1884, O. E. P. iii) and J. S. Farmer (1912, T. F. T.).—Dissertation: C. R. Baskervill, Sidney’s Arcadia and the T. of C. (1912, M. P. x. 197).

Bullen thinks this may be Love Parts Friendship, written by Chettle and Smith for the Admiral’s in 1602; Fleay, ii. 318, that it may be the Burbon brought to the Admiral’s by Pembroke’s in 1597, as the Duke of Bourbon is a chief personage, and also the Cutting Dick to[51] which Heywood wrote additions for Worcester’s in 1602 (Greg, Henslowe, ii. 187, 221, 231). There is, of course, no particular reason why a play by Derby’s should appear in Henslowe’s diary at all. They were in London in the winters of 1599–1600 and 1600–1. The only link between them and Henslowe is Heywood, if he was the author of their Edward IV (q.v.). Fleay, i. 289, thinks that the present play may be by the same hands. Probably the Earl of Derby himself wrote for the company.

The Trial of Treasure > 1567

1567. A new and mery Enterlude, called the Triall of Treasure, newly set foorth, and neuer before this tyme imprinted. Thomas Purfoot. [Arrangement for 5 actors; Prologue and Epilogue, headed ‘Praie for all estates’.]

Editions by J. O. Halliwell (1850, Percy Soc. xxviii), in Dodsley⁴, iii (1874), and by J. S. Farmer (1908, T. F. T.—Dissertation: W. W. Greg, The T. of T., 1567—A Study in Ghosts (1910, 3 Library, i. 28).

Greg shows that there was only one edition, not two, of 1567. The play is a non-controversial morality, and may very well date from about 1567.

1 Troilus and Cressida. 1599 (?)

[MS.] Add. MS. 10449. [A fragmentary ‘plot’ without title, probably from Dulwich.]

The text is given by Greg, Henslowe Papers, 142, who infers from the names of the characters that it may have been the Troilus and Cressida written by Chettle and Dekker for the Admiral’s in April 1599. The few names of actors are not inconsistent with this (cf. ch. xiii).

The Valiant Welshman. 1610 < > 15

S. R. 1615, Feb. 21 (Buck). ‘A play called the valiant welshman.’ Robert Lownes (Arber, iii. 564).

1615. The Valiant Welshman, Or The True Chronicle History of the life and valiant deedes of Caradoc the Great, King of Cambria, now called Wales. As it hath beene sundry times Acted by the Prince of Wales his seruants. Written by R. A. Gent. George Purslowe for Robert Lownes. [Epistle to the Reader; Induction; Epilogue.]

1663. For William Gilbertson.

Editions by V. Kreb (1902) and J. S. Farmer (1913, S. F. T.).

Borrowings from Ben Jonson’s Alchemist (1610) require a late date, and the assertion of Fleay, i. 26, that this is The Welshman revived by the Admiral’s on 29 Nov. 1595 may be disregarded (Greg, Henslowe, ii. 178). There is nothing, beyond the initials, to connect the play with Robert Armin, and Kreb would assign it to some young University man.

[52]

A Warning for Fair Women > 1599

S. R. 1599; Nov. 17. ‘A warnynge for fayre women.’ William Aspley (Arber, iii. 151).

1599. A warning for Faire Women. Containing, The most tragicall and lamentable murther of Master George Sanders of London Marchant, nigh Shooters hill. Consented vnto By his owne wife, acted by M. Browne, Mistris Drewry and Trusty Roger agents therin: with their seuerall ends. As it hath beene lately diuerse times acted by the right Honorable, the Lord Chamberlaine his Seruantes. Valentine Sims for William Aspley. [Induction.]

Editions by R. Simpson (1878, S. of S. ii) and J. S. Farmer (S. F. T.).

References to ‘this fair circuit’ and ‘this Round’ are inconclusive as to whether the play was produced before the Chamberlain’s went to the Globe in 1599, as their earlier houses were probably also round. E. Phillips, Theatrum Poetarum (1675), 113, and A. Wood, Athenae (1691), i. 676, assign the authorship, incredibly, to Lyly. Fleay, ii. 54, conjectures Lodge; Bullen, O. E. P. iv. 1, Yarington.

The Wars of Cyrus King of Persia > 1594

1594. The Warres of Cyrus King of Persia, against Antiochus King of Assyria, with the Tragicall ende of Panthæa. Played by the children of her Maiesties Chappell. E. A. for William Blackwal.

Editions by W. Keller (1901, Jahrbuch, xxxvii. 1) and J. S. Farmer (1911, T. F. T.).

The play, clearly influenced by Tamburlaine, may rest on one by Farrant (q.v.) c. 1578. There is no record of any court performance by the Chapel between 1584 and 1601. Fleay, ii. 322, guesses that an allusion in Nashe’s Summer’s Last Will and Testament (q.v.) points to a performance of this play at Croydon twelve months earlier. The text is disordered. A prologue ‘To the audience’ is inserted in Act II at 621 and refers to a chorus, but there is none. At 367 is ‘Finis Actus primi’, but ‘Actus Secundus’ is at 502.

The Weakest Goeth to the Wall > 1600

S. R. 1600, Oct. 23 (Pasfield). ‘A booke called, the Weakest goethe to the Walles.’ Richard Oliff (Arber, iii. 175).

1600. The Weakest goeth to the Wall. As it hath bene sundry times plaide by the right honourable Earle of Oxenford, Lord great Chamberlaine of England his seruants. Thomas Creede for Richard Oliue. [Dumb Show and Prologue.]

1618. G. P. for Richard Hawkins.

Editions by J. S. Farmer (1911, T. F. T.), W. W. Greg (1912, M. S. R.), and with Works of Webster (q.v.).

The ascription of the play to Dekker and Webster by E. Phillips, Theatrum Poetarum (1675), 116, was rejected by Langbaine (1691) and, so far as Webster is concerned, has nothing to recommend it (E. Stoll, Webster, 34). Ward, iii. 56, finds Dekker’s humour, and Hunt, Dekker, 42, thinks it Chettle’s, revised by Dekker. Fleay,[53] ii. 114, gives it to Munday, as the only known writer for Oxford’s, except Oxford himself. But he is thinking of Oxford’s boy company of 1580–4, not of the later company of 1601 or earlier, to whose repertory the play probably belonged, and with whom Munday is not known to have had anything to do.

Wily Beguiled. 1596 < > 1606

S. R. 1606, Nov. 12 (Hartwell). ‘A booke called Wylie beguilde &c.’ Clement Knight (Arber, iii. 333).

1606. A Pleasant Comedie, Called Wily Beguilde. The Chiefe Actors be these: A poore Scholler, a rich Foole, and a Knaue at a shifte. H. L. for Clement Knight. [Induction, Prologue, and Epilogue.]

N.D.; 1623; 1630; 1635; 1638.

Editions by T. Hawkins (1773, O. E. D. iii), in Dodsley⁴, ix (1874), and by J. S. Farmer (1912, T. F. T.) and W. W. Greg (1912, M. S. R.).—Dissertations: J. W. Hales, Shakespearian Imitations (1875, Ath. 1875, 17 July, 4 Sept.); F. J. Furnivall, Parallels (1875, 5 N. Q. iv. 144); P. A. Daniel, On W. B. (1875, Brooke’s Romeus and Juliet, xxxv, N. S. S.); E. Landsberg, Zur Verfasserfrage des anonymen Lustspiels W. B. (1911, E. S. xliii. 189).

The register of Merton College, Oxford, has for 3 Jan. 1567 the entry, ‘Acta est Wylie Beguylie Comoedia Anglica nocte in aedibus Custodis per scolares, praesentibus Vicecustode, magistris, baccalaureis, cum omnibus domesticis et nonnullis extraneis; merito laudandi recte agendo prae se tulerunt summam spem’ (Boas, 157). No connexion is traceable between this and the extant play, which Greg and Boas regard as of Cambridge origin. But it does not seem to me markedly academic. The character Lelia does not particularly suggest the Cambridge Latin Laelia of 1595, and the epilogue was spoken in a ‘circled rounde’. The description of himself by Churms (l. 68), as ‘at Cambridge a scholler, at Cales a souldier, and now in the country a lawyer, and the next degree shal be a connicatcher’, does not go far in the way of proof. This same passage fixes the date as not earlier than the Cadiz expedition of 1596; obviously the use of the phrase ‘tricke of Wily Beguily’ in Nashe’s Have With You to Saffron Walden of 1596 (Works, iii. 107) proves nothing one way or other as to date, although Dekker naturally knew the play when he described rogues and their ‘knavish comedy of Wily-Beguily’ in his Belman of London of 1608 (Works, iii. 125). If the date is 1596, the authorship of Peele, suggested by the description of the prologue-speaker as ‘humorous George’, although he is clearly distinct from the ‘fiery Poet’, and urged by Fleay, ii. 158, and Landsberg, becomes just possible, chronologically, before his death in November of that year. But the Shakespearian imitations, although most marked of M. V. and earlier plays, seem also to extend to Hamlet, M. W., and T. N., and the right date may be c. 1602–6. If the production was in the ‘circled rounde’ of Paul’s, the quasi-academic note is explicable. Sykes suggests S. Rowley (q.v.) as part author. Fleay, Shakespeare Manual, 272, makes an amazing attempt to interpret the play as a[54] satire on Lyly, Lodge, Marston, Chettle, Dekker, Drayton, Middleton, Chapman, Jonson, Henslowe, the Admiral’s, the Chamberlain’s, the Chapel, and Paul’s. In the Induction, a juggler finds the title Spectrum exhibited, and later, ‘Spectrum is conueied away: and Wily beguiled, stands in the place of it’ (l. 46).

The Wisdom of Doctor Dodipoll. 1599 < > 1600

S. R. 1600, Oct. 7. ‘A booke called The Wisdom of Doctor Dodepole Plaied by the Children of Paules.’ Richard Oliff (Arber, iii. 174).

1600. The Wisdome of Doctor Dodypoll. As it hath bene sundrie times Acted by the Children of Powles. Thomas Creede for Richard Oliue.

Editions by A. H. Bullen (1884, O. E. P. iii) and J. S. Farmer (1912, T. F. T.).—Dissertation: E. Koeppel, Sh.’s J. C. und die Entstehungszeit des anonymen Dramas The W. of D. D. (1907, Jahrbuch, xliii. 210).

Fleay, ii. 155, assigned the play to Peele, chiefly on the ground that a snatch of song is from his Hunting of Cupid (q.v.). But Peele died in 1596, and Koeppel points out that the phrase (Bullen, p. 129), ‘Then reason’s fled to animals, I see’, presupposes the existence of Julius Caesar (1599), III. ii. 109:

The Wit of a Woman > 1604

1604. A Pleasant Comoedie, Wherein is merily shewen: The wit of a Woman. For Edward White. [Prologue and Epilogue.]

Editions by J. S. Farmer (1912, T. F. T.) and W. W. Greg (1913, M. S. R.).

Nothing is known of the history of this prose comedy with Italian names. ‘Sweet and twenty’ (l. 753) recalls Tw. N. II. iii. 52.

Work for Cutlers c. 1615

S. R. 1615, July 4 (Taverner). ‘A little thing called Worke for Cutlers.’ Richard Meighen (Arber, iii. 569).

1615. Worke for Cutlers. Or, a merry Dialogue betweene Sword, Rapier, and Dagger. Acted in a Show in the famous universitie of Cambridge. Thomas Creede for Richard Meighen and Thomas Jones. [Epilogue.]

Editions by T. Park (1813, Harleian Miscellany², x), C. Hindley (1872, Old Book Collector’s Miscellany, ii), A. F. Sieveking (1904).

This short dialogue is described in the epilogue as ‘a Schollers Prize’. Sieveking suggests the possibility of Heywood’s authorship, but an academic author is more likely.

A Yorkshire Tragedy c. 1606

S. R. 1608, May 2 (Wilson). ‘A booke Called A Yorkshire Tragedy written by Wylliam Shakespere.’ Thomas Pavier (Arber, iii. 377).

1608. A Yorkshire Tragedy. Not so New as Lamentable and true.[55] Acted by his Maiesties Players at the Globe. Written by W. Shakspeare. R. B. for Thomas Pauier. [Head-title: ‘All’s One, or, One of the foure plaies in one, called A Yorkshire Tragedy.’]

1619. Omits ‘Acted ... Globe’. For T. P. [See ch. xxiii.]

Editions of 1735 (J. Tonson), by W. Knight (1843, Pictorial Sh. vii), J. P. Collier (1878, Works of Sh.), J. S. Farmer (1910, T. F. T.), and in Sh. Apocrypha.—Dissertations: J. P. Collier (Ath. 1863, i. 332); P. A. Daniel, Notes on Sh.’s Y. T. 1608 (Ath. 4 Oct. 1879); S. Lee, Walter Calverley (D. N. B.); B. Dobell, The Author of A Y. T. (1906, 10 N. Q. vi. 41); H. D. Sykes, The Authorship of A Y. T. (1917, J. G. P. xvi. 437, reprinted in Sidelights on Shakespeare, 77).

This ten-scene play from a four-play bill has merit, but most modern critics are unable to regard that merit as of Shakespearian type, although Ward, ii. 231, finds Shakespeare’s hand in some passages, and Fleay, after wantonly guessing at Edmund Shakespeare (Shakespeare, 303), remained impressed (ii. 206) by the external evidence, and thought that the play must be Shakespeare’s original ending to an earlier version of The Miseries of Enforced Marriage, subsequently altered by his collaborator, George Wilkins (q.v.), to end happily. This is ingenious, but too conjectural. The play, like that of Wilkins, takes its material from the history of Walter Calverley, executed for murder on 5 Aug. 1605, which is told in Stowe’s Annales and was the subject of contemporary pamphlets. Dobell and Sykes argue a case on internal evidence for the authorship of Wilkins himself.

B. MASKS

Gesta Grayorum. 1594

[MS.] Harl. MS. 541, f. 138, contains the speeches in the Shrovetide mask, probably in the hand of Francis Davison. The opening hymn is not included, and the final hymn seems to have been added by another hand.

1688. Gesta Grayorum: or, the History Of the High and mighty Prince Henry Prince of Purpoole, Arch-Duke of Stapulia and Bernardia, Duke of High and Nether Holborn, Marquis of St. Giles and Tottenham, Count Palatine of Bloomsbury and Clerkenwell, Great Lord of the Cantons of Islington, Kentish-Town, Paddington and Knights-bridge, Knight of the most Heroical Order of the Helmet, and Sovereign of the Same. Who Reigned and Died, A.D. 1594. Together with A Masque, as it was presented (by His Highness’s Command) for the Entertainment of Q. Elizabeth; who, with the Nobles of both Courts, was present thereat. For W. Canning. [Epistle to Matthew Smyth, of the Inner Temple, signed ‘W. C.’ The publication is recorded in Trinity Term 1688 (Arber, London Term Catalogues, ii. 230).]

Editions in Nichols, Elizabeth^{1, 2}, iii. 262 (1807–23), and by W. W. Greg (1914, M. S. R.) and B. Brown (1921).

This is a narrative of the reign of a Christmas Prince, or Lord of[56] Misrule (cf. Mediaeval Stage, i. 417), appointed at Gray’s Inn for the Christmas of 1594. The Prince was a Norfolk man, Henry Helmes, and a list of the members of the Inn who held positions at his court is given in the tract. The revels began on St. Thomas’s Eve, 20 Dec., continued until Twelfth Night, were resumed at Candlemas, and again at Shrovetide, when the Prince’s reign terminated.

On Innocents’ Day, 28 Dec., at night, the Inner Temple were entertained, and a stage set up, but the crowd was too great for the ‘inventions’ contemplated, and ‘it was thought good not to offer any thing of account, saving dancing and revelling with gentlewomen; and after such sports, a Comedy of Errors (like to Plautus his Menechmus) was played by the players. So that night was begun, and continued to the end, in nothing but confusion and errors; whereupon, it was ever afterwards called, The Night of Errors’. On 30 Dec. an indictment was preferred against a supposed sorcerer, containing a charge ‘that he had foisted a company of base and common fellows, to make up our disorders with a play of errors and confusions; and that that night had gained to us discredit, and itself a nickname of Errors’. Presumably the players of Shakespeare’s Comedy of Errors were the Chamberlain’s men, and the Treasurer of the Chamber’s record (App. B) of a play at court by these men, as well as the Admiral’s, on 28 Dec. is a slip for 27 Dec. (M. L. R. ii. 10).

On 3 Jan. many nobles were entertained with a show illustrating the amity of Graius and Templarius. It was followed by speeches from six ‘Councellors’, advising respectively ‘the Exercise of War’, ‘the Study of Philosophy’, ‘Eternizement and Fame, by Buildings and Foundations’, ‘Absoluteness of State and Treasure’, ‘Vertue, and a Gracious Government’, and ‘Pass-times and Sports’. These are ascribed by Spedding, i. 342, to Francis Bacon (q.v.), a view which finds some confirmation in the fact that the Alnwick MS., many of the contents of which are by Bacon, once contained a copy of some ‘Orations at Graies Inne Revells’ (Burgoyne, xii). It is amusing to note that on 5 Dec. 1594 Lady Bacon, his mother, wrote to his brother Anthony, ‘I trust they will not mum nor mask nor sinfully revel at Gray’s Inn’ (Spedding, i. 326). The speeches of three of the ‘Councellors’, with one by the Prince, are also preserved, without ascription, in Inner Temple Petyt MS. 583, 43, f. 294.

On 6 Jan. appeared six Knights of the Helmet ‘in a very stately mask, and danced a new devised measure; and after that they took to them ladies and gentlewomen, and danced with them their galliards, and so departed with musick’.

On 1 Feb. the Prince visited Greenwich, and promised to return at Shrovetide. On his way back, he was met with a Latin oration by a boy at St. Paul’s School.

At Shrovetide, the Prince took his mask to the court at Whitehall. The maskers were the Prince of Purpoole and his Seven Knights; the torchbearers eight Pigmies; the presenters Proteus, Thamesis, Amphitrite, and one of the Prince’s Esquires; the musicians two Tritons, two Nymphs, and a Tartarian Page.

[57]

The performance was upon a stage. After a hymn, the presenters made speeches setting out how the Prince and Knights were in an Adamantine Rock, to be released by Proteus, on the discovery of a Power (the Queen) of more attractive virtue. The maskers issued from the Rock, and danced ‘a new devised measure, &c.’; then took ladies, and danced ‘their galliards, courants, &c.’; then danced ‘another new measure’. The Pigmies brought in eight escutcheons, with the maskers’ impresses, which the Esquire presented to the Queen. The maskers then entered the rock, while another hymn was sung.

The maskers were Henry Helmes (Prince), William Cooke, Jarvis Tevery, John Lambert, Molineux, Grimes, Paylor, and Campnies.

After the mask, the courtiers danced a measure, and Elizabeth said, ‘What! shall we have bread and cheese after a banquet?’

The maskers were presented to the Queen ‘on the next day’ and praised by her. The narrative goes on to record that ‘the same night’ was fighting at barriers, in which the Prince took part as a defendant with the Earl of Cumberland against the Earl of Essex and other challengers, and won the prize; and concludes, ‘Thus on Shrove-Tuesday, at the Court, were our sports and revels ended’. The dating is not quite clear, but it seems probable that the mask and barriers were both on the Tuesday, and the presentation on Ash Wednesday, presumably as the Queen went to chapel. Conceivably, however, the mask was on Monday, and the presentation and barriers on Tuesday. The Gray’s Inn records (Fletcher, 107) note a disbursement on 11 Feb. 1595 to William Johnson and Edward Morrys, who served as the Prince’s Lord Chancellor and Lord Treasurer, of 100 marks for ‘the gentlemen for their sports & shewes this Shrovetyde at the court before the Queens Majestie’. There was also a levy on 8 May for the ‘shewes & desports’ of sums varying from 4s. to 10s. according to status, while the public stock of the house was to contribute £30.

The speeches in the mask were apparently by Francis Davison, one of the Prince’s Gentlemen Pensioners, who included in his Poetical Rapsody (1602), sign. D 3 v^o, amongst Sonnets, &c., ‘To his first Loue’, one ‘Vpon presenting her with the speech of Grayes-Inne Maske at the Court 1594, consisting of three partes, The Story of Proteus Transformations, the wonders of the Adamantine Rocke, and a speech to her Maiestie’. The Poetical Rapsody, sign. K 8, also contains the opening hymn of the mask, which begins ‘Of Neptune’s Empyre let us sing’, and ascribes it to Thomas Campion (q.v.). Whether ‘The Song at the ending’, which according to Dr. Greg has been inserted in Harl. MS. 541 by a later hand, is also Campion’s must remain doubtful. The MS. as originally written is just such a present as Davison may have sent to his mistress. A list of ‘Papers lent’ by Davison in Harl. MS. 298 includes ‘Grayes In Sportes under S^r Henry Helmes. Eleaz. Hogdson’.

[58]

The Twelve Months. 1608–12

[MS.] Formerly penes Collier, but not now among his papers in Egerton MS. 2623.

Editions by J. P. Collier, Five Court Masques (1848), 131, with title ‘The Masque of the Twelve Months’.

The maskers are the twelve Months; the antimaskers Pages; the presenters Madge Howlet, Pigwiggen a Fairy, Beauty, Aglaia, the Pulses, Prognostication, and Somnus; the musicians the twelve Spheres.

The locality is not given, but the presence of a king is contemplated. The text is disordered, but can easily be reconstructed, as follows: Madge Howlet, ‘going up towards the King’, and Pigwiggen speak the opening dialogue (Collier, 137). The Spheres sing the first song calling Beauty from her fort, the Heart (140). This is the scene; on it are plumes, ‘the ensignes of the darling of the yeare, delicious Aprill’. Beauty, Aglaia, and the Pulses, ‘beating before them up towardes the King’, speak a dialogue (131). The Pages dance an ‘antemasque’ (133). Beauty and Aglaia speak a dialogue (134). The maskers appear, and are presented by Beauty (134). The second ‘antemasque’ is danced (134). Beauty and Aglaia speak a dialogue (134). Prognostication enters, and prognosticates (135). The maskers descend, and Beauty describes April, a prince ‘lov’d of all, yett will not love’, with a ‘triple plume’ (135). After a second song, ‘they dance their entrie’ (141). Beauty and Aglaia speak a dialogue (136). There is a third song (141). ‘They dance their mayne dance: which done, Bewty invites them to dance with the Ladies’ (137). There is a fourth song (142). ‘They dance with the Ladies, and the whole Revells follows’ (137). Beauty calls on Somnus (140). There is a last song (142). ‘They dance their going off’ (140).

Brotanek, 346, suggests 1 Jan. 1612 as a probable date. I agree with him that ‘charming all warre from his mild monarchie’ (136) suggests James I, although I do not think that ‘our fairy King’ (137) is necessarily a reminiscence of the Mask of Oberon, especially as this fairy king is James and not Henry. In any case ‘the heart of the yeare’ (132), ‘prime of this newe yeare’ (135), ‘this winter nighte’ (141) do not require a performance on 1 Jan. In fact, April and not January leads the months in the mask. I would add to Brotanek’s notes that April is clearly danced by a Prince of Wales, and that ‘lov’d of all, yett will not love’ fits in with the uncertainty as to Henry’s matrimonial intentions which prevailed in 1612. But he is not very likely to have given two masks in the winter of 1611–12, nor is there any evidence of any mask that winter except the Love Restored of 6 Jan. Of course The Twelve Months may never have been actually performed. I have thought that it might have been the mask abandoned by Anne on account of the death of the Queen of Spain in Dec. 1611 (cf. Jonson, Love Restored). Beauty, ‘our fairy Queene’, is said to be ‘Great president of all those princely revells’ in honour of the ‘fairy King’. But the mask is danced by[59] men, not women, which seems to put a Queen’s mask out of the question. No mask has yet been traced in the winter of 1609–10. I am afraid I must leave the date open. If Henry led the dance, his death in Nov. 1612 gives one limit. The ‘antemasque’ is more likely to have been introduced after than before 1608. The use of Pigwiggen as a fairy name recurs in Drayton’s Nymphidia, published in 1627.

Mask of Flowers. 6 Jan. 1614

S. R. 1614, Jan. 21 (Nidd). ‘The maske of flowers by the gent. of Graies Inne vppon Twelfe Night 1613.’ Robert Wilson (Arber, iii. 540).

1614. The Maske of Flowers. Presented By the Gentlemen of Graies-Inne, at the Court of Whitehall, in the Banquetting House, vpon Twelfe night, 1613. Being the last of the Solemnities and Magnificences which were performed at the marriage of the right honourable the Earle of Somerset, and the Lady Francis daughter of the Earle of Suffolke, Lord Chamberlaine. N. O. for Robert Wilson. [With Epistle to Sir Francis Bacon by I. G., W. D., T. B. These initials, presumably of Gray’s Inn men, have not been identified.]

Editions in Nichols, James (1828), ii. 735, and H. A. Evans, English Masques (1897).

The maskers, in white embroidered with carnation and silver and vizards, were thirteen transformed Flowers; the antimaskers in ‘the anticke-maske of daunce’ Pantaloon, Courtesan, Swiss and his Wife, Usurer, Midwife, Smug and his Wench, Fretelyne, Bawd, Roaring Boy, Citizen, Mountebank, Jewess of Portugal, Chimney-Sweeper and his Wench; the musicians twelve Garden Gods, also described as Priests, and in the ‘anticke-maske of the song’ Miller, Wine Cooper, Vintner’s Boy, Brewer, Skipper, Fencer, Pedlar, Barber; the presenters Invierno, Primavera, Gallus the Sun’s Post, Silenus, Kawasha, and attendants.

The locality was the Banqueting House, at the lower end of which was a ‘travers painted in perspective’, as a city wall and gate, with temples of Silenus and Kawasha on either side. The antimasks represented a challenge, directed by the Sun, between wine and tobacco. ‘The travers being drawne’ disclosed an elaborate garden sloping up to a mount and arbour (33 ft. long × 21 ft. high) with a bank of flowers before it. Upon a charm the flowers vanished to give place to the maskers, who danced their first and second measure, then took ladies, for ‘measures, corantoes, durettoes, morascoes, galliards’, and then ‘daunced their parting measure’, which was followed by compliments to the king and the bride and groom.

For general notices of the Somerset wedding masks, cf. s.v. Campion, Mask of Squires. On 23 Dec. Chamberlain wrote to Carleton (Birch, i. 282), ‘Sir Francis Bacon prepares a masque to honour this marriage, which will stand him in above £2000; and though he have been offered some help by the House, and specially by Mr. Solicitor, Sir Henry Yelverton, who would have sent him £500, yet he would not[60] accept it, but offers them the whole charge with the honour. Marry, his obligations are such, as well to his majesty as to the great lord and to the whole house of Howards, as he can admit no partner’. On 5 Jan. (Birch, i. 288) he briefly notes, ‘Mr. Attorney’s masque is for to-morrow, and for a conclusion of Christmas and these shows together’.

The records of Gray’s Inn confirm Chamberlain’s account, by giving no signs that any expense fell on the Inn. On a letter by Bacon which may refer to this occasion, cf. s.v. Bacon.

Osborne, James, 82, a not very accurate writer, speaks of a Gray’s Inn mask at court, following an Anglo-Scottish quarrel between Mr. Hawley of Gray’s Inn and Mr. Maxwell. Probably he has this mask, which was to honour a Scot, in mind. The quarrel was in fact over in June 1612 (Birch, i. 173). I doubt whether either this mask or the joint Gray’s Inn and Inner Temple mask of 1612–13 had anything to do with it.

C. RECEPTIONS AND ENTERTAINMENTS

Coronation Triumph. 1559

S. R. 1558–9. ‘The passage of the quenes maiesties Throwoute the Cytie of London.’ Richard Tottle (Arber, i. 96).

1558[9], Jan. 23. The Passage of our most drad Soueraigne Lady Quene Elyzabeth through the citie of London to westminster the daye before her coronacion. Richard Tottill. Cum privilegio.

N.D. [1604.] The Royal Passage of her Majesty from the Tower of London to her Palace of Whitehall, with all the Speaches and Devices, both of the Pageants and otherwise, together with her Majesties severall Answers, and most pleasing Speaches to them all. S. S. for Jone Millington.

N.D. [1604.] S. S. for John Busby. [Another issue.]

Editions in Nichols, Eliz. i. 38 (1823), and A. F. Pollard, Tudor Tracts (England’s Garner²), 365.

There are also accounts in Machyn, 186, and in Holinshed (1808), iv. 158. For a list of the pageants cf. ch. iv.

Bristol Entertainment. August 1574

1575. The whole Order howe our Soveraigne Ladye Queene Elizabeth was receyved into the Citie of Bristowe, in August, and the Speeches spoken before her presens at her Entry; with the residue of Versis and Matter that might not be spoken (for distance of the place), but sent in a Book over the Waetter. Thomas Marshe. [In ‘The Firste Parte of Churchyardes Chippes, contayning Twelve seueral Labours. Devised and published, only by Thomas Churchyard, Gentilman’. Epistle to Christopher Hatton.]

1578. Thomas Marsh.

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Editions in Nichols, Eliz. i. 393 (1788, 1823), and by J. P. Collier (1867).

Probably Churchyard was the deviser of the entertainment, as he calls the Chippes ‘a book of all my English verses in meter’. He says, ‘Some of these Speeches could not be spoken, by means of a Scholemaister, who envied that any stranger should set forth these Shows’. A worthie Dittie, song before the Queens Majestie at Bristow, by D. S[and], not in the Entertainment, is in The Paradise of Daynty Devises (1576). Elizabeth was at Bristol 13–21 Aug. 1574 and lay at John Young’s. Fame, a boy with a speech in English verse, met her at the High Cross. At the next gate were Salutation, Gratulation, and Obedient Good Will, with their verses. On 14 Aug. the Queen attended divine service at the College. On 15 and 16 Aug. the Forts of Peace and Feeble Policy were arrayed, and there were sham fights by land and sea, with speeches by Dissuasion, Persuasion, and John Roberts, who apparently wrote his own. Was he the envious schoolmaster?

Kenilworth Entertainment. 1575

There are two descriptions:

A. By Gascoigne

1576. The Princelye pleasures, at the Courte at Kenelwoorth. That is to saye, The Copies of all such verses Proses, or Poeticall inuentions, and other Deuices of pleasure, as were there deuised, and presented by sundry Gentle men, before the Quenes Maiestie: In the yeare 1575. Richard Jones. [The unique copy is believed to have been burnt in the Shakespeare Library at Birmingham. The printer’s Epistle is dated March 26, 1576.]

1587. [Part of Collection.]

Editions in Nichols, Eliz.² i. 486 (1823), and elsewhere (cf. Schelling, 121).

B. By Robert Laneham

1575. A letter: Whearin part of the entertainment untoo the Queez Majesty at Killingwoorth Castl, in Warwick Sheer in this Soomerz Progress, 1575, is signified: from a freend officer attendant in the Coourt untoo hiz freend a Citizen, and Merchaunt of London. [No imprint or colophon.]

Editions in Nichols, Eliz.² i. 420 (1823), by F. J. Furnivall, Captain Cox, his Ballads and Books (1871, Ballad Soc.; 1890, N. S. S.), in Sh.-Jahrbuch, xxvii, 251 (1892), and elsewhere (cf. Furnivall, ix, clxxvi).

Elizabeth was at Kenilworth 9–27 July 1575. The diary of entertainments is given in ch. iv. The contributions of specific authors were as follows:

9 July. Speeches of Sibylla, by William Hunnis; the Porter Hercules, by John Badger; the Lady of the Lake, by George Ferrers; a Poet, in Latin, by Richard Mulcaster, or Mercury (?) Paten. It is[62] uncertain which was used; Gascoigne prints Mulcaster’s, Laneham Paten’s.

11 July. Dialogue of a Savage Man and Echo, ‘devised, penned, and pronounced’ by Gascoigne.

18 July. Device of the Delivery of the Lady of the Lake, by William Hunnis, with verses by Hunnis, Ferrers, and Henry Goldingham, who played Arion.

20 July. Device of Zabeta prepared by Gascoigne, but not shown.

27 July. Device of the Farewell of Silvanus, by Gascoigne.

Woodstock Entertainment. 1575

See ch. xxiii, s.v. Sir Henry Lee.

Suffolk and Norfolk Entertainments. August 1578

There are two contemporary descriptions:

A

S. R. 1578, Aug. 30. ‘The ioyfull Receavinge of the Quenes maiestie into Norwyche.’ Henry Bynneman (Arber, ii. 336).

N.D. The Ioyfull Receyuing of the Queenes most excellent Maiestie into her Highnesse Citie of Norwich: The things done in the time of hir abode there: and the dolor of the Citie at hir departure. Wherein are set down diuers Orations in Latine, pronounced to hir Highnesse by Sir Robert Wood Knight, now Maior of the same Citie, and others: and certain also deliuered to hir Maiestie in writing: euery of the turned into English. Henrie Bynneman. [Epistle by Ber[nard] Gar[ter] to Sir Owen Hopton.]

Edition in Nichols, Eliz. (1823), ii. 136.

B

S. R. 1578, Sept. 20. ‘The enterteignement of the Quenes Maiestie in Suffolk and Norffolk; gathered by Thomas Churchyard.’ Henry Bynneman (Arber, ii. 338).

N.D. A Discourse of the Queenes Maiesties entertainement in Suffolk and Norffolk: With a description of many things then presently seene. Deuised by Thomas Churchyarde, Gent. with diuers shewes of his own inuention sette out at Norwich: ... Henrie Bynneman. [Epistle by Churchyard to Gilbert Garrard. Adnitt (cf. s.v. Churchyard) says there were two issues with varying prefatory matter.]

Extracts in Nichols, Eliz. (1823), ii. 115, 128, 130, 133, 179.

A ballad and a sonnet, presumably from their titles based on A, were registered by J. Charlwood and R. Jones respectively on 24 and 31 March 1579 (Arber, ii. 349, 350).

Elizabeth was at Norwich 16–22 Aug. 1578. The diary is as follows:

16 Aug. 1578. Oration by Mayor at Hartford Bridge; Speech, prepared but prevented by rain, of King Gurgunt in Town Close[63] near Blanch Flower Castle; Pageant of the Commonwealth, with representations of local loom industries, and speech by Garter in St. Stephen’s Street; Pageant of the City of Norwich, Deborah, Judith, Esther, and Queen Martia, with the City Waits and songs by Garter and Churchyard, at entry to Market-place; Speech of a Turkish Boy by Churchyard, at Mr. Peck’s door.

18 Aug. Speech of Mercury in an elaborate coach, by Churchyard.

19 Aug. Show of Chastity, with dialogue and song of Chastity, Cupid, a Philosopher, Wantonness, Riot, Modesty, Temperance, Good Exercise, and Shamefastness, by Churchyard; Oration by Minister of Dutch Church.

20 Aug. Oration by Stephen Limbert, Master of the Grammar School.

21 Aug. Shows of Water Nymphs, with speeches, and of Manhood and Desert, a contention of Manhood, Good Favour, Desert, and Good Fortune, for Lady Beauty, prepared but prevented by rain, both by Churchyard; Mask by Henry Goldingham in Privy Chamber after supper of Jupiter, Juno, Mars, Venus, Apollo, Pallas, Neptune, Diana, Mercury as presenter, Cupid, torchbearers and musicians, who marched about the chamber and made speeches and characteristic gifts, but apparently did not dance.

22 Aug. Speech and Song at St. Benet’s Gate by Garter; Show of Fairies with their Queen and seven speeches, outside the gate, by Churchyard; written Oration by Mayor at departure over City boundary.

Churchyard also mentions ‘speeches well sette out and a speciall device much commended’ in the park of the Earl of Surrey at Kenninghall on 12 Aug.; also divers ‘triumphes and devises’ in Suffolk, of which he only specifies ‘a shew representing the Phayries (as well as might be) ... in the whiche shew a rich jewell was presented to the Queenes Highnesse’ at Sir Thomas Kidson’s house, Hengrave Hall, during 28–30 Aug. In Churchyards Challenge (1593) he claims ‘The whole deuises pastimes and plaies at Norwich, before her Maistie’, and also ‘The Commedy before her Maestie at Norwich in the fielde when she went to dinner to my Lady Gerninghams’ at Costessy (19 Aug.).

Fortress of Perfect Beauty. 15–16 May 1581

S. R. 1581, July 1. ‘The Tryumphe Shewed before the Quene and the Ffrenche Embassadors.’ Robert Walgrave (Arber, ii. 396).

N.D. A brief declaratiō of the shews, deuices, speeches, and inuentions, done & performed before the Queenes Maiestie, & the French Ambassadours, at the most valiaunt and worthye Triumph, attempted and executed on the Munday and Tuesday in Whitson weeke last, Anno 1581. Collected, gathered, penned & published, by Henry Goldwel, Gen. Robert Waldegrave. [Epistle by Goldwell to Rowland Brasebridge of Great Wycombe.]

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Edition in Nichols, Eliz.² (1823), ii. 310.

This was a tilt, before François of Bourbon, dauphin of Auvergne, Artus de Cossé, marshal of France, and other commissioners from France, for the treaty of marriage between Elizabeth and the Duke of Anjou. The challenge was delivered by a boy in red and white, as the Queen came from Chapel on 16 April 1581. The tilt, first fixed for 24 April, was put off to 1 May, 8 May, and finally 15 May. The gallery at the end of the tilt-yard was named the Castle or Fortress of Perfect Beauty, and the challengers, the Earl of Arundel, Lord Windsor, Philip Sidney, and Fulke Greville, called themselves the Four Foster Children of Desire. They entered from the stable, with trains of followers and a Rowling Trench of printed canvas, to besiege the fortress. From this boys spoke and sang, and cannonades of perfumes were shot off, while flowers and other fancies were flung from scaling ladders. Then came twenty-one defendants, each with his ‘invention’ and speech. They were Henry Grey, Sir Thomas Perot, Anthony Cooke, Thomas Ratcliffe, Henry Knolles, William Knolles, Robert Knolles, Francis Knolles, Rafe Bowes, Thomas Kelwaie, George Goring, William Tresham, Robert Alexander, Edward Dennie, Hercules Meautus, Edward Moore, Richard Skipwith, Richard Ward, Edward Digbie, Henry Nowell, Henry Brunkerd. Perot and Cooke were ‘both in like armour, beset with apples and fruit, the one signifying Adam and the other Eve, who had haire hung all down his helmet’. Their page was an Angel. Ratcliffe was a Desolate Knight, with a page who presented his shield. The four Knolles brothers were Sons of Despair, with Mercury for a page. The speeches of the pages are given. Each defendant ran six courses with the challengers. ‘In the middest of the running came in Sir Henrie Leigh, as unknowne, and when he had broken his six staves, went out in like manner againe.’ At the end of the first day the boy who gave the challenge announced a second on the morrow.

On the second day the challengers entered in a chariot ‘forewearied and half overcome’ with a lady representing Desire, and a consort of music. A herald made a speech for them. The defendants entered, and the tournay and barriers followed. At the end a boy clad in ash colour and bearing an olive-branch made submission of the challengers to the Queen.

Foulkes, lxiii. 49, says that a set of blank cheques for this tilt are in Ashm. MS. 845, f. 166.

Tilbury Visit. 1588

There are or were three accounts:

A

S. R. 1588, Aug. 10. ‘The quenes visitinge the campe at Tilberye and her enterteynement there the 8 and 9 of August 1588, with condicon yat yt may be aucthorised hereafter.’ John Wolf (Arber, ii. 495).

N.D. The Queenes visiting of the Campe at Tilsburie with her[65] Entertainment there. Iohn Wolfe for Edward White. [At end, ‘T. D.’, doubtless the initials of Thomas Deloney.]

Editions in A. F. Pollard, Tudor Tracts (England’s Garner²), 492, and F. O. Mann, Deloney’s Works (1912).

B

S. R. 1588, Aug. 10 (Stallard). ‘A ioyfull songe of the Roiall Receaving of the quenes maiestie into her Campe at Tilbery: the 8 and 9 of August 1588.’ John Wolf for Richard Jones (Arber, ii. 496). [It does not seem likely that this entry relates to Aske’s book.]

C

1588. Elizabetha Triumphans. By James Aske. Thomas Orwin for Thomas Gubbin and Thomas Newman.

Edition in Nichols, Eliz. ii. 545 (1823).

The two extant narratives are discussed by M. Christy in E. H. R. xxxiv. 43.

Tilt-yard Entertainment. 17 Nov. 1590

See ch. xxiii, s.v. Lee.

Cowdray Entertainment. 1591

1591. The Speeches and Honorable Entertainment giuen to the Queenes Maiestie in Progresse, at Cowdrey in Sussex, by the right Honorable the Lord Montacute. Thomas Scarlet, sold by William Wright.

1591. The Honorable Entertainment.... Thomas Scarlet, sold by William Wright. [A different text, with a fuller description, but without the words of the songs, and inaccurately dated.]

Editions by J. Nichols, Eliz.² iii. 90 (1823), and R. W. Bond, Lyly, i. 421 (1902).

The host was Anthony Browne, first Viscount Montague. Gascoigne’s mask of 1572 was also written for him. Bond assigns the present entertainment, conjecturally, to Lyly. McKerrow, 20, records that William Barley, the stationer, was brought before the High Commission for selling at Cowdray, on some date before 1598, a twopenny book relating to Her Majesty’s progress.

The diary is as follows:

14 Aug. 1591. Speech by a Porter at the bridge on arrival at night.

15 Aug. Sunday: a day of rest.

16 Aug. Hunting in Park, and delivery of bow with a ditty by a Nymph.

17 Aug. Dinner at the Priory, where Lord Montague lodged, and speeches in the walks by a Pilgrim and a Wild Man, at an oak hung with Sussex escutcheons, and a ditty before hunting.

18 Aug. Speeches and ditty by an Angler and offering of fish by a Netter at a pond in the walks before hunting.

19 Aug. Dance of country people with tabor and pipe.

20 Aug. Knighting, and departure to Chichester for dinner.

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Elvetham Entertainment. 1591

S. R. 1591, Oct. 1. ‘The honorable entertaynement gyven to the quenes maiestie in progresse at Elvetham in Hampshire by the righte honorable the Erle of Hertford.’ John Wolf (Arber, ii. 596).

1591. The Honorable Entertainement gieuen to the Queenes Maiestie in Progresse, at Eluetham in Hampshire, by the right Honorable the Earle of Hertford. John Wolfe. [There appear to be two editions or issues, (a) without and (b) with a woodcut of the pond.]

1591.... Newly corrected and amended. [This has a woodcut of the pond, different from that in (1) (b).]

Editions by J. Nichols, Eliz. ii. (1788), iii. 101 (1823), and R. W. Bond, Lyly, i. 431.

Elizabeth was at Elvetham 20–23 Sept. 1591. The host was Edward Seymour, Earl of Hertford. A Three Men’s Song of Phillida and Coridon, which formed part of the Entertainment, is ascribed in England’s Helicon (1600) and MSS. to Nicholas Breton. Bond ascribes the Entertainment to Lyly. An account of the amusements is in ch. iv.

Bisham, Sudeley, and Rycote Entertainments. 1592

1592. Speeches deliuered to her Maiestie this last progresse, at the Right Honorable the Lady Russels, at Bissam, the Right Honorable the Lorde Chandos at Sudley, at the Right Honorable the Lord Norris, at Ricorte. Joseph Barnes, Oxford. [There appear to be two issues, with slight variants.]

Editions by J. Nichols, Eliz.² iii. 130 (1823), Sir S. E. Brydges (1815), and R. W. Bond, Lyly, i. 471 (1902).

Bisham

The hosts were Sir Edward Hoby and his mother, Elizabeth, Dowager Lady Russell.

21 Aug. 1592. On arrival, at the top of the hill, speech by a Wild Man; at the middle of the hill, dialogue of Pan and two Virgins, Sybilla and Isabella; at the foot of the hill, ditty by Ceres and Nymphs in a harvest-cart, followed by speech and gift of crown of wheat-ears and jewel.

Sudeley

The host was Giles Brydges, third Lord Chandos.

10 Sept. 1592. Speech of old Shepherd at entry to castle.

11 Sept. Show of Apollo and Daphne, with gift of tables of verses.

12 Sept. Contemplated Presentation of High Constable of Cotswold, and Choosing of King and Queen by Shepherds, with song and dialogue of Melibœus, Nisa, and Cutter of Cotswold—prevented by weather.

Rycote

The host was Henry, Lord Norris.

28 Sept. 1592. On arrival from Oxford, speech by an Old Gentleman [Lord Norris].

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2 Oct. Music in garden, with speech by Old Gentleman, and letters containing jewels by messengers as from his sons in Ireland, Flanders, and France.

3 Oct. At departure, letter with jewel as from daughter in Jersey.

Between Sudeley and Rycote, the Queen was entertained at Oxford (cf. ch. iv) and Woodstock (cf. ch. xxiii, s.v. Sir Henry Lee).

Tilt-yard Entertainment. 17 Nov. 1595

See ch. xxiii, s.v. Peele, Anglorum Feriae.

Harefield Entertainment. 1602

Elizabeth was at Harefield Place, Middlesex, the house of Sir Thomas Egerton, Lord Keeper, and his wife Alice, Countess Dowager of Derby, from 31 July to 2 Aug. 1602. At the same house Milton’s Arcades was performed before Lady Derby in 1634. Seven fragments of the entertainment have been preserved, and are printed by Nichols, Eliz. iii. 570, 586, and Bond, Lyly, i. 491. Accounts of expenditure involved, and a list of the gifts in kind contributed by Egerton’s friends on this occasion are in Egerton Papers, 340, but the account in 342–4 is a forgery (vide infra).

(i) Dialogue between a Bailiff and Dairymaid, and presentation of a rake and fork to the Queen, as she entered the demesne near the dairy house.

(ii) Dialogue at the steps of the house, and presentation of a heart, by Place ‘in a partie-colored roobe, like the brick house’ and Time ‘with yeollow haire, and in a green roabe, with an hower glasse, stopped, not runninge’.

(iii) Verse petition accompanying gift of a robe of rainbows on behalf of St. Swithin by Lady Walsingham on Monday morning [2 Aug.].

(iv) Farewell of Place, ‘attyred in black mourning aparell’ on the Queen’s departure, with presentation of an anchor.

(v) Verse ‘Complaint of the Satyres against the Nymphes’.

(vi) Song and speech by a Mariner, who entered the ‘presence’ with a lottery box, ‘supposed to come from the Carricke’.

(vii) ‘The Severall Lottes’, a list of gifts and blanks, with a poesy accompanying each, and the names of the ladies who drew them. These were the Queen, the Dowager Countess of Derby, the Countesses of Derby, Worcester, and Warwick, Lady Scroope, Mistresses Nevill, Thynne, Hastinges, and Bridges, Ladies Scudamore, Francis, Knevette, and Susan Vere, Mrs. Vavissour, Ladies Southwell and Anne Clifford, Mrs. Hyde, Ladies Kildare, Howard of Effingham and Paget, Mistresses Kiddermister and Strangwidge, the Mother of the Maids, Ladies Cumberland, Walsingham, and Newton, Mrs. Wharton, Ladies Digbye and Dorothy [Hastinges] and Mrs. Anselowe. One name, ending in ‘liffe’ is illegible. It may be Ratcliffe. One MS. adds three lots assigned to ‘country wenches’. Most of these ladies were maids[68] of honour and others who came with the court; one or two, e.g. Mrs. Kiddermister, were country neighbours of the Egerton’s.

These pieces are derived from various sources:

(a) A transcript made by R. Churton in 1803 of a contemporary MS. found at Arbury, the house of Sir Roger Newdigate, to whose family Harefield passed in 1675, contains (i)-(v) and was printed by Nichols.

(b) A Conway MS., printed by P. Cunningham in Sh. Soc. Papers, ii. 65, contains (iii), the song from (vi), and (vii), with the heading ‘The Devise to entertayne hir M^ty at Harfielde ...’ and the date 1602.

(c) The second edition (1608) of Francis Davison’s Poetical Rhapsody contains the speech from (vi) and (vii), with the incorrect indication ‘at the Lord Chancellor’s house, 1601’, which misled Nichols into supposing it to belong to some entertainment at York Place, the year before that of Harefield. The item comes between two pieces by Sir John Davies and has the initials J. D.

(d) The diary of John Manningham (Harl. MS. 5353, f. 95) contains amongst entries of Feb. 1603 some extracts from (i) and (vii), dating the latter in ‘the last Sumer at hir M^ties being with the L. Keeper’.

(e) A contemporary MS., printed as Poetical Miscellanies (Percy Soc. lv), 5, has (vii) dated 1602.

(f) Talbot MS. K, f. 43, in the College of Arms, contains (iv) as given at ‘Harville’ with the date ‘Aug. 1602’ and is printed by Lodge, ii. 560.

(g) B.M. Birch MS. 4173 contains a similar copy of (iv).

On the strength of the Poetical Rhapsody, (vii) is generally assigned to Sir John Davies, which hardly justified Dr. Grosart in assigning all the pieces to him (Works, ii, clxxii). Bond transferred the whole to Lyly, primarily as a conjecture, but was confirmed in his view by finding in Egerton Papers, 343, a payment to ‘M^r Lillyes man, which brought the lotterye boxe to Harefield’. But the document in which this is found, and which also contains the item ‘x^li to Burbidges players for Othello’, is one of Collier’s forgeries (Ingleby, 261).

John Chamberlain (Letters, 164, 169) sent Dudley Carleton ‘the Quenes entertainment at the Lord Kepers’ on 19 Nov. 1602, and on 23 Dec. wrote that, as Carleton liked the Lord Keeper’s devices so ill, he had not cared to get Sir Robert Cecil’s (cf. ch. xxiii, s.v. Cecil).

Progress from Scotland. 1603

There were several contemporary prints:

A

S. R. 1603, May 9. ‘Kinge James his entrance into England.’ Burby and Millington (Arber, iii. 234).

1603. The True Narration of the Entertainment of his Royal Majestie. Thomas Creede for Thomas Millington. [Epistle by T. M. to Reader.]

Editions in Nichols, James (1828), i. 53, and C. H. [69]Firth, Stuart Tracts (English Garner²), 11.

B

S. R. 1603, May 14. ‘King James his entertainement at Theobaldes, with his welcomme to London.’ Thomas Snodham (Arber, iii. 234).

1603. King James his entertainment at Theobalds: With his Welcome to London. By John Sauile. Thomas Snodham, sold by T. Este.

Editions in Nichols, James (1828), i. 135, and C. H. Firth, Stuart Tracts, 53.

C

S. R. 1604, Mar. 27. ‘The tyme Triumphant.’ Ralph Blore (Arber, iii. 256).

1604. The Time Triumphant, Declaring in brief the arrival of our Sovereign liege Lord, King James, into England, His Coronation at Westminster, ... [&c.]. By Gilbert Dugdale. By R. B.

Editions in Nichols, James (1828), i. 408, and C. H. Firth, Stuart Tracts, 69.

D

Jonson’s Althorp Entertainment (cf. ch. xxiii).

E

S. R. 1603, June 16. A ballad of ‘Englandes sweet Comfort with the kinges entertaynmente by the Maior of Yorke’. William White (Arber, iii. 238).

There is also an account in Stowe, Annales (1631), 819. For the stages of the progress cf. App. A. Besides the device at Althorp, speeches were prepared by Dekker for the entry to London, but not used (cf. s.a. 1604).

Coronation Triumph. 1604

There are four contemporary prints:

A

S. R. 1604, Apr. 2 (Pasfield). ‘The magnificent Entertainement ... the 15 of marche 1603.’ Thomas Man junior (Arber, iii. 258).

1604. The Magnificent Entertainment: Giuen to King Iames, Queene Anne his wife, and Henry Frederick the Prince, vpon the day of his Maiesties Tryumphant Passage (from the Tower) through the Honourable Citie (and Chamber) of London, being the 15. of March, 1603. As well by the English as by the Strangers: With the speeches and Songes, deliuered in the seuerall Pageants. Tho. Dekker. T. C. for Tho. Man the younger.

1604. The Whole Magnificent Entertainment.... And those speeches that before were publish’t in Latin, now newly set forthe in English. E. Allde for Tho. Man the younger.

1604. Thomas Finlason, Edinburgh.

Editions in Nichols, James, i. 337, and Somers Tracts (1810), iii. 1.

The speeches for three of the pageants were Jonson’s, and some of those for a fourth Middleton’s. Two others were in Latin. But[70] Dekker himself probably contributed the rest. Prefixed is a dialogue intended, but not used, for James’s original entry into London in 1603, which may also be assigned to Dekker.

B

Jonson’s Coronation Entertainment (cf. ch. xxiii).

C

1604. The Arches of Triumph Erected in honor of the High and mighty prince, James, the first of that name, King of England, and the sixt of Scotland, at his Maiesties Entrance and passage through his Honorable Citty and chamber of London, vpon the 15^th day of March 1603. Invented and published by Stephen Harrison Joyner and Architect: and graven by William Kip. John Windet. [Verses by Thomas Dekker and John Webster.]

1604.... John Windet, sold by John Sudbury and George Humble.

D

G. Dugdale’s Time Triumphant. See s.a. 1603.

There is also an account in Stowe, Annales, 835, based on A. Some ballads are registered in Arber, iii. 255–7, and various verses and other illustrative materials are printed by Nichols. A list of the pageants is in ch. iv.

Entertainment of King of Denmark. 1606

There are four contemporary prints:

A

S. R. 1606, July 30 (Wilson). ‘The Kinge of Denmarkes entertainement at Tilberie Hope by the kinge &c.’ Henry Robertes (Arber, iii. 327).

1606. The Most royall and Honourable entertainement, of the famous and renowmed King, Christiern the fourth, King of Denmarke, &c.... With the royall passage on Thursday the 31. of July, thorough the Citty of London, and honorable shewes there presented them, and maner of their passing. By H. R. W. Barley for H. R. [Epistle to Sir Thomas Smith, signed ‘Hen. Robarts’.]

Editions in Nichols, James (1828), ii. 54, and Harleian Miscellany, ix. 431.

B

S. R. 1606, Aug. 19 (Wilson). ‘A Booke called Englandes farewell to Christian the Ffourthe kinge of Denmarke With a Relacon of suche shewes and seuerall pastymes presented to his Maiestie, as well at Courte the ffirste of Auguste as in other places since his honorable passage through the Cytie of London &c.’ William Welbye (Arber, iii. 328).

1606. Englands Farewell to Christian the fourth, famous King of[71] Denmarke. By H. Roberts. For William Welby. [Epistle to Sir John Jolles, signed ‘H. Roberts’.]

Editions in Nichols, James (1828), ii. 75, and Harleian Miscellany, ix. 440.

C

Jonson’s Entertainment of the King of Denmark at Theobalds (cf. ch. xxiii).

D

S. R. 1606, Aug. 8 (Hartwell). ‘A booke called the Kinge of Denmarkes welcomme into England &c.’ Edward Allde (Arber, iii. 327).

1606. The King of Denmarkes welcome: Containing his arriual, abode, and entertainement, both in the Citie and other places. Edward Allde.

Extracts in Nichols, James (1828), iv. 1072.

There are also an account in Stowe, Annales, 885, and a Relatio oder Erzehlung wie ... Christianus IV, &c. im Königreich Engellandt angelanget (1607, Hamburg). For the itinerary cf. App. A. Bond, Lyly, i. 505, prints a song at Theobalds on 24 July and a pastoral dialogue in Fleet Street on 31 July as possibly Lyly’s.

The Christmas Prince. 1607–8

[MS.] St. John’s College, Oxford, MS. ‘A True and Faithfull Relation of the Risinge and Fall of Thomas Tucker, Prince of Alba Fortunata, Lord of St. John’s,’ &c. The writer is said (D. N. B.) to be Griffin Higgs, but the evidence is inadequate.

Edition [by P. Bliss], An Account of the Christmas Prince (1816, Miscellanea Antiqua Anglicana). Another is planned in M. S. R.

This is the narrative of a lordship of misrule at St. John’s during the Christmas of 1607–8. The MS. includes the text of a number of plays and shows. Unfortunately Bliss omits the text of these, with the exception of one called The Seven Days of the Week. The others were Ara Fortunae, Saturnalia, Philomela, Time’s Complaint, Somnium Fundatoris, Philomathes, Yuletide, Ira seu Tumulus Fortunae, Periander (an English play). Others were planned, but not given; cf. Mediaeval Stage, i. 409.

Chesters Triumph. 23 April 1610

S. R. 1610, June 12 (Wilson). ‘A booke called Chesters Triumph in honour of ye Prince, as it was performed vpon Saincte Georges Day 1610 in thaforesayd Citty.’ John Browne (Arber, iii. 436).

1610. Chesters Triumph in Honor of her Prince. As it was performed vpon S. Georges Day 1610, in the foresaid Citie. For I. B. [The name of Robert Amerie appears at the end. A preface and one poem are by R. Davies.]

Editions in Nichols, James, ii. 291 (1828), and in Chetham Soc. publications (1844).

[72]

G. Ormerod, Hist. of Cheshire (1882), i. 381, gives a description of the show from a shorter account or programme in Harl. MS. 2150, f. 186, indexed (f. 3^v) as ‘M^r. Amory’s new shew invented by him’. This is confirmed by the lines:

Camp-Bell. 29 Oct. 1609

N.D. [1609?] Running title: Campbell, or The Ironmongers Faire Field. [The only known copy (B.M. C. 33, E. 7) lacks the t.p. and sig. A. Thomas Campbell was mayor in 1609. For his grandson, James Campbell, mayor in 1629, Dekker wrote London’s Tempe, or The Field of Happines.]

Greg, Masques, 21, assigns this to Munday, without stating his grounds.

London’s Love to Prince Henry. 31 May 1610

1610. Londons Loue, to the royal Prince Henrie, meeting him on the Riuer of Thames, at his returne from Richmonde, with a worthie fleete of her Cittizens, on Thursday the last of May, 1610. With a breife reporte of the water Fight, and Fire workes. Edward Allde, for Nathaniel Fosbrooke. [Epistle to Sir Thomas Campbell, Lord Mayor.]

Edition by J. Nichols, James, ii. 315 (1828).

It appears from the city records that the device was by Munday, and that Richard Burbadge and John Rice of the King’s men delivered the speeches as Amphion and Corinea; cf. Repertory, xxix, f. 232^v, and Letter Book D.D., f. 148^v, quoted by Halliwell-Phillipps in Athenaeum (19 May 1888), Stopes, Burbage, 108, and C. W. Wallace in Times (28 March 1913). Doubtless Munday also wrote the description.

Creation of Henry Prince of Wales. 4 June 1610

S. R. 1610, June 14 (Mokett). ‘A booke called, The creation of the Prince, by master Danyell Price.’ Roger Jackson (Arber, iii. 436).

1610. The Order and Solemnitie of the Creation of the High and mightie Prince Henrie, Eldest Sonne to our sacred Soueraigne, Prince of Wales, Duke of Cornewall, Earle of Chester, &c. As it was celebrated in the Parliament House, on Munday the fourth of Iunne last past. Together with the Ceremonies of the Knights of the Bath, and other matters of speciall regard, incident to the same. Whereunto is annexed the Royall Maske, presented by the Queene and her Ladies, on Wednesday at night following. For John Budge. [The Mask is Daniel’s Tethys’ Festival, with a separate t.p.]

Editions in W. Scott, Somers Tracts (1809–15), ii. 183, and Nichols, James (1828), ii. 324.

The ceremonies are also described in Stowe, Annales (1615), 899, and in MSS. of W. Camden quoted by Nichols.

[73]

• The diary is:
• 31 May 1610. City reception with water pageant.
• 4 June. Creation.
• 5 June. Daniel’s mask.
• 6 June. Tilt; fireworks; sea-fight.

Marriage of Frederick and Elizabeth. 1613

The most important descriptions, besides the masks of Campion, Beaumont, and Chapman (q.v.), are.

A

S. R. 1613, Feb. 18 (Mokett). ‘A booke called The Mariage of the twoo great prynces Ffriderick Counte Palatine and the Lady Elizabeth &c with the shewes and fierwoorkes on the Water, the maskes and Revels at the Courte.’ William Barley (Arber, iii. 516).

1613. The Magnificent Marriage of the two great princes Frederick Count Palatine, &c. and the Lady Elizabeth, Daughter to the Imperial Majesties of King James and Queen Anne, to the Comfort of All Great Britain. Now the second time imprinted, with many new additions of the same Tryumphes, performed by the Gentlemen of the Innes of Court in the Kings Pallace at Whitehall. T. C. for W. Barley. [Nichols says that a manuscript copy of the first edition is in Addl. MS. 5767.]

Editions in W. Scott, Somers Tracts (1809–15), iii. 35, and Nichols, James (1828), ii. 536.

B

1613. Heavens Blessing and Earths Joy: or, a True Relation of the Supposed Sea-Fights and Fire-Workes as were Accomplished before the Royall Celebration of the All-beloved Marriage of the two Peerlesse Paragons of Christendome, Fredericke and Elizabeth. By John Taylor, the Water Poet. For Joseph Hunt, sold by John Wright.

1630. [Part of Taylor’s Works.]

Edition in Nichols, James (1828), ii. 527.

C

1613. Beschreibung der Reiss: Empfahung des Ritterlichen Ordens: Volbringung des Heyraths: vnd glückliche Heimführung: Wie auch der ansehnlichen Einführung, gehaltene Ritterspiel vnd Freudenfests des Durchleuchtigsten Hochgeboren Fürsten und Herrn Friedrichen des Fünften ... mit der ... Princessin Elisabethen. G. Vögelin, Heidelberg. [Of this there is also a French translation, Les Triomphes ... pour le Mariage et Reception de Monseigneur le Prince Frederic V ... et de Madame Elisabeth. 1613.]

D

A distinct French account in Mercure François, iii. 72.

[74]

For other accounts, extant and lost, and verses, cf. Arber, iii. 499, 514–18; Nichols, ii. *463, 536, 601, 624; Rimbault, 161–3; M. A. Green, Elizabeth Queen of Bohemia, 36.

• The diary is:
• 16 Oct. 1612. Arrival of Frederick at Gravesend.
• 18 Oct. Reception at Court.
• 29 Oct. Visit to Guildhall.
• 21 Dec. Investiture with Garter.
• 27 Dec. Betrothal.
• 7 Feb. 1613. Garter installation.
• 11 and 13 Feb. Fireworks and sea-triumph at Whitehall.
• 14 Feb. Wedding. Campion’s mask.
• 15 Feb. Running at the ring. Chapman’s mask.
• 21 Feb. Beaumont’s mask.

Bristol Entertainment. 1613

[MS.] Calendar by William Adams, penes C. J. Harford (in 1828).

S. R. 1613, Oct. 8 (Mason). ‘A booke called the Queenes Maiesties entertaynement at Bristoll.’ John Budge (Arber, iii. 533).

1613. A Relation of the Royall, Magnificent, and Sumptuous Entertainment given to the High and Mighty Princesse Queen Anne, at the Renowned Citie of Bristoll, by the Mayor, Sheriffes, and Aldermen thereof; in the moneth of June last past, 1613. Together with the Oration, Gifts, Triumphes, Water-combats and other Showes there made. For John Budge. [Epistle by Robert Naile.]

Editions in Bristol Memorialist, No. 3 (1816), and Nichols, James, ii. 648 (1828).

[Bibliographical Note.—This is primarily a list of plays, masks, and quasi-dramatic entertainments at court. The chronological evidence for the plays mainly rests upon Appendix B. Tilts and a few miscellaneous entertainments are included. And it has seemed worth while to trace the movements of the court, partly in order to locate the palaces at which the winter performances were given, partly because of the widespread use of mimetic pageantry during Elizabeth’s progresses and visits abroad. For the main migrations of the household (in small capitals), the authorities here cited are confirmed by the daily or weekly indications of a much more detailed Itinerarium than can be printed. Additions from sources not explored by me may be possible to the record of shorter visits or even that of the by-progresses, upon which Elizabeth was not always accompanied by the full household. I have not attempted to deal so completely with the Jacobean period. The King’s constant absences from court on hunting journeys are difficult to track and of no interest to dramatic history. Appendix B will show at which of the court plays he was personally present. The principal material used may be classified as follows: (a) The royal movements are frequently noted in ambassadorial dispatches, in private letters, notably those of Roger Manners to the Earls of Rutland (Rutland MSS.), of Rowland Whyte, court postmaster, to Sir Robert Sidney (Sydney Papers), and of John Chamberlain to Sir Dudley Carleton (Letters, ed. Camden Soc., and Birch, Court of James) and Sir Ralph Winwood (Winwood Memorials); and in the diaries of Henry Machyn, Lord Burghley (Haynes-Murdin, ii. 745; Hatfield MSS., i. 149; v. 69; xiii. 141, 199, 389, 464, 506, 596), Sir Francis Walsingham (Camden Miscellany, vi), and John Dee. (b) Collections of State and quasi-State Papers contain many dated and located documents emanating from the court, such as proclamations, privy seals, signet letters, and less formal communications from the sovereign or a secretary or other officer in attendance. Unfortunately Elizabeth’s letters missive have never been collected, and many of them are unlocated. Naturally ministerial documents require handling with discretion, lest the writers should be away from court. Letters patent bear the date and location of the Chancellor’s recepi, and the Chancellor was largely detached from the court. The sources for (a) and (b) are given in the Bibl. Note to ch. i. (c) The Register of the Privy Council records the localities of the meetings of that body, but it must be borne in mind that the registration was not very perfect (cf. ch. ii), and also that, although the Council ordinarily followed the court, meetings were occasionally held in Westminster or London, either at the Star Chamber or in the house of a councillor or even a citizen, when the court happened to be out of town. (d) Church bells were rung when the sovereign moved into or out of a parish, and the churchwardens entered the ringers’ fees in their accounts. The entries in J. V. Kitto, The Accounts of the Churchwardens of St. Martin’s in the Fields, 1525–1603 (1901, cited as Martin’s), record many comings and goings from Whitehall, but in some cases the date entered appears to be other than that of the actual ringing, either by error or because the payment was on a different day. The[76] extracts from the accounts of St. Margaret’s, Westminster (cited as Margaret’s), in J. Nichols, Illustrations, 1, of Lambeth in D. Lysons, Environs of London, i. 222, and S. Denne, Historical Particulars of Lambeth (1795, Bibl. Top. Brit. x. 185), of Fulham in T. Faulkner, Fulham (1813), 139, of Kingston in Lysons, Environs, i. 164, and of Wandsworth by C. T. Davis in Surrey Arch. Colls., xviii (1903), 96, are scrappy and the year concerned is not always clear. Nichols, Eliz. iii. 37, gives an analogous record from the accounts of Chalk in Kent of the occasions on which the local carts were requisitioned for removes from Greenwich. (e) The dates and localities of knightings are given in W. A. Shaw, The Knights of England (1906), but many of them are from inconsistent and untrustworthy sources. (f) The Chamber Accounts (cf. App. B) contain under the annual heading ‘Apparelling of Houses’ summaries of monthly bills sent in by the Gentlemen Ushers of the Chamber of their expenses while engaged in making preparations for royal visits. They yield much new information as to the houses visited, but only very approximately date the visits. And it may be that the Ushers occasionally had to prepare for a visit which never took place. Analogous information is contained in the Declared Accounts of the Office of Works. A single account of the Cofferer of the Household, printed by Nichols, i. 92, gives a daily record of the locality of the household throughout the progress of 1561; as far as I know, it is the only extant document of its kind. (g) J. Nichols, in his Progresses of Elizabeth² (1823) and Progresses of James I (1828), drew fully upon the contemporary printed descriptions of state entries and progresses, of which a list is given in ch. xxiv, and upon such ‘gests’ of progresses (cf. ch. iv) as survive. I have been able to correct and amplify his record of houses visited to a great extent, as much of the material now available, notably the Privy Council Register and the Chamber Accounts, was not used by him, and he occasionally assumed that royal plans were carried out, when they were not. I have done what I can to identify the royal hosts and their houses, but there is more of conjecture in my lists than my query-marks quite indicate. The Chamber Accounts entries are not in chronological order. Often only a name or a locality is given, and a good deal of plotting of routes on a map has been necessary. A more thorough study of local and family histories than I have been able to undertake would doubtless add corrections and further details. Local antiquaries might well follow the lines of study opened up by E. Green, Did Queen Elizabeth visit Bath in 1574 and 1592 (1879, Proc. of Bath Field Club, iv. 105), W. D. Cooper, Queen Elizabeth’s Visits to Sussex (1852, Sussex Arch. Colls., v. 190), W. Kelly, Royal Progresses and Visits to Leicester (1884), and M. Christy, The Progresses of Queen Elizabeth through Essex and the Houses in which she stayed (1917, Essex Review, xxvi. 115, 181). A knowledge of sixteenth-and seventeenth-century roads is useful. The Elizabethan list in W. Smith, The Particular Description of England, 1588 (ed. H. B. Wheatley and E. W. Ashbee, 1879) is fuller than that in W. Harrison, Description of England (ed. N. S. S. ii. 107), or that described from a manuscript of c. 1603 by G. S. Thomson in E. H. R. xxxiii. 234. The seventeenth-century description of J. Ogilby, Itinerarium Angliae (1675) became the parent of many travellers’ guides. But it does not include three private royal roads largely used in removes; viz. the King’s road by Chelsea to Richmond and Hampton Court, Theobald’s Road, and a road from Lambeth Ferry to Greenwich and Eltham. Useful studies are T. F. Ordish, History of Metropolitan Roads (L. T. R. viii. 1), and H. G. Fordham, Studies in Carto-Bibliography (1914). Other books are given in D. Ballen, Bibliography of Roadmaking and Roads (1914).]

[77]

1558

Nov. 17. Accession of Elizabeth at Hatfield.

Nov. 22. Progress through Herts and Middlesex to London by Hadley (Alice Lady Stamford?, Nov. 22–3) and Charterhouse (Lord North, Nov. 23–8).[1]

Nov. 28. Tower of London.[2]

Dec. 5. Somerset House, by water.[3]

Dec. 22. Whitehall.[4]

1559

Jan. 6. Play (=Queen’s=?) and mask (Papists).[5]

Jan. 12. Tower, by water.[6]

Jan. 14. Entry through London with pageants to Whitehall.[7]

Jan. 15. Coronation.[8]

Jan. 16. Tilt and mask (Almains and Palmers?).

Jan. 17. Barriers.[9]

Jan. 29. Mask (Moors?).

Feb. 5 (S.S.). Mask (Swart Rutters).

Feb. 7. Mask (Fishers).

March 21. Morris from Household feast at Mile End to court.[10]

c. March 31. Visit to Greenwich?[11]

Apr. 25. Supper at Baynard’s Castle (Earl of Pembroke).[12]

May 1. Maying on Thames at Whitehall.[13]

c. May 17. Visit to Greenwich.[14]

May 24. Mask (Astronomers) for French embassy.[15]

May 25. Baiting at palace for embassy.[16]

June 21. Greenwich.[17]

June 25. May game from London to court.[18]

July 2. City musters and tilt at court.[19]

July 3. Visit to Woolwich, with banquet in the Elizabeth Jonas.[20]

July 11. Joust by pensioners and mask.[21]

July 17. Progress in Kent and Surrey.[22] Dartford (July 17–18), Cobham Hall (Lord Cobham, July 18–21 <), Gillingham, Otford (July > 23–28 <), Eltham (Aug. 4), Croydon (Abp. of Canterbury, Aug. 5–6?) and Nonsuch (Earl of Arundel, Aug. 6–10).

[78]

Aug. 7. =Paul’s.=

Aug. 10. Hampton Court.[23]

Aug. 17–> 23. Visit to West Horsley (Lord Clinton), with mask (Shipmen and Country Maids).[24]

Sept. 28. Whitehall.[25]

Nov. 5. Tilt.[26]

Dec. 31. Play (=Chapel=?) and mask (Clowns or Nusquams?).[27]

1560

Jan. 1. Mask (Barbarians) for John Duke of Finland.[28]

Jan. 6. Masks (Patriarchs, Italian Women).

Feb. 25 (S.S.) or 26. Mask (Nusquams or Clowns?).

Feb. 27. Masks (Diana and Nymphs, Actaeon?).

Apr. 10. Morris and ‘queen’ from London to court.[29]

Apr. 21. Tilt.[30]

Apr. 24 < > 27. Visit to Deptford.[31]

Apr. 28. Tilt.[32]

May 14. Greenwich.[33]

c. May 24. Visit to Westminster?[34]

c. May. Visit to Eltham.[35]

July 29. Richmond by Lambeth (Abp. Parker).[36]

Aug. 3. Oatlands.[37]

Aug. 5–30. Progress in Surrey and Hants.[38] Sutton Place, Woking (Sir Henry Weston, Aug. 5), Farnham (Bp. Winchester, Aug. 7, 8), Rotherfield (John? Norton), Southwick (John White), Portsmouth, Netley Castle (Aug. 12–13), Southampton (Aug. 13–16), Winchester (Aug. 16–23), Micheldever (Edmund Clerk, Aug. 23), Basing (Marquis of Winchester, Aug. 23–28), Odiham (Chidiock Paulet?), Hartley Wintney (Sir John Mason?), Bagshot (Sir Henry Weston?).

Aug. 30. Windsor.[39]

[79]

Sept. 22 < > 30. Hampton Court.[40]

c. Oct. Visit to Horsley (Lord Clinton?).[41]

Nov. 10 < > 25. Whitehall.[42]

Nov. 27–> Dec. 2. Visit to Greenwich and Eltham.[43]

c. Dec. Visit to Queenborough.[44]

Christmas. =Dudley’s= and =Paul’s=, and masks. One of the plays was Preston’s Cambyses.[45]

1561

Feb. 17 (S.M.). Wrestling in ‘prychyng-plase’ at court.[46]

Feb. 18, 19. Masters of fence at court.[47]

Apr. 26 < > 29. Greenwich.[48]

June 24. River triumph. Dinner with Lord R. Dudley.[49]

July 10–Sept. 22. Progress in Essex, Suffolk, Herts., Middlesex.[50] Tower (July 10), Charterhouse (Lord North, July 10–14) with visit to Strand (Sir W. Cecil, July 13), Wanstead (Lord Rich, July 14), Havering (July 14–19) with visits to Pyrgo (Lord John Grey, July 16) and Loughton Hall (Lord Darcy?, July 17), Ingatestone (Sir William Petre, July 19–21), New Hall in Boreham (Earl of Sussex, July 21–26), Felix Hall (Henry Long?, July 26), Colchester (Sir Thomas Lucas, July 26–30) with visit to Layer Marney (George Tuke), St. Osyth (Lord Darcy, July 30–Aug. 2), Harwich (Aug. 2–5), Ipswich (Aug. 5–11),[51] Shelley Hall (Philip Tilney, Aug. 11), Smallbridge (William Waldegrave, Aug. 11–14), Hedingham (Earl of Oxford, Aug. 14–19), Gosfield (Sir John Wentworth, Aug. 19–21), Lees (Lord Rich, Aug. 21–25), Great Hallingbury (Lord Morley, Aug. 25–27), Standon (Sir Ralph Sadleir, Aug. 27–30), Hertford (Aug. 30–Sept. 16), Hatfield?, Enfield (Sept. 16–22).

Sept. 22. St. James’s.[52]

Oct. 28. Visit to Whitehall. Baiting and mask (Wise and Foolish Virgins) for French embassy.[53]

[80]

Dec. 4 < > 14. Whitehall.[54]

Christmas. =Dudley’s= and =Paul’s=.

Dec. 27 < > Jan. 3. Lord of Misrule from Temple to court.[55]

1562

Jan. 15–16. Visit to Baynard’s Castle (Earl of Pembroke), with mask.[56]

Jan. 18. Gorboduc and mask by Inner Temple.

Feb. 1. Mask from London to court, ‘and Julyus Sesar’.[57]

Feb. 2 < > 10 (S. T.). =Paul’s.=

Feb. 10. Tilt.[58]

Feb. 14. Running at ring.[59]

June 5. Greenwich.[60]

Sept. 16 < > 19. Hampton Court, by Southwark.[61]

c. Oct. Visit to Oatlands.[62]

Nov. 8. Somerset House.[63]

Dec. 14 < > 21. Whitehall.[64]

Christmas. =Dudley’s= and =Paul’s=.

1563

Feb. 21 (S.S.).

June 14. Greenwich.[65]

July 20 < > Aug. 1. Richmond, by Lambeth.[66]

Aug. 2 < > 4. Windsor by Stanwell.[67]

1562–3. Visits to Sunninghill, Oatlands, Nonsuch (Earl of Arundel), the New Lodge, the Twelve Oaks.[68]

Christmas.[69] Two plays by unnamed companies.

[81]

1564

Feb. 2. Play by unnamed company.

Feb. 13 (S.S.).

Apr. 23 < > May 5. Richmond.[70]

June 9. Three masks and ‘devise with the men of armes’ for French embassy.[71]

June 28. Visit incognita to Baynard’s Castle (Earl of Pembroke) for St. Peter’s watch.[72]

June 30 < > July 5. Whitehall.[73]

July 5. Visit to Sackville House (Sir Richard Sackville), with play and mask.[74]

July 6. Visit to Cecil House (Sir W. Cecil) for christening of Elizabeth Cecil.[75]

July 6 < > 16. Greenwich.[76]

July 21 or 22. Whitehall.[77]

c. July 27–Sept. 12. Progress in Middlesex, Herts., Cambridgeshire, Hunts., Northants., Leicestershire, Bucks., and Beds.[78] Theobalds (Sir William Cecil), Enfield (July 31, Aug. 1), Hertford Castle, Aldbury (Thomas Hyde), Haslingfield (Mr. Worthington, Aug. 4–5), Grantchester (Aug. 5), Cambridge (King’s College, Aug. 5–10),[79] Long Stanton (Bp. of Ely, Aug. 10), Hinchinbrook (Sir Henry Cromwell, Aug. 10),[80] Kimbolton (Thomas? Wingfield), Boughton (Edward Montague), Launde (Henry, Lord Cromwell, c. Aug. 18), Braybrooke Castle (Sir Thomas Griffin), Dallington? (Sir Andrew Corbett), Northampton (Mr. Crispe), Easton Neston (Sir John Fermor), Grafton, Thornton (George Tyrrell), Toddington (Sir Henry Cheyne), St. Albans (Sir Richard Lee), Great Hampden? (Griffith Hampden), Princes Risborough? (Mr. Penton), Shardeloes in Amersham? (William Totehill), Harrow (Sept. 12), Osterley (Sir Thomas Gresham).

Sept. 13. St. James’s.[81]

Sept. 15. Dinner with Marchioness of Northampton at Whitehall.[82]

c. Oct.-Nov. Visits to Oatlands and Windsor.[83]

Dec. 7. Whitehall.[84]

Christmas. =Warwick’s= (twice), =Paul’s=, and =Chapel= (Damon and Pythias?).

[82]

1565

Jan. =Westminster= (Miles Gloriosus and (?) Heautontimorumenos).

Jan. 7. Tilt, dance, and foot tourney at night.[85]

Feb. 2. =Paul’s.=

Feb. 18. Play by =Sir Percival Hart’s sons= and mask (Hunters and Muses).

March 5 (S.M.). Tilt.[86]

March 6. Tourney. Masks (Satyrs and Tilters) and play by =Gray’s Inn= at supper by Earl of Leicester.[87]

Apr. 27. Visit to Earl of Leicester.[88]

May 12. Visit to Greenwich.[89]

c. June 2. Visit to Tower, with imperial ambassador, Adam Swetkowyz.[90]

June 24 < > 26. Greenwich.[91]

July 14. Whitehall.[92]

July 16. Visit to Durham Place for wedding of Henry Knollys and Margaret Cave, with tourney and two masks.[93]

July 17. Richmond.[94]

Aug. 8. Windsor, by Ankerwyke (Sir Thomas Smith).[95]

c. Aug.-Sept. Visits to Sunninghill, Farnham, and Bagshot.[96]

Sept. 14. Whitehall. Visit to Cecilia of Sweden (Bedford House?).[97]

c. Sept. Visit to Osterley (Sir Thomas Gresham).[98]

Oct. 7, 13. Visits to Cecilia of Sweden.[99]

Oct. 29–> Nov. 2. Visit to Nonsuch (Earl of Arundel).[100]

Nov. 11. Tilt at wedding of Earl of Warwick and Lady Anne Russell.[101]

Nov. 12. Tourney.

Nov. 13. Barriers.

Christmas. =Paul’s= (thrice by Jan. 3, including one at Savoy for Cecilia of Sweden) and =Westminster= (Sapientia Solomonis).

1566

Jan. 6. King of the Bean at court.[102]

Feb. 5. Greenwich.[103]

Feb. 14. Visit to Baynard’s Castle (Earl of Pembroke).[104]

Feb. 24–26 (S.). Gismond of Salerne by Inner Temple (?). Wedding of Earl of Southampton and Mary Browne, with two masks and tourney.[105]

June 28 or 29. St. James’s.[106]

[83]

July 1. Wedding of Thomas Mildmay and Frances Radcliffe at Bermondsey (Earl of Sussex).[107]

July 8–Sept. 9. Progress in Middlesex, Herts., Beds., Hunts., Northants., Lincs., Rutland, Warwickshire, Oxfordshire, Berks.[108] Hendon (Edward? Herbert, July 8), Shenley (Michael Pulteney), Hatfield, Knebworth (Rowland Lytton), Bygrave (William Warren?), Wrest (Duchess of Suffolk), Dame Ellensbury’s in Houghton Conquest, Willington (John Gostwick), Bletsoe (Lord St. John), Bushmead (William Gery), Kimbolton (Thomas? Wingfield, July 21), Leighton Bromswold, Fotheringay Castle, Apethorpe (Sir Walter Mildmay), Colly Weston (July 29, Aug. 3), Greyfriars at Stamford (Sir W. Cecil, Aug. 5), Grimsthorpe (Duchess of Suffolk), Sempringham (Lord Clinton), Irnham (Richard Thimelby), Exton (Sir James Harington), Kingscliffe, Deene (Edmund Brudenell), Dingley (Edward Griffin), Whitefriars at Coventry (Aug. 17–19),[109] Kenilworth (Earl of Leicester, Aug. 19–22), Warwick (Earl of Warwick), Charlecote (Sir Thomas Lucy, > Aug. 24), Broughton (Richard Fiennes), Woodstock (Aug. > 26–31), Oxford (Aug. 31–Sept. 6),[110] Rycote (Sir Henry Norris, Sept. 6–7), Bradenham (Lord Windsor, Sept. 7–9).

Sept. 9. Windsor.[111]

Sept. Visit to Bagshot (The Bush).[112]

Sept. 10 < > 17. Richmond.[113]

Sept. 27. Whitehall.[114]

Christmas. =Paul’s= (twice).

1567

Jan. 10. Queen in country.[115]

Jan. 17–Feb. 1. Visits to Croydon (Abp.?) by Lambeth (?), Nonsuch (Earl of Arundel, Jan. 21–27), and Osterley (Sir Thomas Gresham, Jan. 27–Feb. 1).[116]

Feb. 9–11 (S.). =Westminster.=

Feb. 10. Visit to Arundel House (Earl of Arundel)?[117]

Feb. 11. =Windsor Chapel.=

[84]

Apr. 13. Play for Spanish embassy.[118]

June 11. Richmond.[119]

July 22. Windsor.[120]

Aug. 12? Oatlands.[121]

Aug. Visit to Beddington? (Francis Carew) by Kingston.[122]

Aug. 18 < > 20–30. Progress or visits in Surrey and Hants. Woking, Guildford Manor (Aug. 20, 21), Loseley? (William More), Farnham (Bp. Winchester, Aug. 24, 25, 29), Odiham, Bagshot.[123]

Aug. 30. Windsor.[124]

Oct. 12. Hampton Court.[125]

Dec. 23. Whitehall.[126]

Christmas. =Rich’s= (twice), =Paul’s= (twice), =Westminster=. The Revels prepared eight plays this winter, The King of Scots (tragedy), As Plain As Can Be, The Painful Pilgrimage, Jack and Jill, Six Fools, Wit and Will, Prodigality, Orestes (the extant play?), and six masks, of which two were not used.

1568

Jan. 2. Visit to Charterhouse.[127]

c. Feb. Visit to Hackney.[128]

Feb. 29–March 2 (S.). =Chapel= (tragedy) and =Windsor Chapel=.

Apr. 6. Greenwich.[129]

July 6–12? Visit to Charterhouse (Duke of Norfolk).[130]

July 12–Sept. 22. Progress in Essex, Middlesex, Herts., Beds., Bucks., Northants., Oxon., Berks.[131] Havering (July 13–15) with visits to Giddy Hall in Romford (Sir Anthony Cooke) and Pyrgo (Lord John Grey), Copt Hall (Thomas Heneage, July 19), Enfield (July 22, 25), Hatfield (July 30, Aug. 3, 4, 7), Knebworth (Rowland Lytton), St. Albans (Sir Ralph Rowlett, Aug. 8), Dunstable (Edward Wingate), Brickhill (Thomas Duncombe?), Whaddon (Lord Grey), Buckingham (William Davers? at parsonage), Easton Neston (Sir John Fermor, Aug. 14, 21), Grafton Regis, Charlton (Sir Robert[85] Lane), Bicester (Mr. More, Aug. 27), Rycote (Sir Henry Norris), Ewelme, Wallingford (Thomas Parry at College), Yattendon (Sir Henry Norris?), Donnington Castle, Newbury (Sept. 12, 13), Aldermaston (William? Forster), Reading (Queen’s house, Mr. Stafford, Mr. Gare, Sept. 18?).

Sept. 22. Windsor.[132]

Oct. 3 < > 20. Hampton Court.[133]

Dec. 26. =Rich’s.=

1569

Jan. 1. =Paul’s.=

Feb. 12. Whitehall.[134]

Feb. 22 (S.T.). =Windsor Chapel.=

May 6. Greenwich.[135]

May 15 (?). Visit of Earl of Leicester and Odo de Coligny, Cardinal of Châtillon, to Oxford, with The Destruction of Thebes.[136]

July 21. Richmond, by Lambeth.[137]

July 29. Oatlands.[138]

Aug. 5 < > 8–Sept. 23 or 24. Progress in Surrey and Hants.[139] Chertsey (Sir William FitzWilliam?), Woking (Aug. 9), Guildford (Aug. 10, 12), Farnham (Bp. Winchester, Aug. 14, 17, 20, 22) with visit to Kingsley (Nicholas Backhouse), Odiham, Basing (Marquis of Winchester, Aug. 27, 29; Sept. 1), Abbotstone (Lord St. John), Soberton (Anne, Lady Lawrence), Tichfield (Lady Southampton, Sept. 4, 6), Southampton Tower (Sept. 6?, 8, 9, 14), Melchet (Richard? Audley), Mottisfont (Lord Sandys), Wherwell (Sir Adrian Poynings), Hurstbourne? (Sir Robert Oxenbridge), Steventon (Sir Richard Pexall), The Vine in Sherborne St. John (Lady Sandys, Sept. 22), Hartley Wintney (Lady Mason), Bagshot (Sir Henry Sutton).

Sept. 23 or 24. Windsor.[140]

Nov. 17. Accession day first kept.[141]

c. Dec. Visit to Bisham (Lady Hoby).[142]

Dec. 27. =Windsor Chapel.=

1570

Jan. 6. =Chapel.=

Jan. 20. Hampton Court.[143]

[86]

Feb. 5 (S.S.). =Rich’s.=

March 19. Visit to Ham House (Madame de Châtillon).[144]

June 18 < > 20. Oatlands.[145]

July 16–Sept. 29. Progress in Middlesex, Bucks., Beds., Oxon., and Berks.[146] Osterley (Sir Thomas Gresham, July 16–18), Denham (Sir George Peckham, July 18–19), Chenies (Earl of Bedford, July 19–Aug. 13), Pendley (Edmund Verney, Aug. 15–17), Toddington (Sir Henry Cheyne, Aug. 19, 20), Dame Ellensbury in Houghton Conquest, Segenhoe in Ridgmont (Peter Grey), Wing (Sir William Dormer, c. Aug. 24), Eythorpe (Sir W. Dormer), Rycote (Sir Henry Norris, Aug. 30, Sept. 2, 6, 7), Ewelme, Reading (Sept. 17, 24–26), Philberds in Bray (Sir Thomas Neville).

Sept. 29. Windsor.[147]

Nov. 6 or 7. Hampton Court.[148]

Dec. 28. =Paul’s.=

1571

Jan. 6. Challenge for jousting.

Jan. 14 < > 19. Somerset House.[149]

Jan. 23. Visit to Bishopsgate (Sir Thomas Gresham) to open Royal Exchange.[150]

Jan. 20 < > 29. Whitehall.[151]

Feb. 25–27 (S.). =Chapel=, =Windsor Chapel=, and =Paul’s=.

March 2. Greenwich.[152]

March 31 < > Apr. 2. Whitehall.[153]

Apr. 20. Visit to St. George’s Fields.[154]

Apr. 29. Queen at wedding of Marquis of Northampton and Helena von Snavenberg or Snachenberg.[155]

May 1–3. Tilt, tourney, barriers.[156]

June 7, 8. Visit to Osterley (Sir Thomas Gresham).[157]

c. Apr.-July. Two visits to Bermondsey (Earl of Sussex).[158]

July 7 < > 8. Hampton Court.[159]

July-Aug. Visits to Horsley (Earl of Lincoln), Oatlands, Byfleet.[160]

Aug. 8 < > 12–Sept. 22. Progress in Middlesex, Herts., and Essex.[161][87] Gunnersbury, Hendon (Edward Herbert), Hatfield (Aug. 15–21), Knebworth (Rowland Lytton), Brent Pelham (Lord Morley, Aug. 26), Saffron Walden, Audley End (Duke of Norfolk, Aug. 29–Sept. 3), Horham Hall in Thaxted (Sir John Cutts, Sept. 5) with hunt in Henham Park, Lees (Lord Rich, Sept. 7, 8), Rookwood Hall in Roding Abbess (Wiston Browne), Mark Hall in Latton (James Altham, Sept. 13, 14, 17), Stanstead Abbots (Edward Bashe, Sept. 20), Theobalds (Lord Burghley, Sept. 22), Hadley (Lady Stamford), Harrow (William Wightman).

Sept. 22. St. James’s.[162]

Sept. 26. Richmond.[163]

Oct. 23 < > 28. Greenwich.[164]

Dec. 12. Whitehall.[165]

Dec. 16 < > 23. Wedding of Earl of Oxford and Anne Cecil.[166]

Dec. 23. Wedding of Edward Somerset (Lord Herbert) and Elizabeth Hastings.[167]

Christmas. The Revels prepared six masks this winter.

Dec. 27. =Lane’s= (Lady Barbara).

Dec. 28. =Paul’s= (Iphigeneia).

1572

Jan. 1. =Windsor Chapel= (Ajax and Ulysses).

Jan. 6. =Chapel= (Narcissus).

Feb. 17 (S.S.). =Lane’s= (Cloridon and Radiamanta).

Feb. 19. =Westminster= (Paris and Vienna, with tourney and barriers).

Apr. 10 or 11. Greenwich.[168]

May 5. St. James’s.[169]

c. May 25. Visit to Hampton Court (?).[170]

c. June 10. Visit to Greenwich.[171]

June 15. Baiting, and mask (Apollo and Peace) and tourney in banqueting house at Cockpit for French embassy.[172]

June 20. Whitehall.[173]

July 15–Sept. 28. Progress in Middlesex, Essex, Herts., Beds., Bucks., Northants., Warwickshire, Oxon., Berks.[174] Bishopsgate (Jasper[88] Fisher), Bethnal Green (Joan, Lady White), Havering (July 19, 20), Birch Hall in Theydon Bois (Edward? Elderton), Theobalds (Lord Burghley, July 22–25) visit to Enfield, Hatfield, Gorhambury (Sir Nicholas Bacon, July 25–28), Dunstable (Edward Wingate?, July 28–29), Woburn (Earl of Bedford, July 29–31) with visit to Chicheley (Elizabeth Weston), Salden (John Fortescue, Aug. 1–4), Beachampton (Thomas? Pigott), Easton Neston (Sir John Fermor, Aug. 4–8), Edgecott (William Chauncy, Aug. 10), Bishop’s Itchington (Edward Fisher, Aug. 11), Warwick Castle (Earl of Warwick, Aug. 11–13), Kenilworth (Earl of Leicester, Aug. 13–16),[175] Warwick Castle (Aug. 16–18) with visit to Warwick Priory (Thomas Fisher, Aug. 16),[176] Kenilworth (Aug. 18–23), Charlecote (Sir Thomas Lucy, Aug. 23), Compton Wyniates (Lord Compton, Aug. 23), Great Tew (Henry Rainsford), Woodstock (Aug. 27, Sept. 7–19) with visit to Langley (Sir Edward Unton), Holton (Sir Christopher Browne), Ewelme, Reading (Sept. 21–28), Philberds in Bray (Sir Thomas Neville, Sept. 28).

Sept. 28. Windsor.[177]

c. Nov. 11. Hampton Court.[178]

Christmas. =Leicester’s= (thrice) and =Paul’s=. The Revels prepared plays on Theagenes and Chariclea, Perseus and Andromeda, and Fortune, and a double mask (Fishermen and Fruit-wives) this winter.

1573

Jan. 1. =Windsor Chapel.=

Jan. 6. =Eton.=

c. Jan. 29. Greenwich, by Somerset House.[179]

Feb. 1–3 (S.). =Sussex’s=, =Lincoln’s= and =Merchant Taylors= (Perseus and Andromeda?).

Feb. 24–March 10. Visits to Fold in South Mimms (Mr. Waller), Islehampstead Latimer (Miles Sandys), Gorhambury (Sir Nicholas Bacon), Brockett Hall in Hatfield (John Brockett), Northiaw (Earl of Warwick), Theobalds (Lord Burghley, 8 days), and Bishopsgate (Jasper Fisher, March 7).[180]

[89]

July 14–Sept. 26. Progress in Surrey, Kent, and Sussex.[181] Croydon (Abp. of Canterbury, July 14–21), Orpington (Sir Percival Hart, July 21–24),[182] Otford (July 24), Knole in Sevenoaks (July 24–29), Bastead (July 29), Comfort in Birling(Lord Abergavenny, July 29–Aug. 1), Oxenheath in West Peckham? (Sir Thomas Cotton, Aug. 1), Eridge (Lord Abergavenny, Aug. 1–7) with visit to Mayfield (Sir Thomas Gresham)?, Bedgebury in Goudhurst (Alexander Culpepper, Aug. 7–8) by Kilndown, Hemstead in Benenden (Thomas Guildford, Aug. 8–11), Northiam (George Bishop, Aug. 11), Rye (Aug. 11–14) with visit to Winchelsea (Mr. Savage?), Northiam (Aug. 14), Sissinghurst in Cranbrook (Richard Baker, Aug. 14–17), Boughton Malherbe (Thomas Wotton, Aug. 17–19) by Smarden, Hothfield (John Tufton, Aug. 19–21), Olantigh in Wye (Sir Thomas Kempe, Aug. 21–22), Brabourne (Sir Thomas Scott, Aug. 22), Westenhanger (Aug. 22–25), Sandgate Castle (Aug. 25), Dover, (Aug. 25–31) by Folkestone with visit to Thomas? Fisher, Sandwich (Roger? Manwood, Aug. 31–Sept. 3),[183] Wingham (Sept. 3), Canterbury (St. Augustine’s, Sept. 3–16) with visit to Abp. Parker (Sept. 7),[184] Faversham (Sept. 16–18), Tunstall (William Cromer, Sept. 18–19), Gillingham (Sept. 19), Rochester (the Crown, Sept. 19–23) with visit to a ship, Bulley Hill (Richard Watts, Sept. 23–24), Cobham (Lord Cobham, Sept. 24), Sutton (Sept. 24), Dartford (Sept. 24–26).

Sept. 26. Greenwich.[185]

c. Nov. Two visits to Deptford.[186]

Nov. 25. Somerset House, by Leicester House (?).[187]

Dec. 19. Whitehall.[188]

Dec. 26. =Leicester’s= (Predor and Lucia). Mask (Lance-knights).

Dec. 27. =Paul’s= (Alcmaeon).

Dec. 28. =Leicester’s= (Mamillia).

1574

Jan. 1. =Westminster= (Truth, Faithfulness, and Mercy). Mask (Foresters and Wild Men).

Jan. 3. =Clinton’s= (Herpetulus the Blue Knight and Perobia).

Jan. 6. =Windsor Chapel= (Quintus Fabius). Mask (Sages).

[90]

Jan. 12. Hampton Court.[189]

Feb. 2. =Merchant Taylors= (Timoclea at the Siege of Thebes by Alexander). Mask (Virtues) not shown.

Feb. 18–20. Visits to Earl of Lincoln and to Osterley (Sir Thomas Gresham).[190]

Feb. 21–23 (S.). Queen entertained privately by neighbours.[191]

Feb. 21. =Leicester’s= (Philemon and Philecia).

Feb. 23. =Merchant Taylors= (Perseus and Andromeda). Masks (Warriors and Ladies).

March 2–3. Greenwich, by Lambeth (Abp. Parker).[192]

June 30. Richmond, by Merton Abbey (Gregory? Lovell).[193]

July 7. Windsor, by Stanwell and Colnbrook.[194]

July 11 < > 13. =Italians.=

July 15–Sept. 25. Progress in Berks., Oxon., Gloucestershire, Somerset, Wilts., Hants, and Surrey.[195] Binfield, Reading (July 15–23) with play (July 15) by =Italians=, Caversham or Rotherfield Greys (Sir Francis Knollys, July 23), Ewelme (July 23–24), Holton (Christopher Browne, July 24), Woodstock (July 24–Aug. 2), Langley (Sir Edward Unton, Aug. 2–3), Burford (Aug. 3), Sherborne (Thomas Dutton, Aug. 3–4), Sudeley Castle (Lady Chandos, Aug. 4, 5), Boddington (Mr. Denne), Gloucester (Aug. 10) with visit to Churcham?, Frocester (George Huntley, Aug. 10–11), Iron Acton (Sir Nicholas Pointz), Berkeley Castle (Lord Berkeley, Aug. 11–12), Berkeley Hearne?, Bristol St. Lawrence, Bristol (Sir John Young, Aug. 14–21),[196] Keynsham (Henry? Brydges, Aug. 21), Morecroft (Stokes Croft?, Aug. 21), Bath (Aug. 21–23), Hazelbury (John Bonham, Aug. 23), Lacock (Sir Henry Sherington, Aug. 23–28), Erlestoke (William Brouncker, Aug. 28–31), Heytesbury (Mr. Hawker, Aug. 31–Sept. 3) with visit to Longleat (Sir John Thynne, Sept. 2), Wylye? (Lady Mervyn, Sept. 3), Wilton (Earl of Pembroke, Sept. 3–6) with visit to Clarendon Park, Salisbury (Bp.’s, Sept. 6–9) with visit to Amesbury, Winterslow (Giles Thistlethwaite?, Sept. 9), Mottisfont (Lord Sandys, Sept. 9–10), Somborne (Henry? Gifford, Sept. 10), Winchester (Sept. 10–13), Abbotstone (Marquis of Winchester, Sept. 13), Alresford, Herriard (George Puttenham), Odiham (Sept. 14–16), Farnham (Bp. Winchester, Sept. 15, 19), Bagshot (Sept. 24–25).

Sept. 25. Oatlands.[197]

Oct. 1. Hampton Court.[198]

[91]

Oct. 19–22. Visit to Nonsuch (Earl of Arundel).[199]

Christmas. Phedrastus and Phigon and Lucia rehearsed by =Sussex’s=, Three masks this winter (Pilgrims, Mariners. Hobby-horses).[200]

Dec. 26. =Leicester’s=, with boys.

Dec. 27. =Clinton’s= (Pretestus?).

1575

Jan. 1. =Leicester’s= (Panecia?).

Jan. 2. =Clinton’s.=

Jan. 6. =Windsor Chapel= (Xerxes?).

Feb. 2. =Paul’s.=

Feb. 3 < > 6. Richmond.[201]

Feb. 13 (S.S.). =Chapel.=

Feb. 14. =Warwick’s.=

Feb. 15? =Merchant Taylors.=

March 16. Visit to Mortlake (Dr. Dee).[202]

March 23 < > 25. St. James’s.[203]

c. Apr. (?). Visit to Osterley (Sir Thomas Gresham), by Chiswick.[204]

Apr. 20. Greenwich.[205]

c. May 5–8. Two visits to Lady Pembroke in illness at Baynard’s Castle.[206]

May 23–Oct. 10 < > 11. Progress in Middlesex, Herts., Beds., Bucks., Northants., Warwickshire, Staffs., Worcestershire, Gloucestershire, Oxon., Berks.[207] Stoke Newington (John Dudley, May 23), Theobalds (Lord Burghley, May 24–June 6), Broxbourne (Sir George Penruddock), Woodhall (Sir John Butler), Hatfield (June 7–14), Luton (George Rotherham), Toddington (Lord Cheyne), Segenhoe in Ridgmont (Peter Grey), Holcutt (Richard Charnock), Chicheley (Elizabeth Weston), Grafton (June 19–July 6), Fawsley (Sir Richard Knightley), Long Itchington (Earl of Leicester, July 9), Kenilworth (Earl of Leicester, July 9–27),[208] Meriden (William Foster), Middleton (Sir Francis Willoughby), Swinfen (John Dyott?), Lichfield (July 30–Aug. 3)[209] with visits to Beaudesert (Lord Paget) and Alrewas (Walter Griffith, July 30), Colton (Katharine, Lady Gresley), Chartley[92] (Lady Essex), Stafford Castle (Lord Stafford, Aug. 7, 8) with visit to Ellenhall (Walter? Harcourt), Chillington (John Giffard), Dudley Castle (Lord Dudley, Aug. 12), Hartlebury Castle (Bp. of Worcester, Aug. 12–13), Worcester (Bp. of Worcester, Aug. 13–20)[210] with visits to Hindlip (John Habington, Aug. 16), Hallow Park (John Habington, Aug. 18) and Batenhall Park (Thomas Bromley, Aug. 19), Elmley Bredon (Anne Daston, Aug. 20–22), Evesham? (Aug. 21), Campden (Thomas Smythe), Sudeley Castle (Lord Chandos), Sherborne (Thomas Dutton), Langley (Sir Edward Unton, Aug. 27), Cornbury (Thomas Stafford?, Aug. 29), Woodstock (Aug. 29–Oct. 3) with entertainment by Sir Henry Lee,[211] Holton (Christopher Browne), Rycote (Lord Norris, Oct. 6–8), Bradenham (Frederick Lord Windsor), Wooburn (Sir John Goodwin), Philberds in Bray (Sir Thomas Neville).

Oct. 10 or 11. Windsor.[212]

Dec. 20. Hampton Court, by Colnbrook.[213]

Dec. 26. =Warwick’s.=

Dec. 27. =Windsor Chapel.=

Dec. 28. =Leicester’s.=

1576

Jan. 1. =Warwick’s.=

Jan. 6. =Paul’s.=

Feb. 2. =Sussex’s.=

Feb. 6 or 7. Whitehall, by Sion.[214]

Feb. 27. =Italians.=

March 4 (S.S.). =Leicester’s.=

March 5. =Warwick’s.=

March 6. =Merchant Taylors.=

Apr. 26. Greenwich.[215]

May 9–19. Visits to Leicester House (Earl of Leicester, May 9–10), Osterley (Sir Thomas Gresham, May 10–12), Pyrford (Earl of Lincoln, May 12–15), Nonsuch (Earl of Arundel, May 15–17), Beddington (Sir Francis Carew, May 17–19).[216]

c. June 7. Visit to Hatfield.[217]

June 18. Visit to Deptford.[218]

c. June. Visit to Eltham.[219]

July 9. St. James’s.[220]

July 22 or 23. Whitehall.[221]

c. July. Visits to Highgate (Thomas? Lichfield), Fold? at Barnet (Mr. Waller), and Hendon (Edward Herbert).[222]

[93]

July 30–Oct. 9. Progress in Essex, Herts., Bucks., Berks., and Surrey.[223] Stratford at Bow (Richard? Young, July 30), Havering (July 30–Aug. 7) with visit to Pyrgo (Henry Grey) and hunt in Harolds Park, Chigwell Hall (Sir John Petre, Aug. 7), Loughborough (John Stonard, Aug. 7), Upshire? (Aug. 10), Mark Hall in Latton (James Altham, Aug. 10–11), Hatfield Broadoak (Sir Thomas Barrington, Aug. 11), Great Hallingbury (Lord Morley, Aug. 11–14), Stanstead Abbots (Edward Bashe, Aug. 14–19), Hertford Castle (Aug. 19–22), Hatfield (Aug. 24), Hertford again (Aug. 26–28), Northiaw (Earl of Warwick, Aug. 30), St. Albans (Aug. 30–Sept. 1), Gorhambury (Sir Nicholas Bacon, Sept. 1), Latimer (Miles Sandys, Sept. 1–3) with visit to Chalfont St. Giles (John? Gardiner), Hedgerley (Sir Robert Drury, Sept. 3), Windsor (Sept. 3–10) with visit to Folly John Park, Thorpe (Richard Polsted, Sept. 10), Byfleet (Sept. 10–11), Pyrford (Earl of Lincoln, Sept. 11–12), Guildford (Sept. 12), Loseley in Artington (Sir William More, Sept. 12–13), Farnham (Bp. Winchester, Sept. 13?-20), Odiham (Sept. 20–22), Mr. Hall’s (Sept. 22), Reading (Sept. 22–Oct. 8), Rotherfield Greys (Sir Francis Knollys Oct. 8), Hurst (Richard Ward, Oct. 8–9), Windsor (Oct. 9–12).

Oct. 12. Hampton Court.[224]

Dec. 26. =Warwick’s= (Painter’s Daughter).

Dec. 27. =Howard’s= (Tooley).

Dec. 30. =Leicester’s= (Collier).

1577

Jan. 1. =Paul’s= (Error).

Jan. 6. =Chapel= and =Windsor Chapel= together (Mutius Scaevola).

Feb. 2. =Sussex’s= (Cynocephali).

Feb. 12. Whitehall.[225]

Feb. 17–19 (S.). Cutwell rehearsed, but not played.

Feb. 17. =Howard’s= (Solitary Knight).

Feb. 18. =Warwick’s= (Irish Knight).

Feb. 19. =Paul’s= (Titus and Gisippus). Mask of children.

Feb. 26–March 3. Visit to Wanstead? (Earl of Leicester).[226]

April. Italian play before Privy Council at Durham Place.[227]

Apr. 29 < > May 6. Greenwich.[228]

May 9–10. Visit to Leicester House (Earl of Leicester).[229]

May 14–c. 25. Visits to Stoke Newington (John Dudley), Theobalds (Lord Burghley, May 14 or 15, for 3 days), Northiaw (Earl of Warwick), Gorhambury (Sir Nicholas Bacon, May 18–22), Fold? at Barnet (Mr. Waller), Highgate (Thomas? Lichfield).[230]

[94]

June 24. Visit to Southwark for weddings of George, Earl of Cumberland, to Margaret Russell, and Philip, Lord Wharton, to Frances Clifford.[231]

c. July. Visit to Deptford.[232]

July 19. Richmond, by Clapham.[233]

July 24. Visit to Isleworth (Countess of Derby).[234]

July 26. Visits to Barn Elms (Sir Francis Walsingham?) and Mortlake Park Lodge (Earl of Leicester).[235]

Aug. 23. Oatlands, by Hampton Court.[236]

Sept. 4–7 or 8. Visit to Pyrford (Earl of Lincoln).[237]

Sept. 12. Visit to Hanworth (Duchess of Somerset).[238]

c. Sept. Visit to Sir John Zouch.[239]

Sept. 23. Windsor, by Thorpe (Richard Polsted?).[240]

c. Sept. Visit to Sunninghill.[241]

Dec. 10. Hampton Court, by Staines.[242]

Dec. 26. =Leicester’s.=

Dec. 27. =Chapel.=

Dec. 28. =Warwick’s.=

Dec. 29. =Paul’s.=

1578

Jan. 5. =Howard’s.=

Jan. 6. =Warwick’s.=

Feb. 2. =Sussex’s.=

Feb. 9 (S.S.). =Warwick’s.=

Feb. 11. =Lady Essex’s= (instead of =Leicester’s=).

c. Feb. Visit to Osterley (Sir Thomas Gresham).[243]

Feb. 25–27. Visit to Putney (John Lacy?).[244]

Feb. 27–March 3 (?). Visit to Leicester House (Earl of Leicester).[245]

March 3. Greenwich.[246]

Apr. 5 and 28. Visits to Leicester House (Earl of Leicester).[247]

May 6–16. Visits to Tottenham (Lord Compton, May 6, 7), Theobalds (Lord Burghley, May 7–10), Stanstead Abbots (Edward Bashe, May 10–12), Copt Hall (Sir Thomas Heneage, May 12–13), Wanstead (Earl of Leicester, May 13–16).[248]

[95]

May 16. Greenwich.[249]

July 11 < > 12–Sept. 23 < > 24. Progress in Essex, Herts., Suffolk, Norfolk, Cambridgeshire.[250] West Ham (Henry? Meautys), Havering (July 12–20), Theydon Garnon (John Branch), Mark Hall in Latton (James Altham, July 23), Standon (Sir Ralph Sadleir, July 24), Berden Priory (Margery Averie), Audley End (Thomas Howard, July 26–30),[251] Barham Hall in Linton (Robert Milsent), Keddington (Thomas Barnardiston), De Greys in Cavendish (Sir George Colt, Aug. 1), Long Melford (Sir William Cordell, Aug. 3–5), Lawshall (Sir William Drury, Aug. 5), Bury St. Edmunds (Aug. 5, 6), Onehouse? (Sir William Drury), Stowmarket?,[252] Euston (Edward Rookwood, Aug. 10), Kenninghall (Earl of Surrey, Aug. 11, 12),[253] Bracon Ash (Thomas Townsend, Aug. 16), Norwich (Bp. of Norwich, Aug. 16–22) with visits to Costessey (Mary, Lady Jerningham, Aug. 19) and Mount Surrey on Mousehold Hill (Earl of Surrey, Aug. 20), Kimberley (Sir Roger Woodhouse, Aug. 22 or 23), Wood Rising (Sir Robert Southwell, Aug. 24), Breckles (Francis Woodhouse), Thetford (Sir Edward Cleere, Aug. 27), Hengrave (Sir Thomas Kitson, Aug. 28–30), Chippenham (Thomas Revett, Sept. 1), Kirtling (Lord North, Sept. 1–3), Horseheath (Sir Giles Alington, Sept. 4), Waltons in Ashdon (Edward Tyrell). Horham Hall in Thaxted (Sir John Cutts, Sept. 7, 11), Manuden (Thomas Crawley), Hadham Hall (Henry Capel, Sept. 14), Hyde Hall in Sawbridgeworth (Henry? Heigham), Hatfield Broadoak? (Sir Thomas Barrington, Sept. 15), Rookwood Hall in Roding Abbess (Wiston Browne, Sept. 18), Theydon Bois (Mrs. Elderton) with visit to Gaynes Park (Sir William Fitzwilliam, Sept. 19), Loughborough (John Stonard, Sept. 21, 22), Wanstead (Earl of Leicester), Greenwich.

Sept. 25. Richmond.[254]

c. Dec. Visit to Hampton Court.[255]

Dec. 26. =Warwick’s= (Three Sisters of Mantua).

Dec. 27. =Chapel.=

Dec. 28. =Sussex’s= (Cruelty of a Stepmother).

[96]

1579

Jan. 1. =Paul’s= (Marriage of Mind and Measure).

Jan. 4. =Leicester’s= (A Greek Maid).

Jan. 6. =Sussex’s= (Rape of the Second Helen).

Jan. 11. Mask (Amazons and Knights) and barriers, for Alençon’s agent, M. de Simier.[256]

Jan. 22 < > 25. Whitehall, by Chelsea.[257]

c. Jan. 31. Visit to Hampton Court, by Putney (John Lacy).[258]

c. Jan.-Feb. Visit to Leicester House (Earl of Leicester).[259]

Feb. 1–2. Tilt and barriers for John Casimir, son of Elector Palatine.[260] Play by =Warwick’s= ready, but not shown.

March 1 (S.S.). =Warwick’s= (Knight in the Burning Rock).

March 2. =Chapel= (Loyalty and Beauty).

March 3. =Sussex’s= (Murderous Michael). Device by Earls of Oxford and Surrey, Lord Thomas Howard, and Lord Windsor before French ambassador and De Simier. Morris mask prepared, but not danced.[261]

Apr. 28 or 29–May 2. Visit to Wanstead (Earl of Leicester), by Greenwich.[262]

June 24–26. Visit to Wanstead (Earl of Leicester).[263]

July 2. Greenwich, by Lambeth.[264]

July 15–17. Visits to Gravesend and Deptford.[265]

Aug. 17–29. Private visit of Duke of Alençon to England.[266]

c. Aug. 30–31. Visit to Wanstead (Earl of Leicester).[267]

Sept. 9–27 < > Oct. 2. Progress in Essex.[268] Stratford at Bow (Richard? Young, Sept. 9), Havering (Sept. 11–14), Ingatestone (Lady Petre), New Hall in Boreham (Earl of Sussex, Sept. 17, 18), Moulsham (Sir Thomas Mildmay), Thoby (Anthony? Berners), Brentwood (John? Searle), Giddy Hall in Romford (Richard Cooke, Sept. 25–7), Ilford (Thomas Fanshawe, at St. Mary’s Hospital?).

Sept. 27 < > Oct. 2. Greenwich.[269]

Dec. 22. Whitehall.[270]

[97]

Dec. 26. =Sussex’s= (Duke of Milan and Marquis of Mantua).

Dec. 27. =Chapel= (Alucius).

Dec. 28. Play by =Leicester’s= ready, but not shown.

1580

Jan. 1. =Warwick’s= (Four Sons of Fabius).

Jan. 3. =Paul’s= (Scipio Africanus).

Jan. 6. =Leicester’s.=

Jan. 15. =Strange’s tumblers.=

Feb. 2. =Sussex’s= (Portio and Demorantes).

Feb. 14 (S.S.). =Derby’s= (The Soldan and the Duke of —— ).

Feb. 16. =Sussex’s= (Sarpedon).

c. Feb. Visit to Charterhouse.[271]

May 26 < > 29. Nonsuch, by Putney (John Lacy).[272]

c. June. Visits to Beddington (Sir Francis Carew).[273]

July 11 or 12. Oatlands, by Molesey.[274]

c. July-Aug. Visits to Chobham (Abp. Heath, Edward? Bray, John Wolley) and Pyrford (Earl of Lincoln).[275]

Aug. 16–20. Visit to Sunninghill, and Windsor?[276]

c. Aug. 25–27. Visit to Woking.[277]

Sept. 13. Richmond, by Molesey (Thomas Brand).[278]

Sept. 17. Visit to Mortlake (Dr. John Dee).[279]

Oct. 10. Visit to Mortlake (Dr. Dee).[280]

c. Nov. Visits to Harmondsworth (Mr. Drury), Colnbrook (Henry? Draper), Windsor, Eton College, Ditton Park, and Nonsuch.[281]

Dec. 6. Whitehall.[282]

Dec. 26. =Leicester’s= (Delight).

Dec. 27. =Sussex’s.=

1581

Jan. 1. =Derby’s.=

Jan. 6. =Paul’s= (Pompey). Challenge for tilt.

Jan. 22. Tilt.[283]

Feb. 2. =Sussex’s.=

Feb. 5 (S.S.). =Chapel.=

Feb. 7. =Leicester’s.=

March 20. St. James’s.[284]

Apr. 4. Visit to Golden Hind (Sir Francis Drake) at Deptford.[285]

Apr. 14. Challenge for Whitehall tilt.

Apr. 20. Whitehall.[286]

[98]

Apr. 20–June 14. Commissioners for marriage with Duke of Alençon in London. Revels prepared barriers and two masks.[287]

Apr. 25. Dinner by Queen for commissioners.

Apr. 27. Dinner by Earl of Leicester for commissioners.

Apr. 30. Dinner by Lord Burghley for commissioners.

May 1. Baiting for commissioners.

May 4. Supper by Earl of Sussex for commissioners.

May 6–7. Tilt at Hampton Court for commissioners.

May 15–16. Tilt at Whitehall for commissioners.[288]

June 20. Greenwich.[289]

June 26 < > 30. Visit to Eltham.[290]

July 5–8. Visits to Aldersbrook in Little Ilford? (Nicholas? Fuller), Loughborough (Francis Stonard), and Leyton (Mary, Lady Paulett).[291]

July 27–29. Visit to Wanstead (Earl of Leicester).[292]

c. Sept. Visits to Eltham and Sundridge (William Isley).[293]

Sept. 22–23. Nonsuch, by Streatham (Dr. Robert Forth).[294]

Oct. 3. Visit to Beddington (Sir Francis Carew).[295]

Oct. 4. Richmond.[296]

Nov. 1. Visit of Duke of Alençon to England.[297]

Nov. 16 or 17. Whitehall, by Putney (John Lacy).[298]

Nov. 17–19. Tilt.[299]

Christmas. The Revels prepared five plays and a mask.[300]

Dec. 26. =Paul’s.=

Dec. 28. =Strange’s= (activities).

Dec. 31. =Chapel.=

1582

Jan. 1. Barriers.[301]

Jan. Visit to Deptford for launch of Golden Lion.[302]

Feb. 1–17. Progress in Kent at departure of Duke of Alençon. Southfleet (William? Sedley, Feb. 1), Rochester (the Crown, Feb. 1–3), Sittingbourne (the George, Feb. 3–5), Canterbury (Sir Roger Manwood, Feb. 5–6), Sandwich (Mr. Manwood, Feb. 8), Dover (St. James), Canterbury (Feb. 12), Faversham (Feb. 13), Newington

[99]

(Feb. 14), Rochester (Feb. 14–16) with visit to Bulley Hill (Anne? Watts), Swanscombe (Ralph Weldon, Feb. 16), Horseman Place in Dartford (Nicholas? Beer, Feb. 16–17).[303]

Feb. 17. Greenwich.[304]

Feb. 26 (S.M.). Play at wedding of William Wentworth and Elizabeth Cecil.[305]

Feb. 27. =Chapel.=

c. March. Visit to Highgate (Lady Sheffield).[306]

c. Apr. Visit to Wanstead (Earl of Leicester).[307]

May 17–19. Hunting visit.[308]

May 20–22. Visit to Somerset House (Lord Hunsdon) for wedding of Sir Edward Hoby and Margaret Carey.[309]

July 10–12. Nonsuch, by Putney (John Lacy).[310]

c. July-Aug. Visit to Beddington (Sir Francis Carew).[311]

Aug. 17. Oatlands, by Molesey (Thomas Brand).[312]

c. Aug.-Sept. Visits to Woking and Chobham (John Wolley).[313]

Sept. 1–2 <. Visit to Pyrford (Earl of Lincoln), by Byfleet (Lady Anne Askewe)?[314]

Sept. 20. Windsor, by Egham (Richard Kellefet).[315]

c. Sept. Visits to Folly John, Mote Park, and Sunninghill.[316]

Dec. 26. =Chapel= (A Game of the Cards).

Dec. 27. =Hunsdon’s= (Beauty and Housewifery).

Dec. 30. =Derby’s= (Love and Fortune).

1583

Jan. 1. =Strange’s= (activities).

Jan. 5. Mask by ladies and boys.

Jan. 6. =Sussex’s= (Ferrar).

Jan. 12 < > 18. Richmond, by Colnbrook.[317]

Feb. 10 (S.S.). =Leicester’s= (Telomo).

Feb. 11. Visit to Barn Elms (Sir Francis Walsingham).[318]

Feb. 12. =Merchant Taylors= (Ariodante and Genevora).

c. March. Visit to Somerset House (Lord Hunsdon).[319]

c. Apr. 13. Wedding of Robert Southwell and Elizabeth Howard.[320]

Apr. 18. Greenwich, by Clapham (John Worsopp).[321]

[100]

May. Tilt for Count Albert of Alasco and French ambassador.[322]

May 27–31 < > June 1. Visits to Theobalds (Lord Burghley) and Ponsbourne (Sir Henry Cock), by Edmonton (Lady Nicholas) and Hackney (Sir Rowland Hayward).[323]

c. July. Visit to Nonsuch, by Streatham.[324]

July 30. Oatlands, by Chelsea, Mortlake, and Sion.[325]

c. Aug. 27. Visits to Woking, Loseley (Sir William More), Guildford, and (?) Petworth (Earl of Northumberland).[326]

c. Aug. Visits to Pyrford (Earl of Lincoln) and Sunninghill, and to Hampton Court.[327]

c. Sept. Visits to Chobham (John Wolley) and Egham.[328]

Oct. 5. St. James’s.[329]

Nov. 25–29. Visit to Hampton Court, by Brentford (Thomas Wilkes).[330]

Dec. 20. Whitehall.[331]

c. Oct.-Dec.? Visit to Arundel House (Earl of Arundel).[332]

Dec. 26. =Queen’s.=

Dec. 29. =Queen’s.=

1584

Jan. 1. =Oxford’s= (Campaspe?).

Jan. 6. =Chapel.=

? Jan. or Feb. Visits to Heneage House (Sir Thomas Heneage) and Tower Hill (Lord Lumley).[333]

Feb. 2. =Chapel.=

March 3 (S.T.). =Queen’s= and =Oxford’s= (Sapho and Phao?).

Apr. 20 < > May 2. Greenwich.[334]

June 9. Richmond, by Stockwell.[335]

July 17 < > 21. Nonsuch.[336]

Aug. 7. Oatlands, by Kingston (George Evelyn).[337]

c. Aug. Visit to Cobham (Robert Gavell?).[338]

c. Sept. 2. Visits to Egham, Sunninghill, Windsor, Burley Bushes, Bagshot (Sir Henry Weston), and Blackwater.[339]

Oct. 6 < > 10. Hampton Court.[340]

c. Nov. 5. Visit to Nonsuch.[341]

[101]

Nov. 12. St. James’s, by Putney (John Lacy).[342]

Nov. 17. Tilt.[343]

Dec. 6. Tilt.[344]

c. Dec. Visit to Arundel House.[345]

> Christmas. Greenwich.[346]

Dec. 26. =Queen’s= (Phyllida and Corin).

Dec. 27. =Oxford’s boys= (Agamemnon and Ulysses).

1585

Jan. 1. =Oxford’s= (activities).

Jan. 3. =Queen’s= (Felix and Philiomena).

Jan. 6. =Queen’s= (Five Plays in One).

Feb. 8 < > 12. Somerset House.[347]

Feb. 21 (S.S.). =Queen’s= (Three Plays in One), ready, but not shown.

Feb. 23. =Queen’s= (‘antick’ play and comedy).

Feb. 23 < > 26. Greenwich.[348]

c. March. Visit to Oatlands (?).[349]

March 26–30. Visit to Lambeth and Westminster.[350]

March 30 (?)-Apr. 3. Visits to Croydon (Abp.), Beddington (Sir Francis Carew), and Lambeth (Abp.).[351]

c. Apr. Visit to Lewisham.[352]

c. May 2. Visit to Croydon.[353]

c. June 18. Visit to Theobalds by Edmonton (Mr. Brassey) and Tottenham High Cross (Richard Martin).[354]

March-July. Tilt for M. de Campagny.[355]

July 11. Visit to Barn Elms.[356]

July 20 < > 24. Nonsuch.[357]

July 27–29. Visit to Putney (John Lacy).[358]

c. Aug. 25. Visit to Wimbledon.[359]

c. Aug. Visit to Beddington (Sir Francis Carew).[360]

Sept. 26 < > Oct. 1. Richmond.[361]

Nov. 17–19. Visit to Westminster (Lord Admiral).[362]

Dec. 20–21. Greenwich, by Lambeth (Lord Burgh).[363]

Dec. 26. =Queen’s.=

Dec. 27. =Howard’s.=

[102]

1586

Jan. 1. =Queen’s.=

Jan. 6. =Howard’s and Hunsdon’s.=

Jan. 9. =Stanley’s boys= (activities).

Feb. 13 (S.S.). =Queen’s.=

Feb. 26. Visit to Lambeth (Abp.).[364]

March 27–Apr. 6. Visit to Lambeth and Westminster.[365]

c. July 12. Richmond, by Putney (John Lacy).[366]

c. July. Visit to Hampton Court.[367]

Aug. 10. Windsor, by Staines.[368]

c. Sept. Visit to New Lodge.[369]

Oct. 24. Richmond, by Colnbrook.[370]

Dec. 20–21. Greenwich, by Clapham and Lambeth.[371]

Dec. 26. =Queen’s.=

Dec. 27. =Leicester’s.=

1587

Jan. 1. =Queen’s.=

Jan. 6. =Queen’s.=

Feb. 26 (S.S.). =Paul’s.=

Feb. 28. =Queen’s.=

c. Jan.-Apr. Archery show (Arthur and Round Table) by Hugh Offley between Merchant Taylors and Mile End.[372]

Apr. 26–May 1 or 2. Visit to Croydon.[373]

May 1 or 2. Nonsuch.[374]

c. May. Visit to Beddington (Sir Francis Carew).[375]

May 25 < > 29. Greenwich, by Streatham (Dr. Robert Forth).[376]

c. July 9–Aug. 13. Theobalds (Lord Burghley), by Hackney (Sir Rowland Hayward) and Enfield (Henry Middlemore), with visits to Waltham Forest, Cheshunt (Lord Talbot), and Northiaw (Earl of Warwick, July 20–21).[377]

Aug. 13 < > 20. Oatlands, by Barnet (Mr. Waller), Harrow (William Wightman), Sion, and West Molesey (Thomas Brand).[378]

Sept. 19 < > 24. Richmond.[379]

Oct. 24. Dinner at Westminster (Lord Admiral).[380]

Nov. 17–21. Visit to Westminster (Lord Admiral) with dinner at Barn Elms (Sir F. Walsingham, Nov. 20).[381]

Nov. 18. Tilt.[382]

[103]

Nov. 21–Dec. 6. Visit to Ely House (Sir Christopher Hatton).[383]

Dec. 6. Somerset House.[384]

Dec. 23. Greenwich.[385]

Dec. 26. =Queen’s.=

Dec. 28. Symons and company (? =Queen’s=, activities).

1588

Jan. 1. =Paul’s= (Galathea?).

Jan. 6. =Queen’s.=

c. Jan. 16–20. Visits to Fulham (Bp. of London), Hounslow (Thomas Crompton), Kensington (Mr. Malinge), and Lambeth (Abp.).[386]

Feb. 2. =Paul’s= (Endymion?).

Feb. 18 (S.S.). =Queen’s.=

Feb. 20. =Evelyn’s.=

Feb. 10 or 20. Show in honour of Leicester.[387]

Feb. 28. =Gray’s Inn= (Misfortunes of Arthur).

c. Apr. 13–16. Visits to Hackney (Sir Rowland Hayward), Tottenham High Cross (Richard Martin), and Stoke Newington? (Roger? Townsend).[388]

Apr.-May. Visits to Erith (Thomas? Compton), Croydon (Abp. of Canterbury), by Lewisham and Wanstead (Earl of Leicester, May 7).[389]

July 5–6. Richmond, by Lambeth and Stockwell.[390]

July 29. St. James’s, by Putney (John Lacy).[391]

Aug. 8–10. Visit to Tilbury camp, Ardern Hall in Horndon (Thomas Rich), and (?) Belhus in Aveley (Edward Barrett).[392]

Aug. 19. Visit to Ely House (Sir Christopher Hatton).[393]

Aug. 26. Tilt.[394]

Oct. 25. Greenwich.[395]

Nov. 8 or 12. Salute from the Desire (Thomas Cavendish).[396]

Nov. 12 < > 17. Somerset House.[397]

Nov. 17. Tilt.

Nov. 19. Tilt.[398]

Nov. 24. Visit to St. Paul’s.[399]

Nov. 30. Greenwich.[400]

[104]

Dec. 21–23. Richmond, by Lambeth.[401]

Christmas. The Admiral’s showed activities as well as plays this winter.

Dec. 26. =Queen’s.=

Dec. 27. =Paul’s.=

Dec. 29. =Admiral’s.=

1589

Jan. 1. =Paul’s.=

Jan. 12. =Paul’s.=

c. Jan. Visit to Hampton Court.[402]

Jan. 30. Whitehall, by Chelsea.[403]

Feb. 9 (S.S.). =Queen’s.=

Feb. 11. =Admiral’s.=

May 26–28. Visit to Barn Elms (Sir Francis Walsingham).[404]

c. June 11. Visit to Highgate.[405]

June 18–19. Nonsuch, by Merton Abbey (Gregory Lovell).[406]

Aug. 10 < > 16. Oatlands, by West Molesey (Thomas Brand).[407]

c. Sept. Visit to Hampton Court.[408]

Sept. 26 or 27. Richmond.[409]

c. Sept. Mask prepared for wedding of James VI in Scotland.[410]

Nov. 15. Somerset House.[411]

Nov. 17. Tilt.[412]

Dec. 2. Richmond, by Putney (John Lacy).[413]

Dec. 26. =Queen’s.=

Dec. 28. =Paul’s= and =Admiral’s= (activities).

1590

Jan. 1. =Paul’s.=

Jan. 6. =Paul’s= (Midas?).

Jan. 23–24. Greenwich, by Lambeth.[414]

Jan. 27. Visit to Earl of Warwick (at Bedford House?).[415]

March 1 (S.S.). =Queen’s.=

March 3. =Admiral’s.=

May 30 or 31–June 6. Visits to Hackney (Sir Rowland Hayward, Aug. 31), Waltham Forest (Sir Richard Bartlett), and Ely House (Sir Christopher Hatton, June 4–6).[416]

[105]

July 28 < > Aug. 6. Oatlands, by Sydenham House (William Aubrey?), Beddington (Sir Francis Carew), Chessington (William Harvey), and Stoke d’Abernon (Thomas Leyfield).[417]

Aug. Visit to the New Lodge.[418]

Aug. 30–31. Visit to Woking.[419]

Aug. 31 < > Sept. 6. Windsor, by Chobham (Edward? Bray) and Sunninghill.[420]

Sept. Visits to Ditton Park and Folly St. John Park (Mr. Norris).[421]

Nov. 8 < > 14. Somerset House, by Staines, Richmond, and Putney (John Lacy).[422]

Nov. 17, 19. Tilts.[423]

c. Nov. Visit to Sydenham Park.[424]

c. Nov. Visit to Ely House (Sir C. Hatton).[425]

c. Nov. 24. Richmond.[426]

Dec. 4, 14. Visits to Mortlake and East Sheen.[427]

Dec. 26. =Queen’s.=

Dec. 27. =Strange’s and Admiral’s= (play and activities).

1591

Jan. 1. =Queen’s.=

Jan. 3. =Queen’s.=

Jan. 6. =Queen’s.=

Feb. 11–13. Greenwich, by Lambeth.[428]

Feb. 14 (S.S.). =Queen’s.=

Feb. 16. =Strange’s and Admiral’s= (play and activities).

May 2 < > 9–20 < > 23. Visits to Hackney (Sir Rowland Hayward, May 9, 10), Tottenham High Cross (Sir Richard Martin), Theobalds (Lord Burghley, May 10–20), Enfield (Robert Wroth), and Havering.[429]

c. July 1. Visit to Croydon (?).[430]

July 19. Visit to Burghley House (Lord Burghley) for review of Earl of Essex’s horse in Covent Garden.[431]

July 29 < > Aug. 1–Sept. 27. Progress in Surrey, Sussex, and Hants.[432][106] Mitcham (Margaret, Lady Blank), Nonsuch (Aug. 1, 2) with visit to Beddington (Sir Francis Carew), Leatherhead (Edmund Tilney), East Horsley (Thomas Cornwallis, Aug. 3), Clandon Park (Sir Henry Weston), Guildford (Aug. 4), Loseley (Sir William More, Aug. 5–9), Katherine Hall, Farnham (Bp. Winchester, Aug. 10–14), Bramshott (Edmund Mervyn, Aug. 14), The Holt (Lord Delawarr), Cowdray (Lord Montague, Aug. 14–20) with visit to Oseburn Priory (Lord Montague, Aug. 17),[433] West Dean (Sir Richard Lewknor, Aug. 20), Chichester (Lord Lumley, Aug. 20–22), Stanstead (Lord Lumley, Aug. 26), Portsmouth (Earl of Sussex, Aug. 26–31), Southwick (John White, Aug. 31, Sept. 1), Tichfield (Earl of Southampton, Sept. 2, 3), South Stoneham? (John Caplen), Southampton (Sept. 5, 6), Fairthorne (Francis? Serle), Bishop’s Waltham (Bp. Winchester, Sept. 8, 9), Warnford (William Neale), Tichborne (Sir Benjamin Tichborne), Winchester (Bp.), Abbotstone (Marquis of Winchester), Wield (William Wallop), Farleigh (Sir Henry Wallop, Sept. 12, 13), Basing (Marquis of Winchester, Sept. 13–16) with visit to The Vine in Sherborne St. John? (Lord Sandys, Sept. 18), Odiham (Edward More, Sept. 19, 20), Elvetham (Earl of Hertford, Sept. 20–23),[434] Farnham (Bp. Winchester, Sept. 23, 24) with visit to Bagshot?, Sutton in Woking (Sir Henry Weston, Sept. 26–27).

Sept. 27. Oatlands.[435]

Oct. 4 < > 7. Richmond, by Hampton Court.[436]

c. Nov. 11. Visit to Ely House (Sir C. Hatton).[437]

Nov. 15 < > 20. Whitehall.[438]

Nov. 17. Tilt.[439]

Dec. 26. =Queen’s.=

Dec. 27. =Strange’s.=

Dec. 28. =Strange’s.=

1592

Jan. 1. =Strange’s.=

Jan. 2. =Sussex’s.=

Jan. 6. =Hertford’s.=

Jan. 9. =Strange’s.=

Feb. 6 (S.S.). =Strange’s.=

Feb. 8. =Strange’s.=

Apr. 7–21. Visits to Hammersmith (William Payne, Apr. 7), Osterley (Lady Gresham, Apr. 7–9), Hampton Court (Apr. 12), Wimbledon (Sir Thomas Cecil, Apr. 14–17), Croydon (Abp. of Canterbury, Apr. 17–21?), Beddington (Sir Francis Carew, Apr. 18), Sydenham (William Aubrey, Apr. 21).[440]

Apr. 21. Greenwich.[441]

[107]

c. Apr.-July (?). Visit to Blackfriars (Sir George Carey).[442]

July 29–31. Nonsuch, by Mitcham (John Dent).[443]

c. Aug. 9–Oct. 9. Progress in Surrey, Middlesex, Bucks., Berks., Wilts., Gloucestershire, and Oxon.[444] West Molesey (Thomas Brand), Hanworth, Eastridge in Colnbrook (Ostrich Inn?), Eton College, Maidenhead (the Lion), Bisham (Lady Russell, Aug. 11–13),[445] John Haynes, Hurst (Edward? Ward), Reading (Mr. Davies, Aug. 15–19), Burghfield (Francis? Plowden, Aug. 19), Aldermaston (Sir Humphrey Forster, Aug. 19–22), Chamberhouse in Thatcham (Nicholas Fuller), Shaw near Newbury (Thomas Dolman, Aug. 24–26) with hunt in Donnington Park, Hampstead Marshall (Thomas Parry, Aug. 26–27?), Avington (Richard? Choke, Aug. 27?), Ramsbury (Earl of Pembroke, Aug. 27–29?),[446] Burderhope (Thomas Stevens, Aug. 29), Lydiard Tregoze (Sir John St. John, Sept. 1), Down Ampney (Anthony Hungerford, Sept. 1–2), Cirencester (Sir John Danvers, Sept. 2–7), Rendcombe (Sir Richard Berkeley), Whittington (John Cotton, Sept. 9), Sudeley Castle (Lord Chandos, Sept. 9–12)[447] with visit to Alderton (Sir John Hickford), Northleach (William Dutton?), Sherborne (William Dutton, Sept. 14–15), Taynton? (Mr. Bray?), Burford (Laurence Tanfield, Sept. 15–16), Witney (James Yate, Sept. 16–18), Woodstock (Sept. 18–23) with visit to Ditchley (Sir Henry Lee),[448] Yarnton (Sir William Spencer, Sept. 23), Oxford (Sept. 23–28),[449] Holton (George Browne, Sept. 28), Rycote (Lord Norris, Sept. 28–Oct. 1),[450] Princes Risborough (John Reve at parsonage), Hampden (Mrs. Hampden, Oct. 2, 3), Chequers in Elsborough? (William Hawtrey), Amersham?, Chenies (Lady Bedford, Oct. 4, 5), Latimer? (Edwin Sandys), Denham (John Norris, Oct. 7), Uxbridge (Francis? Clifford), Bedfont (John Draper, Oct. 9).

Oct. 9. Hampton Court.[451]

Nov. 17. Challenge for Shrovetide tilt.[452]

Dec. 26. =Pembroke’s.=

Dec. 27. =Strange’s.=

Dec. 31. =Strange’s.=

1593

Jan. 1. =Strange’s.=

Jan. 6. =Pembroke’s.=

c. Jan. Visit to Chelsea (Lord Admiral).[453]

[108]

Jan. 30–Feb. 1. Visit to Strand (Sir Robert Cecil), by Putney (John Lacy)?[454]

Feb. 5–14. Visit to Burghley House (Lord Burghley).[455]

Feb. 17. Somerset House.[456]

Feb. 25. St. James’s.[457]

Feb. 26 (S.M.). Tilt.[458]

Apr. 21. Whitehall.[459]

May 2–14 <. Visit to Croydon (Abp.), by Streatham (Dr. Robert Forth).[460]

May 14 < > 22. Nonsuch.[461]

June 18 < > 24. Oatlands, by Hampton Court.[462]

Aug. 1 < > 4. Windsor, by Egham (Richard Kellefet).[463]

c. Aug. Visit to Sunninghill.[464]

Nov. 17. Tilt.[465]

Dec. 1. Hampton Court, by Laleham (Lawrence? Tomson).[466]

1594

Jan. 6. =Queen’s.=[467]

Feb. 10–12 (S.).

March 19. Greenwich, by Richmond and Somerset House (Lord Hunsdon).[468]

May 29 < > June 2–June 22 < > July 5. Visits to Lambeth (Abp. of Canterbury), Sion (June 3), Wimbledon (Sir Thomas Cecil, June 3), Richmond, Osterley (Anne, Lady Gresham), Willesden (Mr. Payne, June 7), Highgate (Sir William Cornwallis, June 7), Hendon (Sir John Fortescue), Friern Barnet (Sir John Popham), Theobalds (Lord Burghley, June 13–23?), Pyneste near Waltham, Enfield (Robert Wroth), Loughborough (Francis Stonard), Hackney (Katharine, Lady Hayward).[469]

[109]

July 12. Visit to Strand (Sir R. Cecil).[470]

Oct. 1 or 2. Nonsuch, by Camberwell (Bartholomew Scott) and Mitcham (Lady Blank).[471]

Oct. 25 < > 31. Richmond, by Combe (Thomas Vincent).[472]

Nov. 14. Whitehall?, by Battersea.[473]

Nov. 17. Tilt.[474]

Nov. 27. Somerset House.[475]

Dec. 7. Visit to Savoy (Sir Thomas Heneage).[476]

Dec. 8. Visit to Hampton Court.[477]

Dec. 11. Greenwich.[478]

Dec. 26. =Chamberlain’s.=

Dec. 27. =Chamberlain’s.=

Dec. 28. =Admiral’s.=

1595

Jan. 1. =Admiral’s.=

Jan. 6. =Admiral’s.=

Jan. 26. Wedding of Earl of Derby and Lady Elizabeth Vere.[479] =Chamberlain’s= (Midsummer Night’s Dream)?.

Jan. 30–Feb. 1. Visit to Burghley House (Lord Burghley).[480]

Feb. 18. St. James’s, by Lambeth (Abp.).[481]

Feb. 24 < > March 3. Whitehall.[482]

March 3 (S.M.). Mask (Proteus and the Rock Adamantine) by Gray’s Inn.[483]

March 4. Tilt and Barriers.[484]

May 3. Greenwich.[485]

Aug. 18–22. Nonsuch, by Whitehall and Mitcham (John? Dent).[486]

c. Aug.-Oct. Visit to Beddington (Sir Francis Carew).[487]

Oct. 19 < > 24. Richmond, by Combe (Thomas Vincent).[488]

Nov. 4. Visit to Barn Elms (Earl of Essex).[489]

Nov. 14. Whitehall, by Putney (John Lacy).[490]

[110]

Nov. 17. Tilt.[491]

Nov. 27 or 28. Richmond.[492]

Dec. 11. Visit to Kew (Sir John Puckering).[493]

Dec. 18 or 19. Whitehall.[494]

Dec. 20. Visit to Huntingdon House (Lady Huntingdon).[495]

Dec. 23. Richmond, by Putney (John Lacy).[496]

Dec. 26. =Chamberlain’s.=

Dec. 27. =Chamberlain’s.=

Dec. 28. =Chamberlain’s.=

1596

Jan. 1. =Admiral’s.=

Jan. 4. =Admiral’s.=

Jan. 6. =Chamberlain’s.=

Feb. 22 (S.S.). =Chamberlain’s= and =Admiral’s=.

Feb. 24. =Admiral’s.=

Apr. 2–3. Greenwich, by Putney (John Lacy) and Lambeth.[497]

Apr. 8. Visit to Burghley House (Lord Burghley).[498]

c. Aug. Visit to Eltham.[499]

Oct. 1–2. Nonsuch, by Lambeth (Lord Burgh) and Mitcham.[500]

Oct. 12. Richmond, by Kingston (John? Cox).[501]

Nov. 17. Whitehall, by Putney (John Lacy).[502] Tilt.[503]

Dec. 23. Visit to Strand (Sir R. Cecil).[504]

Dec. 26. =Chamberlain’s.=

Dec. 27. =Chamberlain’s.=

1597

Jan. 1. =Chamberlain’s.=

Jan. 6. =Chamberlain’s=.

Feb. 6 (S.S.). =Chamberlain’s.=

Feb. 8. =Chamberlain’s.=

Feb. 19. Visit to Chelsea (Earl of Nottingham).[505]

March. Visit to Putney (John Lacy).[506]

May 7. Greenwich.[507]

c. July 20–22. Visit to Scadbury (Sir Thomas Walsingham), by Eltham and Chislehurst (Richard Carmarden).[508]

Aug. 17–Sept. 20. Progress in Essex, Middlesex, and Herts.[509] Hackney[111] (Lady Hayward), Ruckholt in Leyton (Michael Hicks, Aug. 17–19), Claybury (Thomas Knyvett, Aug. 19), Havering (Aug. 19–30) with visit to Pyrgo (Sir Henry Grey), Loughborough (Francis Stonard) with hunt at Loughton (Robert Wroth), Mrs. Bracy (Sept. 5), Theobalds (Lord Burghley, Sept. 5, 7, 9) with visit to Enfield Chase (Sir Robert Cecil) and hunt in Waltham forest (Ralph Colston’s walk), Edmonton (Mr. Woodward), Highgate (Sir William Cornwallis, Sept. 13, 18, 19), Kensington (Walter Cope, Sept. 19), Putney (John Lacy, Sept. 19–20).

Sept. 20. Richmond.[510]

c. Oct. 20. Whitehall, by Putney (John Lacy) and Chelsea (Lord Delawarr).[511]

Nov. 17. Tilt.[512]

Dec. 26. =Chamberlain’s.=

Dec. 27. =Admiral’s.=

1598

Jan. 1. =Chamberlain’s.=

Jan. 6. =Chamberlain’s.= Mask (Passions) by Middle Temple.[513]

Feb. 26 (S.S.). =Chamberlain’s.=

Feb. 28. =Admiral’s.=

May 2. Greenwich.[514]

July 5. Visit to Burghley House (Lord Burghley).[515]

c. July. Visit to Eltham (Hugh Miller and John Lee).[516]

c. Sept. Visit to Newington (Mr. Saunderson).[517]

Sept. 12–13. Nonsuch, by Mitcham (Dr. Julius Caesar).[518]

Sept. Visit to Beddington (Sir Francis Carew).[519]

c. Oct. 10. Richmond, by Kingston (George? Evelyn).[520]

Nov. 13 or 14. Whitehall, by Chelsea (Earl of Shrewsbury).[521]

Nov. 17. Tilt.[522]

Dec. 26. =Chamberlain’s.=

Dec. 27. =Admiral’s.=

1599

Jan. 1. =Chamberlain’s.=

Jan. 6. =Admiral’s.=

Feb. 10. Richmond, by Chelsea (Earl of Shrewsbury).[523]

Feb. 18 (S.S.). =Admiral’s.=

Feb. 20. Chamberlain’s.

Apr. 3. Greenwich, by Lambeth (Abp.).[524]

Apr. 7 (Easter Eve). Two Admiral’s men at court.[525]

[112]

c. July. Visit to Eltham.[527]

July 27–30. Visit to Wimbledon (Thomas, Lord Burghley), by Vauxhall (Sir Noel Caron).[528]

July 30. Nonsuch.[529]

Aug. 16–17. Visit to Beddington (Sir Francis Carew).[530]

c. Aug. 22. Visit to Somerset House.[531]

Sept. 4–7. Visit to Hampton Court.[532]

Oct. 3. Richmond, by Kingston (George? Evelyn).[533]

c. Oct. Visit to Hampton Court.[534]

Nov. 13. Whitehall, by Putney (John Lacy) and Chelsea (Earl of Nottingham and Sir Arthur Gorges).[535]

Nov. 19. Tilt.[536]

Nov. 28. Visit to Earl of Essex at York House.[537]

Dec. 7. Richmond, by Putney (John Lacy).[538]

Christmas.[539]

Dec. 26. =Chamberlain’s.=

Dec. 27. =Admiral’s= (Old Fortunatus?).

1600

Jan. 1. =Admiral’s= (Shoemaker’s Holiday).

Jan. 6. =Chamberlain’s.=

Jan. 19–21. Visit to Chelsea (Earl of Nottingham).[540]

Feb. 3 (S.S.). =Chamberlain’s.=

Feb. 5. =Derby’s.=

Apr. 13 < > 20. Greenwich, by Lambeth.[541]

May 12. Activities, by Peter Bromvill.

May 13. Baiting.[542]

June 10. Visit to Lumley House (Lord Lumley), Greenwich.[543]

[113]

June 16–17. Visit to Blackfriars (Lady Russell and Lord Cobham) for wedding of Lord Herbert and Anne Russell, with mask (The Lost Muse).[544]

July 29. Nonsuch, by Newington (Mr. Carey).[545]

Aug. 5–6. Visit to Tooting (John Lacy).[546]

Aug. 13–16. Visit to Beddington (Sir F. Carew) and Croydon (Aug. 14).[547]

Aug.? Visit to Kingston (George Evelyn).[548]

Aug. 24 < > 26. Oatlands, by Molesey (Dorothy, Lady Edmondes).[549]

Sept. 1. Hunt at New Lodge.[550]

Sept. 4. Visit to Hanworth (William Killigrew).[551]

Sept. 9. Visit to Esher (Richard Drake).[552]

> Sept. 12. Visit to Hampton Court (Earl of Nottingham).[553]

c. Sept.-Oct. Visit to Thorpe (Mr. Bereblock).[554]

Oct. 9. Richmond, by Sunbury (Sir Philip Boteler).[555]

Nov. 13. Whitehall, by Chelsea (Earl of Shrewsbury).[556]

Nov. 17. Tilt.[557]

> Dec. 4. Visit to Sackville House (Lady Glemham).[558]

Dec. 22. Visit to Strand (Sir R. Cecil).[559]

Dec. 26. =Chamberlain’s.=

Dec. 28. =Admiral’s.=

1601

Jan. 1. =Paul’s= and =Derby’s=.

Jan. 6. =Chamberlain’s=, =Admiral’s=, =Derby’s=, and =Chapel= (‘showe’).

Feb. 2. =Admiral’s.=

Feb. 22 (S.S.). =Chapel.=

Feb. 24. =Chamberlain’s.=

May 1. Visit to Highgate (Sir William Cornwallis).[560]

May 2. Visit to Chelsea (Earl of Lincoln)?[561]

May 7. Greenwich.[562]

May 23. Visit by Lambeth.[563]

c. July. Visits to Eltham (Hugh Miller) and Blackwall.[564]

[114]

Aug. 6–8. Windsor, by Fulham (Bp. of London), Brentford, Hanworth (William Killigrew), Staines (Bush Inn, Aug. 8).[565]

Aug. Visits to Old Windsor (William? Meredith), Little Park, Mote Park, Folly John Park (Anthony? Duck), and Philberds in Bray (William? Goddard).[566]

Aug. 13. Visit to Stoke Poges (Sir Edward Coke).[567]

Aug. 28–Sept. 28. Progress in Berks., Hants, and Surrey.[568] Hurst (Sir Richard Ward, Aug. 28), Reading (Mr. Davies?, Aug. 28–Sept. 1) with visit to Caversham (Sir William Knollys),[569] Englefield (Sir Edward Norris), Aldermaston (Sir Humphrey Forster, Sept. 5), Silchester Heath (Sept. 5), Beaurepaire (Sir Robert Remington), Basing (Marquis of Winchester, Sept. 5–19), South Warnborough (Richard White, Sept. 20), Crondall (Mr. Paulet), Farnham (Bp. of Winchester, Sept. 22, 23), Seale (Lady Woodruff), Loseley (Sir George More, Sept. 23), Clandon (Sir Richard Weston), Stoke d’Abernon (Thomas? Vincent), Absey (Epsom?) Court (Mr. Blanden).

Sept. 28. Richmond.[570]

Oct. 24. Whitehall, by Putney.[571]

Nov. 17. Tilt.[572]

Christmas.[573] There may have been barriers.[574]

Dec. 26. =Chamberlain’s.=

Dec. 27. =Chamberlain’s= and =Admiral’s= (with activities).

Dec. 29. Visit to Blackfriars (Lord Hunsdon), with play.[575]

1602

Jan. 1. =Chamberlain’s.=

Jan. 3. =Worcester’s.=

Jan. 6. =Chapel.=

Jan. 10. =Chapel.=

Feb. 14 (S.S.). =Chamberlain’s= and =Chapel=.

Feb. 19. Richmond, by Putney (John Lacy).[576]

[115]

Apr. 9 or 10. Visit to Wimbledon (Lord Burghley)?[577]

Apr. 19. Greenwich, by Lambeth (Abp.) and Blackfriars (Lord Hunsdon).[578]

May 1. Visit to Sydmonscourt, Lewisham (Sir Richard Buckley).[579]

May 5. Visit to St. James’s Park (Dorothy Lady Chandos and Sir William Knollys).[580]

c. July 15. Visit to Eltham (Sir John Stanhope, Hugh Miller, and Sir Thomas Walsingham).[581]

July 28–Aug. 10? Progress in Middlesex and Bucks.[582] Lambeth (July 28), Chiswick (Sir William Russell, July 28), Hounslow (Mr. Whitby), Harlington (Ambrose Copinger), Harefield (Sir Thomas Egerton, July 31–Aug. 3),[583] Hitcham (Sir William Clarke, Aug. 3–9) with visit to Taplow (Sir Henry Guilford, Aug. 7), Riddings in Datchet (Richard? Hanbury), Thorpe (Mr. Oglethorpe).

Aug. c. 10. Oatlands.[584]

c. Aug.-Sept. Visits to Woking, Chertsey (John Hammond), Byfleet Lodge, New Lodge, and to Mr. Brooke in the forest, Mr. Bromley, and Mr. Woodward.[585]

Oct. 2 <. Visit to West Drayton (Lord Hunsdon) by Bedfont (John Draper).[586]

Oct. 8. Richmond.[587]

Nov. 15. Whitehall, by Putney (John Lacy).[588]

Nov. 17. Tilt.[589]

Dec. 6. Visit to Savoy (Sir Robert Cecil), with dialogues.[590]

Dec. 6 < > 23. Visits to Arundel House (Earl of Nottingham) and Blackfriars (Lord Hunsdon).[591]

Christmas.[592]

Dec. 26. =Chamberlain’s.=

Dec. 27. =Admiral’s.=

1603

Jan. 1. =Paul’s.=

Jan. 6. =Hertford’s.=

[116]

Jan. 17. Visit to Charterhouse (Lord Howard de Walden).[593]

Jan. 21. Richmond, by Putney (John Lacy).[594]

Feb. 2. =Chamberlain’s.=

March 6 (S.S.). =Admiral’s.=

March 8 (?). =Admiral’s.=

March 24. Obiit Elizabetha. Accession of James.

Apr. 5–May 11. Progress of James from Scotland.[595] Seton (Earl of Wintoun, Apr. 5), Dunglass (Lord Home, Apr. 5, 6), Berwick (Apr. 6–8). Fenham (Sir William Read, Apr. 8), Widdrington (Sir Robert Carey, Apr. 8, 9), Newcastle (Robert Dudley, Apr. 9–13), Lumley Castle (Lord Lumley, Apr. 13), Durham Castle (Bp. of Durham, Apr. 13, 14), Walworth (Mrs. Jenison, Apr. 14, 15), Topcliffe (William Ingleby, Apr. 15, 16), York (Lord Burghley, Apr. 16–18), Grimston Hall (Sir Edward Stanhope, Apr. 18, 19), Pontefract Castle (Apr. 19), Doncaster (Bear and Sun, Apr. 19, 20), Blyth (Apr. 20), Worksop (Earl of Shrewsbury, Apr. 20, 21),[596] Southwell (Apr. 21), Newark Castle (Apr. 21, 22), Belvoir Castle (Earl of Rutland, Apr. 22, 23), Burley on the Hill (Sir John Harington, Apr. 23), Burghley (Lord Burghley, Apr. 23–27) with another visit to Burley on the Hill (Apr. 25, 26), Apethorpe (Sir Anthony Mildmay, Apr. 27), Hinchinbrook (Sir Oliver Cromwell, Apr. 27–29), Godmanchester (Apr. 29), Royston (Robert Chester, Apr. 29, 30), Standon (Thomas Sadleir, Apr. 30–May 2), Broxbourne (Henry Cock, May 2, 3), Theobalds (Sir Robert Cecil, May 3–7), Stamford Hill (May 7),[597] Charterhouse (Lord Howard de Walden, May 7–11) with visits to Whitehall and St. James’s.

May 11. Tower, by Whitehall.[598]

May 13. Greenwich.[599]

May 25–27. Visits to Nonsuch by Putney, Beddington (Sir Francis Carew), Oatlands, and Hampton Court.[600]

c. June 12. Visits to Sion and Windsor.[601]

June 1–27. Progress of Anne from Scotland.[602] Berwick (June 3), Bishop Auckland? (Bp. of Durham), York (June 11–15), Grimston Hall (Sir Edward Stanhope, June 15), Worksop (Earl of Shrewsbury), Newark, Nottingham, Wollaton (Sir Percival Willoughby, June 21), Ashby de la Zouch (Earl of Huntingdon. June 23), Leicester (Sir[117] William Skipwith, June 23, 24), Dingley (Sir Thomas Griffin, June 24, 25), Holdenby (Christopher Hatton, June 25), Althorp (Sir Robert Spencer, June 25–27),[603] Easton Neston (Sir George Fermor, June 27).

June 24. Windsor, by Hanworth (Sir William Killigrew).[604]

June 27–30. Visits to Easton Neston (June 27) meeting Anne, Grafton (Earl of Cumberland, June 27, 28),[605] Salden in Muresly (Sir John Fortescue), and probably Aylesbury (Sir John Packington), Hampden (Alexander Hampden), and Great Missenden (Sir William Fleetwood).[606]

July 13 < > 16. Hampton Court.[607]

July 22–23. Whitehall, by Fulham (Bp. of London).[608]

July 25. Coronation.[609]

July 27. Hampton Court.[610]

Aug. 10–Sept. 20. Progress in Surrey, Hants, Berks., and Oxon.[611] Pyrford (Sir Francis Wolley, Aug. 10), Loseley (Sir George More, Aug. 11, 12), Farnham Castle (Bp. of Winchester, Aug. 14, 17), South Warnborough (Sir Thomas White), Basing (Marquis of Winchester, Aug. 17, 22, 23), Salisbury (Bp. of Salisbury, Aug. 26–28), Basing again (Aug. 31), Shaw (Thomas Dolman), Woodstock (Sept. 8–20) with visit to Sir Henry Lee (Sept. 15).

Sept. 20. Winchester.[612]

Sept. 20 < > Oct, 6. Play.[613]

Sept. 20 < > Oct. 17. Mask on arrival of Henry.[614]

Sept. 20 < > Oct. 17. Visits to Southampton and Isle of Wight.[615]

Oct. 20 < > 24. Wilton (Earl of Pembroke).[616]

Nov. 1. Visit to Salisbury.[617]

Dec. 2. =King’s= (As You Like It?).

Dec. 12 < > 21. Hampton Court.[618]

Christmas.[619]

Dec. 26. =King’s.=

Dec. 27. =King’s.=

Dec. 28. =King’s.=

Dec. 30. =King’s.=

[118]

1604

Jan. 1. =King’s= (two plays, one of Robin Goodfellow, Midsummer Night’s Dream?). Mask (Indian and Chinese Knights).[620]

Jan. 2. =Queen’s.=

Jan. 4. =Prince’s.=

Jan. 6. Mask.

Jan. 8. Queen’s mask (The Vision of the Twelve Goddesses).

Jan. 13. =Queen’s.=

Jan. 15. =Prince’s.=

Jan. 21. =Prince’s.=

Jan. 22. =Prince’s.=

Jan. Tilt.[621]

Feb. 2. =King’s.=

Feb. 13. Whitehall.[622]

Feb. 19 (S.S.). =King’s.=

Feb. 20. =Prince’s= and =Paul’s= (Middleton’s Phoenix?).[623]

Feb. 21. =Queen’s Revels.=

March 12. Tower.[624]

March 13. Lion baiting.[625]

March 15. Entry through London with pageants to Whitehall.[626]

March 29. Tilt.[627]

May 1. Visit to Highgate (Sir William Cornwallis) with Jonson’s Penates.[628]

May 30 < > June 2. Greenwich.[629]

June 16. Visit to Ruckholt in Leyton (Michael Hicks).[630]

July 3 or 4. Whitehall.[631]

July 12–21. Visits to Oatlands (July 14–16) and Windsor (July 18, 21).[632]

July 24–Aug. 14. Progress in Herts., Hunts., and Beds., broken by Spanish visit.[633] Theobalds (Lord Cecil, July 24–29), Somersham (Sir John Cutts, > Aug. 2), Bletsoe (Lord St. John, Aug. 5–14).

Aug. 10. Arrival of Fernandez de Velasco, Constable of Castile, and other Spanish and Flemish commissioners at Somerset House.

Aug. 14. Whitehall.[634]

Aug. 19. Signature of treaty and dinner to commissioners at Whitehall, with baiting and activities.[635]

Aug. 25. Departure of Constable of Castile.

[119]

Aug. 20–Sept. 6 < > 15. Progress resumed in Herts. and Oxon.[636] Ware (Aug. 20), Woodstock (Sept. 6), Langley.

Sept. 6 < > 15. Windsor.[637]

Sept. 21. Visit to Eton College.[638]

Sept. 22. Hampton Court.[639]

Oct. 1–6. Visit to Windsor and Easton Neston (Sir George Fermor) to meet Charles.[640]

Oct. 16. Whitehall.[641]

Nov. 1. =King’s= (Othello).

Nov. 4. =King’s= (Merry Wives of Windsor).

Nov. 23. =Prince’s.=

Nov. 24. =Prince’s.=

Dec. 14. =Prince’s.=

Dec. 19. =Prince’s.=

Dec. 26. =King’s= (Measure for Measure).

Dec. 27. Mask for wedding of Sir Philip Herbert and Lady Susan Vere.

Dec. 28. =King’s= (Comedy of Errors).

Dec. 30. =Queen’s= (How to Learn of a Woman to Woo).

1605

Jan. 1. =Queen’s Revels= (All Fools).

Jan. 3. =Queen’s Revels.=[642]

Jan. 6. Creation of Charles as Duke of York. Queen’s mask (Mask of Blackness).

Jan. 7. =King’s= (Henry V).

Jan. 8. =King’s= (Every Man Out of His Humour).

Jan. 9 < > 14. =King’s= (Love’s Labour’s Lost), at the Earl of Southampton’s or Viscount Cranborne’s for the Queen.[643]

Jan. 15. =Prince’s.=

Jan. 22. =Prince’s.=

Feb. 2. =King’s= (Every Man in His Humour). Mask by Duke of Holst (?).[644]

Feb. 3. =King’s= (play ready but not shown).

Feb. 5. =Prince’s.=

Feb. 10 (S.S.). =King’s= (Merchant of Venice).

Feb. 11. =King’s= (Spanish Maze).

Feb. 12. =King’s= (Merchant of Venice).

Feb. 19. =Prince’s.=

Feb. 28 < > March 6. Greenwich.[645]

[120]

March 24. Tilt.[646]

Apr. 4. Tilt.[647]

May 20. Tilt.[648]

June 3. Lion baiting in Tower.[649]

June 26. Whitehall.[650]

July 15. Baiting for imperial ambassador.[651]

July 16–Aug. 31. Progress in Essex, Herts., Beds., Northants., Oxon., and Berks.[652] Havering (July 16–18), Loughton (Sir Robert Wroth, July 18–20), Theobalds (Earl of Salisbury, July 20–24), Hatfield (July 24–26), Luton (Sir John Rotheram, July 26–27), Ampthill (July 27–Aug. 1), Bletsoe (Lord St. John, Aug. 1–3), Drayton (Lord Mordaunt, Aug. 3–6), Apethorpe (Sir Anthony Mildmay, Aug. 6–9), Rockingham (Sir Edward Watson, Aug. 9–12), Harrowden (Lord Vaux, Aug. 12–15), Castle Ashby (Lord Compton, Aug. 15–16), Grafton (Earl of Cumberland, Aug. 16–20), Hanwell (Sir Anthony Cope, Aug. 20–21), Wroxton (Sir William Pope, Aug. 21), Woodstock (Aug. 21–27), Oxford (Aug. 27–30),[653] Bisham (Sir Edward Hoby, Aug. 30–31).

Aug. 31. Windsor.[654]

Sept. 10 < > 12. Hampton Court.[655]

c. Sept. 30. Whitehall.[656]

Dec. 1. =Prince’s.=

Christmas. Plays this winter by =King’s= (ten) and =Paul’s= (two).

Dec. 27. =Queen’s.=

Dec. 30. =Prince’s.=

1606

Jan. 1. =Prince’s.=

Jan. 4. =Prince’s.=

Jan. 5. Mask (Hymenaei) for wedding of Essex and Frances Howard.

Jan. 6. Barriers, with speeches (Truth and Opinion) by Jonson.

March 3 (S.M.). =Prince’s.=

March 4. =Prince’s.=

March 22. Rumoured assassination of James on visit to Woking.[657]

March 24. Tilt.[658]

[121]

March 28. Visit incognito to Guildhall for trial of Henry Garnet.[659]

May 16. Greenwich.[660]

June 1. Challenge for tilt by Knights of the Fortunate Island, or the Lucent Pillar.[661]

June 22–23. Birth and death of Princess Sophia.

July c. 15–17. Visits to Oatlands and Farnham.[662]

July 17–Aug. 11. Visit of Christian IV of Denmark.[663] Plays (two) by =King’s= at Greenwich.

July 18. Kings meet at Tilbury.

July 18–24. Greenwich.

July 24–28. Visit to Theobalds (Earl of Salisbury), by Blackwall and Stratford. Mask (Solomon and Queen of Sheba).[664]

July 24. Entertainment by Jonson.

July 28–31. Greenwich.

July 30. =Paul’s= (Abuses).[665]

July 31. Triumph through London to Somerset House, with pageants at Great Conduit (Bower of the Muses), Little Conduit (Concord), and Fleet Conduit (Pastoral).

Aug. 1–2. Whitehall.

Aug. 2–6. Greenwich.

Aug. 4. Ringing.

Aug. 5. Tilt.

Aug. 6. Masters of defence.

Aug. 6. Visit to Richmond.

Aug. 7. Visit to Hampton Court, with play by =King’s=.

Aug. 7–8. Visit to Windsor.

Aug. 8–9. Greenwich.

Aug. 9–11. Rochester (Bp. William Barlow).

Aug. 10. Dinner on Elizabeth James near Chatham.

Aug. 11. Farewell on Admiral of Denmark at Gravesend, with fireworks,

c. Aug. 17. Hampton Court.[666]

Aug. Progress, including Farnham (Aug. 23–24, Bp. of Winchester) and Beaulieu (Aug. 30, Earl of Southampton).[667]

Sept. 11–c. 18. Visit to Windsor.[668]

Oct. 20 < > Nov. 1. Whitehall.[669]

Dec. 26. =King’s= (King Lear).

Dec. 28. =Prince’s.=

Dec. 29. =King’s=.

[122]

1607

Jan. 4. =King’s.=

Jan. 6. =King’s.= Mask (by Campion) for wedding of Lord Hay and Honora Denny.

Jan. 8. =King’s.=

Jan. 13, 24, 30. =Prince’s= (three plays).

Feb. 1. =Prince’s.=

Feb. 2. =King’s= (Barnes’s Devil’s Charter).

Feb. 5. =King’s.=

Feb. 11. =Prince’s.=

Feb. 15 (S.S.). =King’s.=

Feb. 27. =King’s.=

March 24. Tilt.[670]

May c. 20–24. Entry on Theobalds, with entertainment by Jonson.[671]

May 25. Tilt for Prince de Joinville. Play (Aeneas and Dido) at banquet by Earl of Arundel for Anne.[672]

June 12. Visit to Lord Mayor and Clothworkers.[673]

July 16. Visit to Merchant Taylors, with speech by Jonson.[674]

July 19. Windsor, by Oatlands?[675]

Aug. Progress in Hants and Wilts.[676] Basing (Marquis of Winchester, Aug. 5), Romsey, Beaulieu (Earl of Southampton, Aug. 10, 12), Salisbury (Aug. 14–23), and possibly Isle of Wight.

Aug. 23 < > Sept. 7. Windsor.[677]

Sept. 23 < > 27. Hampton Court.[678]

Oct. 27 < > 29. Whitehall.[679]

Nov. 19. =Prince’s.=

Dec. 26, 27, 28. =King’s= (three plays).

Dec. 30. =Prince’s.=

1608

Jan. 2. =King’s.=

Jan. 3. =Prince’s.=

Jan. 4. =Prince’s.= Fireworks.[680]

Jan. 6. =King’s= (two plays).

Jan. 7. =King’s.=

Jan. 9. =King’s.=

Jan. 10. Queen’s mask (Mask of Beauty).

Jan. 17. =King’s= (two plays).

Jan. 26. =King’s.=

[123]

Feb. 2, 7 (S.S.). =King’s= (two plays).

Feb. 9. Mask (by Jonson) for wedding of Viscount Haddington and Elizabeth Radcliffe.

March 24. Tilt.[681]

May 13 < > 19. Greenwich.[682]

July 1. Whitehall.[683]

July 7 < > 14–Aug. 14 < > 28. Progress in Herts., Beds., and Northants.[684] Theobalds (July 14–20) with visit to Lamer in Wheathampstead (Sir John Garrard, July 19), Toddington (Lady Cheyne, July 24, 25), Grafton (Duke of Lennox, Aug. 1–3), Alderton (Sir Thomas Hesilrige, Aug. 4), Holdenby (Duke of York, Aug. 5–14) with visit to Bletsoe (Lord St. John, Aug. 5).

Aug. 14 < > 28. Windsor.[685]

Sept. 4 < > 17. Hampton Court.[686]

Oct. 1 < > 21. Whitehall.[687]

Christmas. Plays this winter by =King’s= (twelve), =Queen’s= (five), Prince’s (three), and =Children of Blackfriars= (three).[688]

1609

Jan. 1. =Children of Blackfriars= (Middleton’s Trick to catch the Old One).

Jan. 4. =Children of Blackfriars.=

Feb. 2. Queen’s mask (Mask of Queens).

Feb. 28 (S.T.). Ringing.[689]

March 24. Tilt.[690]

Apr. 11. Visit to Durham House for opening of Britain’s Burse.[691]

Apr. 18. Baiting.[692]

May 6 < > 15. Greenwich.[693]

June 23. Lion baiting in Tower.[694]

July 6. Whitehall.[695]

July 22. Windsor.[696]

July 23–Aug. 20 < > 31. Progress in Surrey, Hants, Wilts., Dorset.[697] Farnham (Bp. of Winchester, July 23–26), Basing (Marquis of Winchester, July 26), Beaulieu (Earl of Southampton, Aug. 3–7), Salisbury (Aug. 15, 20), Cranborne (Aug. 17–19), Tarrant.

Aug. 20 < > 31. Windsor.[698]

Sept. 1 < > 7. Hampton Court.[699]

Oct. 30. Whitehall.[700]

Christmas. Plays this winter by =King’s= (thirteen) and =Children of Whitefriars= (five).

[124]

Dec. 26. =Prince’s.=

Dec. 27. =Queen’s.=

Dec. 28. =Prince’s.=

Dec. 31. Challenge for barriers by Henry as Meliadus.

1610

Jan. 6. Henry’s barriers, with speeches by Jonson.[701]

Jan. 7. =Prince’s.=[702]

Jan. 18. =Prince’s.=

Feb. 9. Duke of York’s.

Feb. 18–20 (S.).

March 24, 27. Tilt.[703]

Apr. 20. Lion baiting in Tower.[704]

Apr. 23. Triumph for Henry at Chester.[705]

May 31–June 6. Creation of Henry as Prince of Wales.[706]

June 5. Queen’s mask (Tethys’ Festival).

June 6. Tilt, water triumph, and fireworks.[707]

June 19. Visit to Woolwich.[708]

July 24–c. Sept. 2. Progress in Northants., Oxon., Berks., and Hants.[709] Bletsoe (Lord St. John, July 29), Holdenby (Duke of York, Aug. 5, 6, 11, 12, 13, 19) with visits to Apethorpe (Sir Anthony Mildmay) and Kirby (Sir Christopher Hatton, Aug. 7) and Castle Ashby (Lord Compton, Aug. 13, 14), Grafton (Duke of Lennox, Aug. 19), Woodstock (Aug. 22–25), Bisham (Sir Edward Hoby, Aug. 28), Aldershot (Walter Tichborne? Sept. 2).

c. Sept. 2. Hampton Court.[710]

Oct. 8 < > 18. Whitehall.[711]

Dec. 10. =Queen’s= (three plays).

Dec. 12. =Duke of York’s.=

Dec. 19. =Prince’s.=

Dec. 20. =Duke of York’s.=

Christmas. Plays this winter by =King’s= (fifteen).

Dec. 27. =Queen’s.=

Dec. 28. =Prince’s.=

[125]

1611

Jan. 1. Prince’s mask (Oberon).

Jan. 14. =Prince’s.=

Jan. 15. =Duke of York’s.=

Jan. 16. =Prince’s.=

Feb. 2. Queen’s mask (Love Freed from Ignorance and Folly).

Feb. 3–5 (S.).

Feb. 3. King’s (Mucedorus)?

Apr. 27. Greenwich.[712]

June 26 < > July 2. Windsor.[713]

July 18–21. Visit to Englefield (Sir Edward Norris).[714]

July 22 < > 25–Sept. 1 < > 10. Progress in Surrey, Hants, Wilts., and Isle of Wight.[715] Farnham (Bp. of Winchester, July 25–8), Salisbury (Aug. 3, 6, 10, 13), Beaulieu (Earl of Southampton, Aug. 19, 21, 26) with visit to Isle of Wight (Aug. 22), Tichborne (Sir Benjamin Tichborne, Aug. 29), Farnham (Aug. 31), Bagshot (Sept. 1).

Sept. 1 < > 10. Hampton Court.[716]

Oct. 31. Whitehall.[717] =King’s.=

Nov. 1. King’s (Tempest).

Nov. 5. King’s (Winter’s Tale).

Nov. 9. =King’s.=

Nov. 19. =King’s.=

Dec. 16. =King’s.=

Christmas.[718]

Dec. 26. Ringing.[719] =King’s= (A King and no King).

Dec. 27. =Queen’s= (Greene’s Tu Quoque).

Dec. 28. =Prince’s.=

Dec. 29. =Prince’s= (Almanac).

Dec. 31. =King’s.=

1612

Jan. 1. Ringing.[720] =King’s= (Twins’ Tragedy).

Jan. 5. =King’s= and/or =Children of Whitefriars= (Cupid’s Revenge).

Jan. 6. Ringing.[721] Prince’s mask (Love Restored?) by gentlemen of the court.

Jan. 7. =King’s.=

Jan. > 12–22. Visit of Anne and Henry to Greenwich.[722]

[126]

Jan. 12. =King’s and Queen’s= (Silver Age) and/or =Duke of York’s=.

Jan. 13. =King’s and Queen’s= (Rape of Lucrece).

Jan. 15. =King’s.=

Jan. 19. =Lady Elizabeth’s.=

Jan. 21. =Queen’s.=

Jan. 23. =Queen’s.=

Jan. 28. =Duke of York’s.=

Feb. 2. =Queen’s= (Greene’s Tu Quoque).

Feb. 5. =Prince’s.=

Feb. 9. =King’s.=

Feb. 13. =Duke of York’s.=

Feb. 19. =King’s.=

Feb. 20. =King’s= (two plays).

Feb. 23 (S.S.). =King’s= (Nobleman).

Feb. 24. =Duke of York’s= (Hymen’s Holiday or Cupid’s Vagaries).

Feb. 25. Ringing. =Lady Elizabeth’s= (Proud Maid’s Tragedy).

Feb. 28. Visit by Henry to Marquis of Winchester, with plays.[723] =King’s.=

Feb. 29. =Prince’s.=

March 11. =Lady Elizabeth’s.=

March 24. Tilt.[724]

March 28. =King’s.=

Apr. 3. =King’s.=

Apr. 11. =Prince’s.=

Apr. 16. =King’s.=

Apr. 26. =King’s=, for Duc de Bouillon?[725]

May-June. Visits to Eltham, Wanstead (Sir Edward Phelips, June 17, 25), and Havering (Lady Oxford, June 18).[726]

c. July 9. Visit to Kensington (Sir Walter Cope).[727]

c. July 17–c. Sept. 1. Progress in Herts., Beds., Northants., Rutland, Notts., Leicester, Oxon., Berks.[728] Theobalds (July 17), St. Albans?, Wrest? (Earl of Kent), Ampthill (July 23), Bletsoe (Lord St. John, July 24–27), Castle Ashby (Lord Compton, July 27–30), Kirby (Sir Christopher Hatton, July 30–Aug. 3), Apethorpe (Sir Anthony Mildmay, Aug. 3–6), Brooke (Sir Edward Noel, Aug. 6–7), Belvoir (Earl of Rutland, Aug. 7–10), Newark Castle (Aug. 10–11), Rufford Abbey (Sir George Saville, Aug. 11–14), Newstead Abbey (Sir John Byron, Aug. 14–17), Nottingham (Thurland House, Aug. 17–18), Loughborough (Aug. 18–19), Leicester (Earl of Huntingdon, Aug.[127] 19–21), Dingley (Sir Thomas Griffin, Aug. 21–22), Holdenby (Duke of York, Aug. 22–24), Grafton (Duke of Lennox, Aug. 24–26?), Hanwell? (Sir Anthony Cope), Woodstock (Prince Henry, Aug. 26–31?),[729] Rycote (Lord Norris, Aug. 31–Sept. 1?), Bisham (Sir Edward Hoby, Sept. 1?).

Sept. 1 < > 21. Whitehall.[730]

Oct. 16. Arrival of Elector Palatine.[731]

Oct. 20. =Lady Elizabeth’s.=[732]

Oct. 29. Visit of Elector to Lord Mayor’s show.[733]

Oct. 31 or Nov. 1. Play put off for Henry’s illness.[734]

Nov. 2 or 3. =Queen’s Revels= (Coxcomb)?[735]

Nov. 6. Death of Henry.

Christmas. Twenty plays by =King’s= this winter (Shakespeare’s 1, 2 Hen. IV (?), J. C., M. Ado (twice), Oth., W. Tale, Tp.; Jonson’s Alchemist; Beaumont and Fletcher’s Philaster (twice), Maid’s Tragedy, King and No King, Captain; Tourneur’s Nobleman; Niccolls’s Twins; Ford’s A Bad Beginning, and Cardenio, Merry Devil of Edmonton, Knot of Fools).[736]

Dec. 27. Betrothal of Elector and Elizabeth.[737]

1613

Jan. 1. =Queen’s Revels= (Cupid’s Revenge).

Jan. 9. =Queen’s Revels= (Cupid’s Revenge).

Feb. 11. Fireworks.

Feb. 13. River triumph.

Feb. 14 (S.S.). Wedding of Elector and Elizabeth. Lords’ mask (by Campion).

Feb. 15. Ringing. Middle Temple and Lincoln’s Inn mask (by Chapman).

Feb. 16. =King’s.= Mask put off.

Feb. 20. Inner Temple and Gray’s Inn mask (by Beaumont).

Feb. 21. Banquet for James and the maskers.

Feb. 25. =Lady Elizabeth’s= (Dutch Courtesan).

Feb. 27. =Queen’s Revels= (Widow’s Tears).

March 1. =Lady Elizabeth’s= (Raymond Duke of Lyons).

March 2. =Prince Charles’s= (1 The Knaves).

March 2–c. 4. Visit of Charles and Elector to Cambridge, with Brooke’s Adelphe (Mar. 2) and Scyros (Mar. 3) by Trinity men.

March? Visit by Frederick to Oxford.[738]

March 10. =Prince’s= (2 The Knaves).

March 24. Tilt.[739]

[128]

Apr. 10. Departure of Elector and Elizabeth, accompanied by James to Rochester (Apr. 13).[740]

Apr. 24–June 17. Progress of Anne.[741] Hampton Court, with James, Windsor, Reading (the Friars), Caversham (Lord Knollys, Apr. 27–28),[742] Bath, Bristol (Marchioness of Winchester, June 4–8),[743] Siston (Sir Henry Billingsley, June 8), Bishop’s Cannings (June 11).[744]

May 26. Greenwich.[745]

June 8. =King’s= (Cardenio) for Savoyard ambassador.

July 1–4. Visits to Hampton Court and Oatlands.[746]

c. July 8. Whitehall.[747]

c. July 18. Windsor.[748]

July 19 < > 20–c. Aug. 21. Progress in Surrey, Hants, and Wilts.[749] Farnham (Bp. of Winchester, July 20), Basing (Marquis of Winchester, July 23), Andover (July 24, 26), Lydiard (Sir Oliver St. John?, July 27), Charlton (Earl of Suffolk, July 31), Salisbury (Aug. 5), Beaulieu (Earl of Southampton, c. Aug. 6 < > 21).

July-Sept. Visits of Anne to Bath and Wells (Aug. 20–22).[750]

c. Aug. 21. Windsor.[751]

Sept. 8. Whitehall.[752]

c. Sept. 28. Visit to Hampton Court.[753]

Nov. 1. =King’s.=

Nov. 4. =King’s.=

Nov. 5. =King’s.=

Nov. 15. =King’s.=

Nov. 16. =King’s.=

Dec. 12. =Lady Elizabeth’s= (Dutch Courtesan).

Dec. 24 or 28. =Queen’s.=

Dec. 26. Mask (by Campion) for wedding of Earl of Somerset and Frances Howard.

Dec. 27. =King’s.= Challenge for tilt, with device by Jonson.

Dec. 29. Mask (Irish Mask) for wedding.

1614

Jan. 1. Tilt. =King’s.=

Jan. 3. Irish Mask repeated.

Jan. 4. =King’s.=

[129]

Jan. 5. =Queen’s.=

Jan. 6. Gray’s Inn mask (Mask of Flowers) for wedding.[755]

Jan. 10. =King’s.=

Jan. 25. =Lady Elizabeth’s= (Eastward Hoe).

Feb. 2. =King’s.=

Feb. 3. Play (Daniel’s Hymen’s Triumph) for wedding of Lord Roxborough and Jean Drummond at Somerset House.

Feb. 4. =King’s.= Play for Lord Mayor at Somerset House.[756]

Feb. 8. =King’s.=

Feb. 10. =King’s.=

Feb. 18. =King’s.=

March 6 (S.S.). =King’s.=

March 8. =King’s.=

March 24. Tilt.[757]

June 8 < > 12. Greenwich.[758]

June 21. Whitehall.[759]

June 29. Visit to Richmond.[760]

July 17–23. Progress in Herts., Essex, Beds., broken by Denmark visit.[761] Theobalds (July 17), The Rye in Hatfield Broadoak (Richard Francke, July 18–19), Audley End (Earl of Suffolk, July 19–21), Royston (July 21–22), Haynes (Robert Newdigate, July 22–23).

July 22. Arrival of Christian IV, King of Denmark, at Somerset House.[762]

July 24 < > 30. Plays before Christian.[763]

Aug. 1. Visit to Woolwich, Rochester, and Gravesend for departure of Christian.[764]

Aug. 1–31. Progress resumed in Herts., Northants., Rutland, Notts., Leicestershire, Oxon., Berks.[765] Theobalds (Aug. 1), Apethorpe (Sir Anthony Mildmay, Aug. 3–4), Burley on the Hill (Lord Harington, Aug. 4–6), Belvoir (Earl of Rutland, Aug. 6–9), Newark Castle (Aug. 9–10), Rufford Abbey (Sir George Saville, Aug. 10–15), Newstead Abbey (Sir John Byron, Aug. 15–17), Nottingham (Thurland House, Aug. 17–18), Leicester (Earl of Huntingdon, Aug. 18–19), Dingley (Sir Thomas Griffin, Aug. 19–20), Holdenby (Duke of York, Aug. 20–22), Grafton (Duke of Lennox, Aug. 22–25), Woodstock (Aug. 25–29), Oxford (Aug. 29), Rycote (Lord Norris, Aug. 29–30), Bisham (Sir Edward Hoby, Aug. 30–31).

> Sept. 11. Whitehall.[766]

[130]

Nov. 1. =Lady Elizabeth’s= (Bartholomew Fair).

Christmas. Plays this winter by =King’s= (eight), =Queen’s= (three), =Elector Palatine’s= (three), =Prince’s= (six).[767]

1615

Jan. 6. Household mask (Mercury Vindicated?).

Jan. 8. Mask repeated.

Feb. 19–21 (S.). Mask by Spanish ambassador?[768]

March 7–11. Visit of James and Charles to Cambridge.[769]

March 24. Tilt.[770]

May 13–15. Visit to Cambridge.

> May 21. Greenwich.[771]

c. July 2–5. Visit to Oatlands.[772]

July 20. Windsor.[773]

July 21–c. Sept. 2. Progress in Surrey, Hants, Wilts., and Dorset.[774] Bagshot (July 22), Basing (Marquis of Winchester, July 23), Andover (July 26), Salisbury (July 28–31, Aug. 5), Lulworth Castle (Viscount Bindon, Aug. 15), Broadlands (Henry? St. Barbe, Aug. 27), Tichborne (Sir Benjamin Tichborne, Aug. 29), Farnham (Bp. of Winchester, Aug. 31).

c. Sept. 2. Windsor.[775]

Sept. 2 < > Oct. 18. Whitehall.[776]

Dec. 17. =Queen’s= at Somerset House.

Dec. 21. =King’s= at Somerset House.

Christmas. Plays this winter by =King’s= (fourteen), =Queen’s= (four), and =Prince’s= (four).

1616

Jan. 1. Household mask (Golden Age Restored?).

Jan. 6. Mask repeated.

Feb. 11–13 (S.).

March 4 < > 16. Visit to Royston, with play (Susenbrotus?) by Cambridge men.[777]

March 25. Tilt.[778]

Apr. 23. Obiit Gulielmus Shakespeare.

The body of this appendix contains extracts from the accounts of the Treasurer of the Chamber and the Office of Revels, in which expenditure on plays or masks at court is recorded. But in view of the importance of these documents as sources for the history of court entertainment, it will be well to add something about their general nature and state of preservation to what has already been said about the procedure of the Treasurer of the Chamber in ch. ii and that of the Revels Office in ch. iii.

THE AUDIT OF HOUSEHOLD ACCOUNTS

Most, but not all, of the accounts preserved are records of audit. There is, unfortunately, no systematic history of the Audit Office; but the somewhat scrappy notices in F. S. Thomas, The Ancient Exchequer of England (1848), and H. Hall, Studies in English Official Historical Documents (1908), and A Formula Book of English Official Historical Documents, Part II (1909), may be supplemented for the Tudor period by the valuable study of M. D. George, The Origin of the Declared Account (1916, E. H. R. xxxi. 41). The Record Office series of Lists and Indexes includes lists of Declared Accounts (ii) and Exchequer Accounts (xxxv). Normally the auditing of royal expenditure was a function of the mediaeval Exchequer. The procedure was for the officer charged with incurring expenditure to appear as accountant before the Auditor-Baron and his Clerk, and produce detailed statements, known as ‘particulars’, together with vouchers for sums already spent out of any ‘imprest’ or advance that had been made to him, and the warrants under which his expenditure was authorized. From these the Exchequer officers prepared a ‘compotus’ or balance sheet, signed it, when the balance was settled, as a record that the accountant was ‘quietus’ or quit from debt to the Crown, and passed it through the King’s Remembrancer to the Lord Treasurer’s Remembrancer, in whose office it was enrolled by the Clerk of the Pipe on the roll of ‘foreign’ or non-revenue accounts. It was then returned to the King’s Remembrancer, who kept it, with the particulars and vouchers as subsidiary documents. It was a lengthy and cumbrous process. Moreover, the Lord Treasurer, like the Lord Chancellor, was one of the high officers of state whose functions came at an early date under the control of the barons, and the same motives, which led the sovereign (cf. ch. ii) to develop in the Wardrobe and Chamber an executive machinery independent of the Lord Chancellor, also led him to desire that his more private expenditure should be withdrawn from the survey of the Exchequer. Thus we find the Treasurer of the Chamber accountable (cf. ch. ii) at the end of the fifteenth century to the King alone, and in the mid-sixteenth century to the Court of Surveyors or to ad hoc auditors specially appointed by the King or[132] the Privy Council. When the Court of Augmentations absorbed the Court of Surveyors in 1553, its establishment included two Auditors of Prests, and although this court was itself merged in the Exchequer under Mary, the more up-to-date methods of auditing were continued by Elizabeth’s appointment in 1560, as themselves Exchequer officers, of two ‘Auditores de lez Prestes et Compotorum forinsecorum nostrorum’. The main difference between the methods of the Auditors of the Prests and that of the Auditor-Baron appears to have been that the personal appearance of the accountant was no longer necessary, who now himself prepared in duplicate a balance sheet known as his Original Account, or Book of Account, of which one copy was signed after examination and returned to him as evidence of his quittance, while the other was kept by the Auditors, who based upon it a summary known as the Declared or Recorded Account, which took the place of the old Compotus. This also was in duplicate. Apparently the Auditors kept one copy, on paper, and sent another, on parchment, for preservation, as of record, in the Pipe Office. I understand Miss George, however, to think that the accountant was entitled to the paper copy, if he chose to pay a fee for it, which he very often did not. The amount of detail taken into the Declared Account from the Original Account varied for different offices. The Revels Declared Accounts are very summary; those of the Treasurer of the Chamber, at any rate as regards play-payments, practically duplicates of the Original Accounts, except that, unfortunately, the names of plays, which sometimes appeared in the Original Accounts, are usually omitted. The Auditors also kept the subsidiary documents submitted with the Original Account, and became involved in a controversy, recorded in T. Fanshawe, The Practice of the Exchequer Court (1658), with the King’s Remembrancer, who claimed that they should come to him. The King’s Remembrancer did apparently see the Declared Account on its way to the Pipe Office, and enrolled it, or a further summary of it. About 1603 all the Household accounts appear to have gone before the Auditors of the Prests, except those of the Cofferer, which still followed the old course of the Exchequer. The procedures here described explain the provenance of such Household accounts as belong to the official repositories now united in the Record Office; some others, preserved there or elsewhere, come from the private archives of the accountants themselves, being either the audit duplicates supplied to them, or office copies and drafts of their own Original Accounts, or the journals, pay books, and ledgers from which these were prepared.

CHAMBER ACCOUNTS

The following accounts appear to be extant.

(a) Mediaeval Period.

A few accounts and subsidiary documents of the reigns of Edward II, Edward III, and Richard II are included in the Foreign Accounts on the Great Rolls of the Exchequer (P. R. O. Lists and Indexes, xi. 108, 109), and in the Exchequer Wardrobe and Household Accounts[133] (L. and I. xxxv. 376, 379, 380, 382, 386, 391, 392, 396, 540). The earliest are described, with extracts, by J. C. Davies, The First Journal of Edward II’s Chamber (E. H. R. xxx. 662).

(b) Early Tudor Period.

A number of accounts passed from the Augmentation Office to the Exchequer and were amalgamated in 1839 with others from the office of the King’s Remembrancer in a series of Exchequer Accounts, Various. Here they are numbered 413 to 427. They are mainly accounts of revenue and subsidiary documents, but a few accounts of payments presented to the Record Office by the Trevelyan family have been added to the series, and with them are listed as Wardrobe and Household Accounts (L. and I. xxxv) some other payment accounts from the Miscellaneous Books of the Treasury of Receipt of the Exchequer, and one from the Miscellaneous Books of the Court of Augmentations. Other payment accounts are in the British Museum and in unofficial collections. It may be the case, as Newton, 359, suggests, that these or some of them were abstracted from the Records by officials of antiquarian tastes, but it must be remembered that duplicates even of audited accounts were often kept by the accountants. These accounts are generally known as The King’s Books of Payments. The following can be traced:

i. Accounts of John Heron.

Three Books of Payments, for 1505–9, 1509–18, and 1518–21 respectively, with many royal signatures by way of audit, are now in the P. R. O. (Misc. Books of Treasury of Receipt, 214, 215, 216). The contents of the Henry VIII books are abstracted in Brewer, ii. 1441; iii. 1533. There must once have been an earlier book, for Collier, i. 49, 52, 76, gives extracts from one for 1492–1505, which he describes as ‘formerly in the Chapter-house, Westminster’, as well as from the three now extant, which he describes as ‘in the Chapter-house’. Possibly this was Addl. MS. 21480, which has been traced back (Newton, 359) through the hands of Craven Ord (a friend of Collier) and Thomas Astle to those of Peter Le Neve, a Deputy-Chamberlain of the Exchequer. But Addl. MS. 21481, which also came from Le Neve, is a duplicate of the R. O. books for 1505–18, and therefore Addl. MS. 21480 may only have been a duplicate of the missing volume. Both the Addl. MSS. contain the royal signatures. Craven Ord made some extracts which are now Addl. MSS. 7099, 7100, and to these those supplied by Astle to R. Henry, History of Great Britain, vi (1793), app., and those in S. Bentley, Excerpta Historica (1831), 85, owe their origin. Collier, i. 49, also cites a small book for 1501–2 kept (perhaps under Heron) by one Robert Fowler, which refers to parallel payments made by Thomas Trollop.

ii. Accounts of Brian Tuke.

A book signed monthly by Henry VIII, with some entries from 31 Dec. 1528 to 30 June 1529, but mainly covering the period from 17 Nov. 1529 to 29 Dec. 1532, was printed by N. H. Nicolas from a MS.[134] then in his possession as The Privy Purse Expenses of Henry the Eighth (1827) and misdescribed as an account of the Treasurer of the Household. Presumably this MS. is identical with that owned by Sir O. Bridgeman in 1634 and now Addl. MS. 20030. It overlaps with an account for 1 Oct. 1528 to May 1531, presented by Sir W. C. Trevelyan to the P. R. O. (Exchequer Accounts, Various, 420/11); extracts are given in Trevelyan Papers (C. S.), i. 136, and an abstract in Brewer, v. 303. Collier, i. 116, and Nicolas (ut supra), xxviii, give extracts from an account for Feb. 1538 to June 1541 in the possession of the Royal Society, presumably a duplicate of the account for the same period in Arundel MS. 97, incorrectly catalogued by the B.M. as an account of the Treasurer of the Household, and abstracted in Brewer, xiii. 2. 524; xiv. 2. 303; xvi. 178, 698. An account for May to Sept. 1542 in Stowe MS. 554 is abstracted in Brewer, xvii. 474. Collier, i. 117, gives extracts from an account for 1543–4 in Craven Ord’s collection.

iii. Accounts of William Cavendish.

Account for 31 March 1547 to 31 Sept. 1549, of which extracts are given in Trevelyan Papers, i. 191, ii. 13, were presented by Sir W. C. Trevelyan to the P. R. O. (Exchequer Accounts, Various, 426/5, 6). Misc. Exch. Augm. 439 for 1547–8 is referred to by Newton, 359, as a Chamber account, and is presumably a duplicate.

iv. Account of Edmund Felton.

A Declared Account for 1 Apr. to 31 Dec. 1557 is in D. A. Pipe Office, 541. Stopes, Hunnis, 145, cites a ‘Compotus Marie Rither and Edmond Felton’ for 5 and 6 Edw. VI (Queen’s Remembrancia, 77/5) as a Chamber Account. It is doubtless a Cofferer’s Account.

(c) Elizabethan and Jacobean Periods.

i. Accounts in P. R. O.

The P. R. O. contains Chamber Accounts in four forms. Original Accounts, as submitted for audit, are in Audit Office, Accounts Various, 3/127–9. These are no doubt the ‘very incomplete’ set from which extracts are given by Cunningham, xxvii. So far as play-payments are concerned, they do not appear to be more detailed than the Declared Accounts annually drawn up from them by the auditors, of which there are duplicate sets, both nearly complete, belonging respectively to the Audit Office and to the Pipe Office in the Lord Treasurer’s Remembrancer’s Department of the Exchequer. They cover the terms of office of Mason (1558–66), Knollys (1566–70), Heneage (1570–95), Killigrew (1595–6), and Stanhope (1596–1617). From the Pipe Office series I supplemented Cunningham’s extracts in M. L. R. ii (1906), 1; iv (1909), 153, and give a complete record of play-payments below. The payments are also given for 1558–85 from the Audit Office series in Wallace, i (1912), 210, and very imperfectly from the Pipe Office series for 1559–97 in Stopes, Hunnis, 318. Finally, there are Enrolled Accounts in the King’s Remembrancer’s Department (Scargill-Bird¹, liv). A single book for 1569–70 is in the same Department (Exchequer Accounts, Various, 430/15). It appears[135] to be an office book, and has some original signatures by way of receipts for payments.

ii. Accounts in British Museum.

Harl. 1641 and 1642 are duplicates of Heneage’s accounts for 1585–6 and 1593–4 as prepared for audit. Harl. 1644 is an office book, 1581–3, containing signatures by way of receipts for wages and the like.

iii. Accounts in Bodleian.

Rawlinson MS. A. 204, ff. 212, 269, contains duplicates of Stanhope’s accounts for 1604–5 and 1610–11 as prepared for audit, and Rawlinson MSS. A. 239 and 240 (formerly Pepys MSS. 78 and 79) are similar duplicates of his accounts for 1612–13 and 1616–17. They are possibly office drafts, with some notes by a checking officer or an auditor, but are not signed either by accountant or auditors. Occasionally they are slightly more detailed as regards play entries than the Declared Accounts. Thus in 1610–11 and 1612–13 they give some dates of performances instead of the mere number for the season, and in 1612–13 they even give the titles of the plays. Extracts of these titles are given in Halliwell-Phillipps, ii. 87, and N. S. S. Trans. (1875–6) 419, and more completely below. Similar entries are given by P. Cunningham in Sh. Soc. Papers, ii. 123, not direct from the manuscript, but from notes taken therefrom by Vertue and Oldys. These had passed, in the case of the Oldys notes through Percy, to Steevens, and from him to Hazlewood, who had copied them, as Oldys and Steevens had done, into an interleaved Langbaine. Malone had already used Vertue’s notes.

I should add that many ‘declarations’ or memoranda on the business of the Treasurer of the Chamber and the state of his finances from time to time are to be found in the Domestic State Papers, in Lansdowne and other B.M. MSS., and in a volume (Lord Steward’s Misc. 301) collected by Sir J. Caesar.

REVELS ACCOUNTS

The following accounts appear to be extant:

(a) Early Tudor Period.

(i) Accounts of Richard Gibson.

Brewer, ii. 1490; iii. 35, 1548; iv. 418, 837, 1390, 1392, 1415, 1603, 3073, gives abstracts of a series of accounts, ranging from 1510 to 1530, some or all of which are presumably taken from Miscellaneous Books of the Treasury of the Receipt of the Exchequer, 217, 228, 229.

(ii) Accounts of John Bridges.

It appears from extracts given by Kempe, 69, that some accounts of John Bridges between 1539, when he became Yeoman of the Revels, and 1544, when Cawarden became Master, are at Loseley.

(iii) Accounts of Sir Thomas Cawarden.

Many of these are at Loseley, often in more than one copy. Kempe, 69, gives a few extracts for the last years of Henry VIII, and the most important documents for the next three reigns, ranging from[136] 1547 to 1559; are printed by A. Feuillerat in Materialien, xxi and xliv, with accompanying warrants and other subsidiary documents. From 1547 to 1550 the accounts are mainly office copies of ‘particular’ books, setting out the details and cost of each individual revel, airing, or the like; but for 1550–55, and again for 1555–9, the ‘particular paye bookes’ are brought together with summaries in two great ‘Certificates’ (Loseley MSS. 62 and 63), which relate to the Tents as well as the Revels. The second of these includes, as well as money accounts, inventories of the office stuff and notes of its employment in masking and other garments during 1555–60, and a similar record for 1550–5 is in Loseley MS. 112. These Certificates, although signed by the Clerk, Clerk Controller, and Yeoman, are not audited. Probably they are office copies of Original Accounts prepared for audit.

(b) Elizabethan Period.

Eleven Original Accounts of the Masters or Acting Masters of the Revels, with annotations by the Auditors, are in R. O. Audit Office, Accounts Various, 3, 907 (formerly 1213). They relate to the periods: (i) Feb. 1571–May 1572; (ii) June 1572–Oct. 1573; (iii) Nov. 1573–Feb. 1574; (iv) March 1574–Feb. 1575; (v) March 1576–Feb. 1577; (vi) Feb. 1578–Oct. 1579; (vii) Nov. 1579–Oct. 1580; (viii) Nov. 1580–Oct. 1581; (ix) Nov. 1582–Oct. 1583; (x) Nov. 1584–Oct. 1585; (xi) Nov. 1587–Oct. 1588. It will be seen that a regular annual system, starting with the opening of the season for revels at All Saints in each year, was ultimately adopted. All these accounts were printed in P. Cunningham, Extracts from the Accounts of the Revels at Court (1842, Sh. Soc.), but (ii) imperfectly and (xi) from an unaudited duplicate in the same bundle. These vagaries are corrected in the text of Feuillerat (1908, Materialien, xxi), who also gives an account for Nov. 1587–Oct. 1589 from Lansd. MS. 59, f. 38, which in part duplicates (xi), and much illustrative matter, including an estimate in some detail of the expenditure from Christmas 1563 to Shrovetide 1565 from S. P. Dom. Eliz. xxxvi. 22. The Audit Office series of Declared Accounts for the Revels is imperfect, but contains two, printed by Feuillerat, for the years 1581–2 and 1583–4, for which there are no Original Accounts. The Pipe Office series appears to be complete.

(c) Jacobean Period.

There are only two Original Accounts, for 1604–5 and 1611–12, which are printed by Cunningham. The Pipe Office Declared Accounts are complete. I have not examined those of the Audit Office. The Original Accounts for 1604–5 and 1611–12, and especially the former, have been the subject of a good deal of controversy. The facts are as follows. They were printed in 1842 by Peter Cunningham, then a clerk in the Audit Office, who described them as a separate discovery from the Elizabethan bundle, which he also printed. Twenty-six years afterwards, in 1868, he attempted to sell them to the British Museum, stating that he had found them some thirty years before ‘under the vaults of Somerset House—far under the Quadrangle in a dry and lofty cellar, known by the name of the “Charcoal[137] Repository”’. Their official character was realized, and they were sent to the Record Office, and placed amongst the papers known as Audit Office, Accounts Various, 3, 908 (formerly 1214), with a note that Mr. E. A. Bond, Keeper of the Manuscripts in the British Museum, ‘saw reasons for doubting the genuineness of one, at least, of these papers, from the peculiar character of the writing and the spelling’. It is probable that Bond had in mind, wholly or mainly, the play-list of the 1604–5 book, which does use some spellings, such as ‘Shaxberd’ and ‘aleven’, which are unusual although by no means unparalleled, and is, moreover, in a style of handwriting sufficiently different from the rest of the document to have at first sight a suspicious air. But it is an integral part of the book, occupying ff. 2, 2^v of its three small folio sheets, with other matter both on ff. 1, 1^v, and on ff. 5, 5^v, which form the second half of its sheet, and therefore, if a forged insertion, it occupies a long blank conveniently left by the original scribe just where, according to Revels practice, such a list ought to come. Bond’s scepticism was shared by Sir Thomas Duffus Hardy, and although the grounds of it did not extend beyond the play-list in the 1604–5 account, the acceptance of this as a forgery naturally reflected some suspicion upon the corresponding list for 1611–12. The position, however, called for some reconsideration when, in A Note on Measure for Measure (1880) and subsequently in the fifth edition (1885) of his Outlines (ed. 9, ii. 163, 309), Halliwell-Phillipps called attention to evidence that Malone, at some date before his death in 1812, and therefore before Cunningham was born, was acquainted at least with the substance of the 1604–5 list. The Bodleian contains a number of Malone’s note-books, which are believed to have been purchased from Mr. Rodd, a London bookseller, in 1838, and contain material collected after the issue of Malone’s Shakespeare of 1790 with a view to a second edition ultimately produced by Boswell in 1821. With them were a bundle of loose scraps, which have since been mounted and bound as a supplementary volume. One of these scraps (Malone MS. 29, f. 69^v) consists of a list of plays headed ‘1604 & 1605 Ed^d. Tylney’, which substantially agrees with the list in the Revels book, even to the unusual spelling ‘Shaxberd’, although it is clearly not a transcript of the Revels list, but merely an abstract of this, or a similar document, in an unknown hand other than Malone’s. One of the plays named in the Revels book, The Spanish Maze of Shrove Monday, is omitted. No use of the scrap had been made by Boswell, although he prints (Variorum, iii. 360) extracts made by Malone from the Elizabethan Revels books, together with a letter of 7 Nov. 1591 from Sir William Musgrave, of the Audit Office, inviting Malone to inspect them, and an official memorandum on the ‘State of the Books of Accounts and Records of the Master of the Revels, still remaining in the Office for Auditing the Public Accounts in 1791’. It is, I think, inconceivable that, if the Jacobean as well as the Elizabethan books had then been discovered, no reference should have been made to them either by Musgrave or Malone, and the most probable explanation of the Bodleian scrap is that the Jacobean books turned up later, and that an abstract of the 1604–5 list was then prepared for the use[138] of Malone. It is true that in that case the Jacobean books would naturally have been added to the ‘proper presses’ which Musgrave says that he had provided for the Elizabethan ones, whereas Cunningham found the two sets apart. But as Cunningham also says that he had redeemed the Elizabethan bundle from ‘a destructive oblivion’, it is possible that Musgrave’s successors had been neglectful. Moreover, although the 1604–5 list does not appear in the 1821 Variorum, it is difficult to see on what other grounds Malone can have stated of Othello (Variorum, ii. 404), ‘We know that it was acted in 1604’. Probably, indeed, he had seen the list, before he abandoned in a note of 1800 to Dryden’s Grounds of Criticism in Tragedy his earlier opinion that Othello was one of Shakespeare’s latest plays. Further, there is similar indirect evidence that he had also come across the 1611–12 list. In 1808 he privately printed and in 1809 published an Account of the ... Tempest, written ‘some years ago’. The chief object of this was to fix an inferior date by Shakespeare’s use of a pamphlet of 1610. The superior date he took for granted, saying (p. 31) ‘That it was performed before the middle of 1611, we have already seen’, and adding the foot-note ‘Under a former article’. There was no former article, but in the preface Malone describes the essay as making ‘a part of the Disquisition concerning the order of the plays in an enlarged form’, and no doubt the former article would have been included in the disquisition, had Malone ever completed his own work. Boswell, reprinting the essay in Variorum, xv. 414, altered the foot-note to refer to the essay on the Chronological Order of Shakespeare’s Plays in ‘vol. i’. This is in fact in vol. ii, but though Boswell here states (ii. 465) that there is evidence that the Tempest ‘was produced in 1611’, he does not give any evidence beyond the pamphlet of 1610. Probably he did not know everything that Malone knew. But how did Malone arrive at ‘the middle of 1611’, since the 1604–5 list does not take us beyond 1 Nov. 1611? I suppose he assumed that public production preceded performance at court. Later in the essay (Variorum, xv. 423) he says that the play ‘had a being and a name in the autumn of 1611’.

Since Halliwell-Phillipps’s discovery the prevalent view, suggested by him, has been that if the lists, or at any rate that of 1604–5, are forged, the forger had before him a genuine original. More recently, however, the matter has been fully investigated by Mr. Ernest Law, who stimulated the Record Office to a minute examination of the 1604–5 document, including chemical and microscopical tests of the ink conducted by Professor J. J. Dobbie at the Government Laboratories. As a result, Mr. Law’s own view that the list is genuine is confirmed by such high palaeographical authorities as Sir George Warner of the British Museum and Sir Henry Maxwell Lyte, Mr. Scargill-Bird, and other officers of the Record Office, as well as by Professor Feuillerat, than whom no one knows the Revels documents better, and Professor Wallace. Mr. Law set out the evidence and the whole history of the case in Some Supposed Shakespeare Forgeries (1911). His view was controverted in a review and a number of subsequent communications in the Athenaeum for 1911 (i. 638; ii. 101, 131, 421) and 1912 (i. 469,[139] 654; ii. 142) by a writer using the signature ‘Audi Alteram Partem’, whose rather amazing contentions Mr. Law disposed of in the same periodical (1911, ii. 297, 324, 388; 1912, i. 390, 470) and in More about Shakespeare Forgeries (1913). A recent controversy between Mrs. C. C. Stopes, Mr. Law, and Sir E. M. Thompson (T. L. S. 2, 23, 30 Dec. 1920; 27 Jan., 10, 24 Feb. 1921) has led to no different result.

I do not think that, in view of the palaeographical investigation, it is any longer possible to reject the genuineness of the 1604–5 list, and although that of 1611–12 has not been so minutely tested, it is pretty obviously of a piece with the ‘Book’ of which it forms a part, and had it stood alone, probably no suspicion would have fallen upon it. In fact, it would really be more plausible—although this also is not in the least plausible—to take the whole documents as forgeries, than to take the lists as forged insertions in genuine accounts.

It must be added that there are some singular things about the substance of the books, with which Mr. Law does not seem to me quite to grapple. On the whole, that of 1604–5 is rather less perplexing than that of 1611–12. But the scribe has been oddly confused about his dates. On f. 1^v he has written ‘iij^o’, instead of ‘ij^o’ for the regnal year. And at the top of f. 2 he has apparently written ‘1605’ and then corrected it to ‘1604’. The Queen’s Revels are called by their obsolete name of ‘The Boyes of the Chapell’, which is odd in an official document, but so they are, much later, in the Treasurer of the Chamber’s account for 1612–13. It is more important that, while the Treasurer of the Chamber records payments for two plays to the Queen’s Revels, one on 1 Jan. and the other on 3 Jan., the Revels list omits the play on 3 Jan. altogether, and instead records a performance of Love’s Labour’s Lost by the King’s men ‘betwin Newers Day and Twelfe Day’. No complete explanation of this is possible. The most that can be said is that there is independent evidence of a performance of Love’s Labour’s Lost in Jan. 1605, but at a date after and not before Twelfth Night. This is derived from two letters. The first is from Sir Walter Cope to Robert Cecil, Viscount Cranborne, preserved at Hatfield (Hist. MSS. iii. 148) and printed by Halliwell-Phillipps, ii. 83:

The letter is undated, but endorsed ‘1604’. Cecil’s title was Viscount Cranborne from 20 Aug. 1604 to 4 May 1605. A second letter, from Dudley Carleton to John Chamberlain on 15 Jan. 1605 (S. P. D. Jac. I, xii. 13) gives within near limits the date of the performance. Carleton says,

Mr. Law (More about S. F. 50) rightly rejects the suggestion of ‘Audi Alteram Partem’ that the ‘last night’ referred to was necessarily 14 Jan., the night before the date of Carleton’s letter; but I think he is wrong in taking it as the last night of Christmas. This, of course, was traditionally Twelfth Night, the day in 1605 of Jonson’s Mask of Blackness. But surely Carleton’s whole point lies in the exceptional prolongation of the Christmas festivities of this year beyond Twelfth Night, and I feel clear that all the revels he here refers to fell between 6 and 15 Jan. On 7 and 8 Jan. came Hen. V and E. M. O. Putting the facts together, we get a performance, either at Southampton’s house or Cranborne’s, between 8 and 15 Jan. of Love’s Labour’s Lost, which the Queen had not seen before. It is not therefore at all likely that there had been another performance of the same play at court between 1 and 6 Jan. It is true that the Queen might by some accident have missed such a performance. But that would not have prevented the Treasurer of the Chamber from paying for it, whereas he would not pay for a performance ordered as part of an entertainment given by Southampton or Cranborne. Nor would it have been the duty of the Revels Office to attend such a performance, which makes it rather mystifying that they should have confused it with the second Queen’s Revels performance at court some days earlier, which it would have been their duty to attend. The vagueness of the phrase ‘betwin Newers Day and Twelfe Day’, suggesting that the list was prepared retrospectively from memory, when the account was made up in the autumn of 1605, may perhaps help to explain an error. On the other hand, a forger, presumably knowing nothing of Cope’s letter, which first came to light in 1872, could hardly have guessed at a revival of Love’s Labour’s Lost in 1605.

The discrepancies between the Revels list of 1611–12 and the corresponding accounts of the Treasurer of the Chamber are rather numerous. The Revels list records thirteen plays from 1 Nov. to 25 Feb. ‘before the Kinges Maiestie’, including two which, although, I suppose, ordered for the King, were in fact only given before the Queen and Prince. The Treasurer paid for only ten plays as before the King, and for many others before the younger members of the royal family only, with which the Revels would not normally be concerned. The two records agree as to 1 and 5 Nov., 26, 27, and 29 Dec., and 2, 23, and 25 Feb. On 28 Dec. the Treasurer notes a play by the Prince’s men which the Revels list does not. On 1 Jan. the Revels list notes a play by the King’s men, which the Treasurer does not. The play on 5 Jan. is assigned by the Treasurer to the King’s men, and by the Revels list to the Whitefriars. The plays on 12 and 13 Jan. appear from the Revels list to have been joint performances by the King’s and Queen’s men, but the Treasurer notes the play on 12 Jan. only, assigns that to the Duke of York’s men,[141] and refers to Henry but not to the Queen as present. He also paid for one play by the King’s men before Henry, of which he does not give the date, and which may be that of 13 Jan. Both records note a play by the Duke of York’s men on 24 Feb., but while the Revels list does not indicate that James was absent, the Treasurer treats the performance as one before the royal children only. I do not know that all this is beyond the blundering of the clerks concerned, especially perhaps the Clerk of the Revels, at a time when the functions of the office in relation to court plays had become trivial. On the other hand, I am not clear that plays ordered by the Queen and paid for out of her privy purse, instead of by the Treasurer of the Chamber, may not sometimes have been produced under Revels Office auspices; if so, some of the discrepancies might be thus accounted for. But obviously the facts necessitate some caution in the use of the 1611–12 list.

ABSTRACT OF PAYMENTS

I now give in tabular form an abstract of all entries in the Chamber and Revels accounts, which enable us to establish the succession of court performances during 1558–1616. These are arranged under years running from Michaelmas to Michaelmas. Four columns are devoted to the Chamber Accounts. Col. 1 records the dates of the performances, as recorded in the Declared Accounts. Any correction or closer information as to date derivable from other sources is added in square brackets. For the Jacobean period I also show the personages before whom the performances were given, K. standing for James, Q. for Anne, H. for Henry, C. for Charles, E. for the Princess Elizabeth, and F. for the Elector Palatine. Col. 2 contains the verbatim descriptions in the accounts of the companies performing and their payees, and in a very few cases of the nature of the performances. A few miscellaneous entries are inserted in this column. Probably an exhaustive examination of the records of the subordinate royal households during 1603–16 might enable a few additions to be made. It is also possible that an occasional play, perhaps on a progress, may have been rewarded out of the Privy Purse. But the main series of performances provided for the regular winter ‘solace’ of the sovereign appears to be fairly complete. Col. 3 shows the amounts of the rewards. Col. 4 adds the dates of the warrants for payment as given in the Declared Accounts and in brackets the places where they were made out, W. for Westminster, H. for Hampton Court, G. for Greenwich, R. for Richmond, J. for St. James’s, Wi. for Windsor. I add references to the parallel extracts of Cunningham from the Original Chamber Accounts (C.), and to the notes of the signing of warrants in the Privy Council Register (D.) where these exist. A fifth column, for certain years, adds the relevant extracts from such Revels Accounts as survive. The references are to Feuillerat’s edition. Any discrepancies of importance between Chamber, Privy Council, and Revels records are dealt with in foot-notes. The variant dates of warrants in the ill-kept Privy Council Register are not important.

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