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Lost Plays Database - User contributions [en]
2024-03-29T08:18:31Z
User contributions
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https://lostplays.folger.edu/_mw/index.php?title=Auspices_Old&diff=252
Auspices Old
2009-10-14T11:13:27Z
<p>Mcinnisd: </p>
<hr />
<div>'''Browse by Auspices:''' <br />
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[[Auspices|Auspices 1]] | [[Auspices 2]] | [[Auspices 3]] | [[Auspices 4]] <br />
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{| width="900" cellspacing="1" cellpadding="1" align="left" border="0"<br />
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! style="text-align: left;" scope="col" | Admiral’s<br> <br />
! style="text-align: left;" scope="col" | Admiral's (cont'd) <br> <br />
! style="text-align: left;" scope="col" | Admiral's (cont'd)<br />
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[[Agamemnon]]<br>[[Alexander and Lodowick]]<br>[[Alice Pierce]]<br>[[All Is Not Gold That Glisters]]<br>[[Antony and Vallia]]<br>[[Arcadian Virgin]]<br>[[Arthur, King of England]]<br>[[As Merry as May Be]]<br>[[Barnado and Fiammetta]]<br>[[Bear a Brain, or Better Late Than Never]]<br>[[Bellendon]]<br>[[Bendo (or Byndo) and Richardo]]<br>[[Black Bateman of the North, Parts 1 and 2]]<br>[[Black Joan]]<br>[[Blind Beggar of Bednal Green (Tom Strowd),Part 2]]<br>[[Blind Beggar of Bednal Green (Tom Strowd), Part 3]]<br>[[Boss of Billingsgate, The]]<br>[[Brandimer]]<br>[[Branhowlte (Brunhild)]]<br>[[Bristow Tragedy]]<br>[[Burbon (i.e. Bourbon?)]]<br>[[Caesar and Pompey, Part 1]]<br>[[Caesar and Pompey, Part 2]]<br>[[Caesar’s Fall]]<br>[[Catiline’s Conspiracy (Catiline)]]<br>[[Chance Medley]]<br>[[Chinon of England]]<br>[[Civil Wars of France, Parts 1, 2 and 3]]<br>[[Clorys and Orgasto]]<br>[[Cobbler of Queenheath, The]]<br>[[Connan, Prince of Cornwall]]<br>[[Conquest of Brute, Part 1]]<br>[[Conquest of Brute, Part 2]]<br>[[Conquest of Spain by John a Gaunt, The]]<br>[[Conquest of the West Indies, The]]<br>[[Constantine]]<br>[[Cosmo]]<br>[[Cox of Collumpton]]<br>[[Crack Me This Nut]]<br>[[Cupid and Psyche (The Golden Ass)]]<br>[[Cutlack]]<br>[[Damon and Pithias]]<br>[[Danish Tragedy]] <br>[[Dido]]<br>[[Diocletian]]<br>[[Disguises, or Love in Disguise, a Petticoat Voyage]]<br>[[Don Horatio]]<br>[[Earl Godwin and His Three Sons, Parts 1 and 2]]<br>[[Earl of Hereford, The]]<br>[[English Fugitives, The]]<br>[[Fair Constance of Rome, Part 1]]<br>[[Fair Constance of Rome, Part 2]]<br>[[Famous Wars of Henry I and the Prince of Wales (The Welshman’s Prize)]]<br>[[Felmelanco]]<br>[[Ferrex and Porrex]]<br>[[First Introduction of the Civil Wars of France, The]]<br>[[Five Plays in One]]<br>[[Fortunatus, Part 1]]<br>[[Fortune’s Tennis, Part 1]]<br>[[Fortune’s Tennis, Part 2]]<br>[[Fount(ain) of New Fashions, The]]<br>[[Four Kings, The]]<br>[[Four Sons of Aymon, The]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Rush and the Proud Woman of Antwerp]]<br>[[Friar Spendleton]]<br>[[Funeral of Richard Coeur de Lion, The]]<br> <br />
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[[Galiaso]]<br>[[Godfrey of Boulogne, Part 2]]<br>[[Grecian Comedy]] <br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[Hannibal and Hermes, Part 1]]<br>[[Hannibal and Scipio]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry V]]<br>[[Henry Richmond, Part 2]]<br>[[Hercules, Part 1]]<br>[[Hercules, Part 2]]<br>[[Hester and Ahasuerus]]<br>[[Hot Anger Soon Cold]]<br>[[Humorous Earl of Gloucester, with His Conquest of Portugal, The]]<br>[[Italian Tragedy, The]]<br>[[Jepthah]]<br>[[Joan as Good as My Lady]]<br>[[John a Kent and John a Cumber]]<br>[[Joshua]]<br>[[Judas]]<br>[[Julian the Apostate]]<br>[[Jurgurtha (King of Numidia)]]<br>[[Life of Cardinal Wolsey, The]]<br>[[London Florentine, Part 1]]<br>[[London Florentine, Part 2]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love Parts Friendship]]<br>[[Love Prevented]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Madman’s Morris, The]]<br>[[Mahomet]]<br>[[Malcolm, King of Scots]]<br>[[Martin Swart, his Life and Death]]<br>[[Merchant of Emden, The]]<br>[[Miller, The]]<br>[[Mother Redcap]]<br>[[Mulmutius Dunwallow]]<br>[[Nebuchadnezzar]]<br>[[New World's Tragedy, The]]<br>[[Orestes’ Furies]]<br>[[Orphans’ Tragedy, The]]<br>[[Osric]]<br>[[Owen Tudor]]<br>[[Page of Plymouth]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Pastoral Tragedy, A]]<br>[[Phaeton]]<br>[[Philip of Spain]]<br>[[Philipo and Hippolito]]<br>[[Phocasse (Focas)]]<br>[[Pierce of Exton]]<br>[[Pierce of Winchester]]<br>[[Pope Joan]]<br>[[Poor Man’s Paradise, The]]<br>[[Pythagoras]]<br>[[Randall, Earl of Chester (Chester’s Tragedy)]]<br>[[Richard Crookback]]<br>[[Rising of Cardinal Wolsey, The]]<br>[[Robert II, King of Scots (The Scot’s Tragedy)]]<br>[[Robin Hood’s Pennyworths]] <br />
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[[Scogan and Skelton]]<br>[[Sebastian, King of Portugal]]<br>[[Seleo and Olympio (Seleo and Hengenyo)]]<br>[[Set at Maw, The]]<br>[[Set at Tennis, The]]<br>[[Seven Days of the Week, Part 1]]<br>[[Seven Days of the Week, Part 2]]<br>[[Seven Wise Masters, The]]<br>[[Siege of Dunkirk, with Alleyn the Pirate, The]]<br>[[Siege of London, The]]<br>[[Singer’s Voluntary]]<br>[[Sir John Mandeville]]<br>[[Sir John Oldcastle, Part 2]]<br>[[Six Clothiers of the West, Part 1]]<br>[[Six Clothiers of the West, Part 2]]<br>[[Six Yeomen of the West, The]]<br>[[Spanish Fig, The]]<br>[[Spensers, The]]<br>[[Stepmother’s Tragedy, The]]<br>[[Strange News out of Poland]]<br>[[Sturgflatery|Sturgflatery (Stark Flattery? Strange Flattery?)]]<br>[[Tamar Cham, Part 1]] <br>[[Tamar Cham, Part 2]] <br>[[Tasso’s Melancholy]]<br>[[That Will Be Shall Be]]<br>[[Tinker of Totness, The]]<br>[[Toy to Please Chaste Ladies, A]]<br>[[Triangle (or Triplicity) of Cuckolds, The]]<br>[[Thomas Merry (Beech’s Tragedy)]]<br>[[Time’s Triumph and Fortus]]<br>[[‘Tis No Deceit to Deceive the Deceiver]]<br>[[Tobias]]<br>[[Tom Dough, Part 2]]<br>[[Too Good to Be True]]<br>[[Tristram de Lyons]]<br>[[Troilus and Cressida]]<br>[[Troy]]<br>[[Troy’s Revenge, with the Tragedy of Polyphemus]]<br>[[Truth’s Supplication to Candlelight]]<br>[[Turkish Mahomet and Hiren the Fair Greek]]<br>[[Two Angry Women of Abington, Part 2]]<br>[[Two Merry Women of Abington]]<br>[[Uther Pendragon]]<br>[[Valentine and Orson]]<br>[[Vayvode]]<br>[[Venetian Comedy, The]]<br>[[Vortigern]]<br>[[War without Blows and Love without Suit (or Strife)]]<br>[[Warlamchester]]<br>[[Welshman, The]]<br>[[Widow’s Charm, The]]<br>[[William Cartwright]]<br>[[William Longsword (William Longbeard)]]<br>[[Wise Man of West Chester, The]]<br>[[Witch of Islington, The]]<br>[[Woman Hard to Please, A]]<br>[[Woman’s Tragedy, The]]<br>[[Wonder of a Woman, The]]<br>[[Wooing of Death, The]]<br>[[World Runs Well on Wheels, or All Fools but the Fool]]<br>[[Worse Afeared Than Hurt, Part 2 (Hannibal and Hermes, Part 2)]]<br>[[Zenobia|Zenobia<br>]] <br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Black_Bateman_of_the_North,_Parts_1_and_2&diff=641
Black Bateman of the North, Parts 1 and 2
2009-10-14T10:56:30Z
<p>Mcinnisd: Created entry for Black Bateman of the North, Parts 1 and 2</p>
<hr />
<div>''Black Bateman of the North, Part I'' (1598) <br><br />
Henry Chettle, Thomas Dekker, Michael Drayton, Robert Wilson<br />
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''Black Bateman of the North, Part II'' (1598)<br><br />
Henry Chettle, Robert Wilson<br />
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==Historical Records==<br />
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===''Henslowe’s Diary''===<br />
<br />
:lent vnto cheattell vpon the playe called <br />
:blacke batmone of the northe the some of xx<sup>s</sup><br />
:wittnes Thomas dowton<br />
:(F.45<sup>v</sup>, Greg I.86)<br />
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<br />
:Bowght of m<sup>r</sup> willsones drayton & dickers & cheattell for<br />
:the company a boocke called blacke battmane of the northe<br />
:the 22 of maye 1598 w<sup>ch</sup> coste sixe powndes J saye<br />
:layd owt for them vj<sup>li</sup><br />
:(F.46, Greg I.87)<br />
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<br />
:lent vnto thomas dowton the 13 of June 1598 to bye <br />
:divers thinges for blacke batmane of the northe<br />
:the some of five pownd J saye lent v<sup>li</sup><br />
:(F.46, Greg I.87)<br />
<br />
<br />
:lent vnto thomas dowton the 14 of June 1598 to bye<br />
:divers thinges for blacke batmane of the northe the some iij<sup>li</sup><br />
:(F.46, Greg I.87)<br />
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:Lent vnto Cheattell the 26 of June 1598 in <br />
:earneste of a boocke called the 2 p''ar''te of blacke<br />
:battman of the north & m<sup>r</sup> harey porter<br />
:hath geven me his worde for the performance<br />
:of the same & all so for my money xx<sup>s</sup><br />
:(F.47, Greg I.89)<br />
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:Lent vnto m<sup>r</sup> Cheattell the 8 of July 1598 vpon<br />
:a Boocke called the 2 p''ar''te of blacke battman<br />
:the some of xx<sup>s</sup><br />
:(F.47, Greg I.89)<br />
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:lent vnto m<sup>r</sup> willsones the 13 of July 1598 in<br />
:part of payment of a boocke called the 2 p''ar''t of blacke<br />
:battman the some of x<sup>s</sup><br />
:(F.47, Greg I.89)<br />
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:lent vnto m<sup>r</sup> wilsone the 14 of July 1598 in<br />
:p''ar''t of payment of a boock called the 2 p''ar''t of<br />
:black battman the some of xv<sup>s</sup><br />
:(F.47, Greg I.89)<br />
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:pd vnto m<sup>r</sup> cheattell the 14 of July 1598 in <br />
:fulle paymet of a boocke called the 2 ''part'' of<br />
:black battmane the some of xv<sup>s</sup><br />
:(F.47, Greg I.89)<br />
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===''Henslowe Papers''===<br />
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Greg, ''Papers'' 121 (Apx. I. i)<br />
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Heading: "''A note of all suche bookes as belong to the Stocke, and such as I have bought since the 3rd of March 1598''"<br />
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:In the 2nd column of the list of playbooks, Henslowe lists “Blacke Battman.” followed immediately by “2 p. black Battman.”<br />
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==Theatrical Provenance==<br />
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The plays were acquired during late spring and summer of 1598 by the Admiral’s Men for performance at the Rose.<br />
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==Probably Genre(s)==<br />
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Tragedy? (Harbage)<br />
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==Possible Narrative and Dramatic Sources or Analogues==<br />
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Greg (II. 193, Items 134 & 139) names a chapbook (c. 1710) entitled “Bateman’s Tragedy: Or, the Perjur’d Bride justly Rewarded. Being the History of the Unfortunate Love of German’s Wife and Young Bateman,” accompanied by a ballad. However, he has no confidence in the chapbook or ballad as source, thinking “[t]he story … can hardly be as old as the play, and relates, moreover, to a James Bateman of Notts.”<br />
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The ballad in Roxburghe is called “A Warning for Maidens; or, Young Bateman.” The headnote to the ballad provides the alternate title, “A godly warning for all maidens, by the example of God’s judgment shewed on one Jerman’s wife of Clifton, in the county of Nottingham, who, lying in Child-bed, was born away, and never heard of after.” Still later versions have the prefix, “Young Bateman’s Ghost.” <br />
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The story of the ballad (the first stanza of which is a familiar warning to naïve young women tempted to forsake their loves) is as follows: A young woman from Clifton, Nottingham, is beautiful but fickle (“The fairest dame the falsest heart/ and soonest will deceive” ll. 15-16). She has many suitors, including “a comelie proper youth,/ young Bateman call’d by name” (ll. 21-2). She returns his love and swears to be faithful. He breaks a piece of gold in two, giving her a half as pledge of their vow. Within two months, however, she drops Bateman for another suitor, “Old Jerman” (l. 44), a rich widower. Bateman vows she will “not live one quiet day” (l. 57) after his death, and on her wedding day he hangs himself “before the bride’s own door” (l. 72). From that point on, Bateman’s ghost haunts the young bride. During her pregnancy, her “babe unborn” protects her from any harm by the ghost (l. 93), but, being delivered of the child, she predicts her capture: “‘This night … out of my bed/ I shall be born awaie’” (ll. 103-4). She accepts responsibility for having been the one who gave false promise, yet asks her friends to keep watch over her. They are unable to stay awake, and she vanishes in the night. The ballad ends on a closing admonition to young women to keep their betrothal promises.<br />
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==References to the Play==<br />
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Roxburghe, headnote to the ballad, “A Warning for Maidens; or, Young Bateman,” quotes lines from ''Monsieur Thomas'', by John Fletcher, in which a fiddler lists his repertoire (III.iii), one item of which is “The Devil and Ye dainty dames,” which the editor appears to read as an allusion to the Bateman ballad (vol. 3, p. 193).<br />
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==Critical Commentary==<br />
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Greg grapples with the excessive payments to dramatists for the two plays, deciding that Chettle’s accounts are kept largely off book (II.193, Items 134 & 139).<br />
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Gurr groups the “Batemen” plays as serials that were “planned as pairs” (p. 185); otherwise he does not comment on their stage history.<br />
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==For What It's Worth==<br />
<br />
(information needed)<br />
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==Keywords==<br />
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Rejected suitors [[category:rejected suitors]], suicide [[category:suicide]], hanging [[category:hanging]], ghosts [[category:ghosts]], Clifton [[category:Clifton]], Nottingham [[category:Nottingham]], Jerman [[category:Jerman]], January/May marriage [[category:January/May marriage]]<br />
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==Works Cited==<br />
<br />
Gurr, Andrew. ''Shakespeare’s Opposites: The Admiral’s Company 1594-1625''. Cambridge: Cambridge University Press, 2009.<br />
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Site created and maintained by Roslyn L. Knutson, Professor Emerita, University of Arkansas at Little Rock; updated, 27 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Keep_the_Widow_Waking&diff=640
Keep the Widow Waking
2009-10-14T09:04:41Z
<p>Mcinnisd: Created redirect for Keep the Widow Waking</p>
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<div>#REDIRECT [[Late Murder in White Chapel, or Keep the Widow Waking]]</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Late_Murder_in_White_Chapel,_or_Keep_the_Widow_Waking&diff=618
Late Murder in White Chapel, or Keep the Widow Waking
2009-10-14T09:01:57Z
<p>Mcinnisd: Created entry for Late Murder in White Chapel, or Keep the Widow Waking</p>
<hr />
<div>Dekker, Ford, W. Rowley, Webster (1624)<br />
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==Historical Records==<br />
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===Stationers’ Register===<br />
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:'''1624, September.''' “A new Tragedy, called, ''A Late Murther of the Sonn upon the Mother'': Written by Forde, and Webster.” (S. A. 218-219.) <br />
:(Herbert 29)<br />
:(Adams [Herbert 29n]: “The day of the month is not given, but presumably it lay between the third and the fifteenth. Presumably, also, the play was licensed to the Cockpit Company, mentioned in the immediately preceding entry.”)<br />
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:'''1624, Sept.''' ‘A new Trag: call: a Late Murther of the sonn upon the mother writt: by Mr Forde Webster & this Sept. 1624. 2<sup>li</sup>.’<br />
::‘The same Trag: writt: Mr. Drew & allowed for the day after theirs because they had all manner of reason.’ <br />
:(In the Halliwell-Phillipps Scrap-Book entitled ''Fortune'', p. 149, Folger Shakespeare Library.) (Bentley III.252).<br />
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(NB. The fee paid was “double the one usual at this time for licensing a new play. This double fee may be explained by an unusually large number of alteratiosn or by the difficulties suggested by the licence of a second play on the subject by Drew. I take this second licence—which was not copied by Chalmers or Malone—to indicate that two different companies prepared plays on this topical subject at the same time; that Herbert, after hearing arguments, allowed both plays so that they could be acted in competition; that for unspecified reasons he allowed the Dekker, Rowley, Ford, and Webster play a one-day advantage. … [I]t is clear that the subject was thought to have great appeal and that two London companies were competing for the right to exploit it.” Bentley III.253-54).<br />
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:'''2. Julij 1624''' Richard Hodgkins. The repentance of NATHANAEL TINDALL that kil(le)d his mother . . . vj<sup>d</sup>. <br />
:(qtd. in Sisson 57)<br />
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:'''16 Septembris 1624''' John Trundle Richard Hodgkins. Entred for their Copie vnder the handes of master DOCTOR WORRALL and master Lownes Warden. . . . ''A most bloudy vnnaturall, and vnmatchable murther Comitted in Whitechappell by'' NATHANAELL TINDALL ''vpon his owne mother'' written by JOHN MORGAN . . vj<sup>d</sup>.<br />
:(qtd. in Sisson 57)<br />
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===Star Chamber Proceedings===<br />
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'''“The Answer of Thomas Dekker one of the Defend(an)ts,” 3 February 1625''' (reproduced in Sisson 256-57):<br />
<blockquote>and whereas in the sayd Information, Mention is made of a Play called by the name of Keepe the Widow waking, this Defendt sayth, that true it is, Hee wrote two sheetes of paper conteyning the first Act of a Play called The Late Murder in White Chappell, or Keepe the Widow waking, and a speech in the Last Scene of the Last Act of the Boy who had killed his mother wch Play (as all others are) was licensed by Sr Henry Herbert knight, Mr of his Maties Reuells, authorizing thereby boeth the Writing and Acting of the sayd Play. (qtd. in Sisson 257)</blockquote><br />
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'''“Deposition of Thomas Dekker,” 24 March 1625''' (reproduced in Sisson 258-59):<br />
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Dekker testified “that John Webster . . . Willm Rowly John ffoord and this deft were privy consenting & acquainted w<sup>t</sup>h the making & contriuing of the sd play called keep the widow waking and did make & contrive the same vppon the instruccons giuen them by one Raph Savage And this deft saith that he this deft did often see the said play or pt thereof acted but how often he cannot depose” (qtd. in Sisson 258). <br />
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He describes vaguely “some passage acted in the said play about the getting of a lycense for the mariage of the widow there personated” (qtd. in Sisson 258) and admits that “he doth remember that in a play called keepe the widow waking acted at the Red bull a boy did come in [w<sup>t</sup>h a we] wenches apparel and tell the [said Anne] widow [psonated in the] represented in the sd play that he had brough her a Basket of Apricocks from one of her tennts wherevppon one knocking w<sup>t</sup>h a pot the said boy cried anon anon S<sup>r</sup>” (qtd. in Sisson 258).<br />
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===Bill of Information, Star Chamber Suit against Audley===<br />
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Excerpt, quoted in Sisson 234:<br />
<blockquote> …the said Rowley, dickers, & … Hodskyns did most vnlawfully & libellouslye to the great scandal & disgrace of … Anne Elsden make devise & contrive one scandalous enterlude or play most tauntinglye naming the same enterlude or play Keepe the widdowe wakeinge thereby setting forth and intymateing how long … Ann Elsden was kept wakeinge, and the maner of … Anne Elsdens distempature w<sup>th</sup> wyne and hott waters and the losse of her estate … to the great infamy & scandal of … Anne Elsden.</blockquote><br />
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==Theatrical Provenance==<br />
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“Prince’s (lic. Sept)” (Harbage); “There is some uncertainty about the company which occupied the Red Bull in September 1624, but it was probably Prince Charles’s (I) company” (Bentley III.255-56); Acted at the Red Bull in the autumn of 1624 (Sisson 42, Wright 633); “seuerall tymes acted & played at the playhouse called the Bull at Clarkenwell in the Countye of Middlesex by the players there” (Bill of Information in the Star Chamber Suit against Audley and others, qtd in Sisson 236).<br />
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==Probable Genre(s)==<br />
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Comedy & Tragedy (Harbage); topical drama; domestic tragedy.<br />
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==Possible Narrative and Dramatic Sources or Analogues==<br />
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Vickers provides a recent, concise summary:<br />
<blockquote>This play was based on two contemporary London scandals, one comic and one tragic. The comic element recounted the true story of how an unscrupulous suitor kept a rich old widow in a state of drunkenness and sleeplessness until she went through a marriage ceremony with him in a London tavern, at which point he robbed her of everything he could. The tragic story told how a young boy killed his mother, confessed the crime, and was hanged. (314)</blockquote><br />
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The fullest treatment of the subject matter comes from Sisson, however. There exists an unusually large amount of historical evidence to assist in reconstructing the subject matter of the play, which Sisson attempts to do in great detail, supplementing the Star Chamber Proceedings information with “the records of the Middlesex Sessions, now in the Middlesex Guildhall in Westminster”; records which “help to complete the story on which the comic part of the play was founded, and furnish most of the information concerning the murder which was related in its tragic plot” (43). The following information comes from Sisson’s two-part article of the same name in 1927 edition of The Library (pp. 39-57 & 233-59).<br />
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===“Comic” plot: The story of Anne Elsdon and Tobias Audley===<br />
<br />
This plot, Sisson suggests, involved the 62 year old widow Anne Elsdon (who lived “not far from the Red Bull Theatre in St. John Street, Clerkenwell”) and the advances of the considerably younger (25 year old) widower Tobias Audsley, whose “motive was clear enough” (“local gossip credited [Anne] with an estate of £6,000 in all,” 45). Sisson reconstructs events from the historical records:<br />
<blockquote>About eight o’clock on the evening of Wednesday, 21 July 1624, Anne Elsdon accompanied by her friend Martha Jackson, aged 40, the wife of a shoemaker, went with Audley on his invitation to the Greyhound Tavern. They were shown into a private room, and found there awaiting them a motley company which included two disreputable ministers of religion, Nicholas Cartmell and Francis Holiday, and two women of easy virtue, Mary Spenser of Charterhouse Lane, of the junior branch of her profession, and her ‘Nurse’, as she calls her, Margery Terry. Anne and Martha were plied generously with drink, and it was hoped that Anne would declare before witnesses that she would accept Audley as her husband and so contract herself to him. All present were in the plot and were to profit from the resulting marriage… (46)</blockquote><br />
Anne was detained “three days and nights in a constant state of drunkenness” (46), and eventually “drugs were sent for and used by Cartmell” (47) and a wedding licence was obtained on Friday 23 July (see Sisson 47 for the licence). After numerous setbacks, the marriage eventually took place, although “Anne was evidently in a state of alcoholic coma” (48) and would later protest that she was not Audley’s wife.<br />
<br />
<br />
Audley, now believing himself entitled to Anne’s fortune, was soon arrested at the request of Anne’s son-in-law, Garfield, but bailed almost immediately via the assistance of Audley’s brother, John. Audley began to raid Anne’s house for valuables; Anne remained detained at a tavern (the Nag’s Head) where several witnesses would later testify that they had heard her protesting her imprisonment (50). Garfield and his wife (Anne’s daughter) began looking for Anne, who was (as a result) relocated to detention at the Bell Tavern in Wood Street (50). Anne was returned to her house on the Monday night, and as Sisson notes, “[i]t is difficult to be sure what Audley had gained”:<br />
<blockquote>The prosecution alleged that he had carried off £3,000 worth of documents, and doubtless Anne’s securities were dealt in to some extent. He had taken £120 in cash, and a good deal of plate. But the tavern expenses for the five days’ revels were heavy, £50 in all. He was also committed to share out over £300 to the conspirators, and doubtless their demands were the first to be satisfied. Garfield deposed that Audley in the space of five weeks had wasted the whole of Anne’s personal estate, £1,000, and was trying to borrow money. (51)</blockquote><br />
In the aftermath “[d]issensions among the thieves broke out early” (51) and on August 8 Audley was involved in a violent altercation at Garfield’s house whilst trying to see Anne (presumably in pursuit of financial claims) (51).<br />
<br />
<br />
Various conspirators were charged and then acquitted of arranging an unlawful marriage between Audley and Anne:<br />
<blockquote>Garfield perceived that his charges against his enemies under the Common Law were not effective, one after another charge failing. The whole question had been further complicated by the play and ballad. He therefore took the matter to the Court of Star Chamber, and laid an Information there, which the Attorney-General sponsored. The Bill of Information is dated 26 November. The Answers of Audley and his friends are dated 10 December, and those of the theatre people involved from Dekker’s on 3 January to Holland’s on 5 February. (54)</blockquote><br />
The chief players in these events died whilst the case was at trial: “It is likely that the Star Chamber trial died of protraction, and that Garfield’s desire for vengeance faded, with the impossibility of recovering the lost goods, and with the death of the principal offender, Audley” (55).<br />
<br />
<br />
===“Tragic” plot: The murder of Joan Tindall by her son, Nathaniel Tindall===<br />
<br />
From the records of the Middlesex Sessions, Sisson establishes that “Nathaniel Tindall or Grindall, of Whitechapel, yeoman, murdered Joan Tindall or Grindall on 9 April 1624 in Whitechapel. He came to trial at the Old Bailey at the Gaol Delivery from Newgate, along with Tobias Audley, on Friday, 3 September” (55). The motive was unknown, and there was no record of a Coroner’s Inquest.<br />
<br />
<br />
Two ballads on the subject were recorded in the Stationers’ Register (see “Historical records” above): “The documents give us very little information about the handling of this tragic story in the play. Of the two ballads, the first only is extant, and it gives no information about the crime” (57).<br />
<br />
<br />
The extant ballad is ''The penitent Sonnes Teares, for his murdered Mother'', purportedly by “Nathaniel Tyndayle, ''sicke both in soule and body: a prisoner now in New-gate''” (57).<br />
<br />
<br />
<br />
==References to the Play==<br />
<br />
'''Ballad''': “keeping thw widow wakeing of lett him that is poore and to wealth would aspire get some old rich widdowe and grow wealthye by her, to the tune of the blazing torch” (reproduced in Sisson 238-40, Panek 109-110):<br />
:And you whoe faine would heare the full<br />
:discourse of this match making,<br />
:The play will teach you at the Bull,<br />
:to keepe the widow wakeing. <br />
::(qtd. in Sisson 240)<br />
<br />
<br />
Bentley discusses the ballad, summarising Sisson 248-51: “Several parties or witnesses in the actions testify that this ballad was sung on the streets, one says that boy actors from the theatre pointed to Anne Elsden’s windows and said, ‘there dwelte the widdowe waking’, and Benjamin Garfield, Mrs. Elsden’s son-in-law, said that thte ballad-monger not only sang it under Mrs. Elsden’s windown but when brought before a Justice of the Peace testified that ‘he was purposely sent thither to singe the said ballad by one Holland’, i.e. Aaron Holland, who built the Red Bull theatre and was an important partner in the enterprise for a number of years” (III.255).<br />
<br />
<br />
<br />
==Critical commentary==<br />
<br />
In the second part of his article (233-59), Sisson moves away from reconstructing the historical event of the Audley-Elsdon marriage and concentrates on the play:<br />
<blockquote>It is abundantly evident, from the ballad, from the title of the play, and from Garfield’s accusations, that the story of the marriage was treated in a facetious manner, with satirically frank insistence upon an old widow’s appreciation of the attentions of a young husband and upon her convivial tendencies. The persons of the drama presumably included the three unsuccessful suitors, the broker, the horse-courser, and the comfit-maker, as well as Toby Audley, who is easily recognizable as a tobacco seller. The Lawyer is probably Edmond Ward, who described himself to the Middlesex Justices as ‘of the Inner Temple’, though he is not to be found in its records. The priest is obviously Nicholas Cartmell. … Garfield probably was not brought upon the stage as the son-in-law. He was possibly merged into one of the suitors. With this modification of status, his anger at the marriage could be readily fitted into the comedy, and it may be imagined that an actor could make up to resemble him closely enough to add zest to the impersonation.</blockquote><br />
<br />
<blockquote>We may assume that the play concludes with the success of the plot, the widow making the best of a bad bargain, as many a deceived bride or bridegroom has to do in Elizabethan plays. The moral appears to be that poor young men should try to follow in Audley’s cozening footsteps. … Audley was undoubtedly the hero of the plot, a young apprentice-gallant who scored off the Philistines. (241-42)</blockquote><br />
Sisson further infers the action of two scenes of the play from Dekker’s testimony about them: “Audley and Hide discussing the procuring of the licence of marriage,” in which “Audley in a vein of mirth narrates how he told the officials ‘that it was for an old bedd ridden woman and a young fellow together’,” and a tavern scene in which the widow is drinking with Audley and “a drawer enters, dressed as a girl, with an empty basket, pretending to bring in a basket of apricots from one of the widow’s tenants as a present for her” (242).<br />
<br />
<br />
Adams (“Hill’s List” 81-82) discusses the play when considering an entry for ''The Wrong’d Widow’s Tragedy'' in Abraham Hill’s list of play manuscripts: “One might be tempted to identify it [''Wrong’d Widow''] with the lost ''Keep the Widow Waking'' . . . but the portion of that play relating to the widow (who was in truth most grievously wronged) seems to have been treated in a wholly comic spirit. It may be noted, however, that the play had also a serious part involving a murder in Whitechapel, and was actually licensed by Herbert, September 1624, under the title ‘A New Tragedy, called A Late Murther of the Sonn upon the Mother’.”<br />
<br />
<br />
Wright (excerpt): “Occasionally the domestic drama so accurately described a contemporary event that it created a scandal, as was true of a lost play, ''The Late Murder in Whitechapel, or Keep the Widow Waking'', by Dekker, William Rowley, Ford, and Webster, an arrant piece of scandal-mongering acted at the Red Bull in 1624. The ingenious authors put into one play the separate elements of a local murder and the forced marriage of an old widow who lived almost within earshot of the Red Bull.” (633).<br />
<br />
<br />
Harrison notes that “Mrs. Elsdon . . . was not the first widow to be so served and apparently the phrase ‘Keep the widow waking’ was popular at least thirty years before [the lost play]” (97). Harrison reconstructs (from extant pamphlets and ballads, and titles of lost ballads) the story of a tripe-wife widow, Mrs Mescall, who was similarly plied with wine for the purpose of procuring a promise of marriage from her.<br />
<br />
<br />
Clark has recently commented on the playwrights’ response to historical events in the crafting of the “comic” plot: “What is hard to comprehend is the attitude of the collaborative playwrights and of balladeer Richard Hodgkins. That attitude is blatant in his lines that advise “keeping the widow wakeing or lett him that is poore and to wealth would aspire / get some old rich widdowe and grow wealthye by her,” in charges of malicious defamation brought by the widow’s son-in-law, and in depositions taken for a trial never held. Wasting a widow in order to marry her and waster her holdings provided a scenario that apparently was considered imitable and laughable, not reprehensible and lamentable: the perpetrator provided a model, the widow a butt” (402).<br />
<br />
<br />
Like most critics, Hansen cannot fathom the reasons for casting the Elsdon-Audley story as the “comic” plot:<br />
<blockquote>This horrifying little story and the lost play based on it suggest the complexity of the social semantics that surround both the widow and the prodigal. … The reasons for the play's composition are obscure; the evidence for its existence are a jolly ballad advertisement and the legal records of the attempt by Ellsden's son-in-law to have it suppressed because of the pain it caused the already severely traumatized Ellsden. Thus we are left to wonder why several of the period's most important playwright's, including those responsible for Moll Cutpurse and the Duchess of Malfi, thought this story of brutality to an old woman would appeal to an audience. One possible explanation is afforded by the nature of the property Audley stole from Ellsden, which included bonds and deeds valued at three thousand pounds, indicating that she was likely a moneylender. The ballad indicates that the play handles the matter as a jest, celebrating Audley for his cleverness. Ellsden is barely characterized; she is duped while drunk, and while this suggests intemperance, her lust is not emphasized save in her husband's final admonition not to complain because “Ile be a comfort all thy life / a nights to keepe the waking.” Thus we might conjecture that the play was a farce, continuous in spirit with popular disciplinary practices such as the skimmington ride, fuelled by resentment at Ellsden's financial position and activities (and possibly those of her recently deceased husband), which gave her power at odds with the properly abject position of an elderly woman. But what makes the idea of the play so unsettling is precisely that the situation cannot really have aroused masculine anxiety at the spectacle of female power since Ellsden emerges in the records as so vulnerable and pathetic. Moreover, if the play might have tapped into some primitive sense of justice, the actual agents of the judicial system saw things rather differently, and Audley met a wretched death in prison, no doubt to the satisfaction of the former Beadle of Bridewell. (222-23).</blockquote><br />
<br />
<br />
Panek (107-123) revisits and summarises the historical evidence in the context of the lost play (reproducing the two-part ballad from Star Chamber records on pp.109-110; also reproduced in Sisson “''Keep the Widow Waking''” 238-40 and Sisson ''Lost Plays'' 103-06). She suggests that “the play and the ballad work to reduce Anne to the familiar figure of the lusty widow, and thereby to empower Audley through disempowering her” (118). Panek further considers the “sexualisation of the widow” in bed-scenes from the play:<br />
<blockquote>It the number of times Anne’s character “went to bed” in the play approached the defendants’ emphasis on that activity, the scene in which Audley’s character explains that he needs a license “for the marying of an old bed ridden woman and a young fellowe together” must have lent the phrase “bed-ridden” a decidedly bawdy innuendo. Her desires are also hinted at in the scene where she is offered “apricocks” – a fruit with well-known phallic connotatiosn – by a cross-dressed vintner’s boy. If, as the prosecution alleges, Audley and his companions did indeed enact the original version of this scene for their own amusement at the Nag’s Head before it was imported into the play, the conspirators certainly had a keen enjoyment of the theatrical, and a sense of how it might be used to humiliate. (121)</blockquote><br />
Unlike most critics, Panek can see a case for how the Elsdon-Audley ‘marriage’ could be made fit for a comic plot, if only in the realm of the theatre (“the public’s approval of fraud is generally confined to the playhouse”), where Anne must have become “the stage figure of the lusty widow, a woman who cannot be wronged by even the most outrageous and aggressive of courtship tactics” (121). (See 107 for an imaginative account of how the Elsdon-Audley material may have been construed for comic purposes).<br />
<br />
<br />
Vickers refers to the play as an “instructive example of the conditions under which Elizabethan dramatists worked” (314):<br />
<blockquote>The "marriage" took place in late July 1624, the boy was sentenced to be hanged on 3 September 1624, and in mid-September Sir Henry Herbert, Master of the Revels, licensed a new play on both stories by Dekker, Webster, Rowley, and Ford, to be performed at the Red Bull in Clerkenwell. The coauthors had about six weeks to fulfill the commission, a not-unusual period of time for dramatists who must have worked in permanent haste. The play has perished, but a Star Chamber deposition of 3 February 1625 survives, from a case brought by the widow's son-in-law against the authors of the play and of a scurrilous ballad publicizing the play. The accusation in the Star Chamber suit stated that Rowley, Dekker, and others "'did make devise & contrive one scandalous enterlude or play Keepe the widdowe wakeinge.'" In his Answer, Dekker defined his share in the undertaking, which consisted of "'two sheetes of paper conteyning the first Act'" and "'a speech in the last Scene of the last Act of the Boy who had killed his mother."</blockquote><br />
<br />
<blockquote>Since those writing or copying plays for the London theater worked with folio-sized paper on separately folded sheets, in units of four pages, Dekker's "two sheets" would have made four leaves or eight pages. Sisson deduced that Dekker wrote the first act on the first six pages and the speech in Act 5 (presumably, the boy's repentant speech before execution) on the last leaf, which could be detached and inserted in its proper place when the manuscript was assembled by the company's bookkeeper, who prepared the prompt copy and the individual parts. The speed with which the play was staged meant that the four dramatists had little time for consultation. (314-15)</blockquote><br />
<br />
Sisson had earlier treated this matter on pp.244-47.<br />
<br />
<br />
==For What It’s Worth==<br />
<br />
Anne Elsdon died by 24 March 1626, and Audley died before 10 July 1625 (Sisson 54).<br />
<br />
<br />
==Keywords==<br />
<br />
Domestic drama [[category:domestic drama]], forced marriage[[category:forced marriage]], matricide[[category:matricide]], murder [[category:murder]], widow [[category:widow]], Anne Elsdon, Tobias Audley, Nathaniel Tindall, Nathaniel Grindall, Joan Tindall, Joan Grindall, ballads [[category:ballads]], Star Chamber [[category:Star Chamber]], crime [[category:crime]], Whitechapel [[category:Whitechapel]].<br />
<br />
<br />
<br />
==Works Cited==<br />
<br />
Adams, Joseph Quincy. “Hill’s List of Early Plays in Manuscript.” ''The Library'' 4th Ser., 20.1 (1939): 71-99. Print.<br />
<br />
Clark, Ira. “The Widow Hunt on the Tudor-Stuart Stage.” ''Studies in English Literature, 1500-1900'' 41.2 (2001): 399-416. Print. [[http://www.jstor.org/stable/1556195 JSTOR]] <br />
<br />
Hanson, Elizabeth. “There’s Meat and Money Too: Rich Widows and Allegories of Wealth in Jacobean City Comedy.” ''ELH'' 72.1 (2005): 209-238. Print. <br />
<br />
Harrison, G. B. “Keep the Widow Waking.” ''The Library'' 4th Ser., 11.1 (1930): 97-101. Print. <br />
<br />
Panek, Jennifer. ''Widow Suitors in Early Modern English Comedy''. Cambridge: Cambridge UP, 2004. Print.<br />
<br />
Sisson, Charles J. “''Keep the Widow Waking'': A Lost Play by Dekker.” ''The Library'', 4th Ser., 8.1-2 (1927-28): 39-57 & 233-59. Print. (NB. reprinted in Sisson’s subsequent monograph, ''Lost Plays of Shakespeare’s Age''. Cambridge: Cambridge UP, 1936; rpt by Frank Cass & Co. Ltd, 1970. pp.80-110. Print.)<br />
<br />
Vickers, Brian. “Incomplete Shakespeare: Or, Denying Coauthorship in 1 Henry VI.” ''Shakespeare Quarterly'' 58.3 (2007): 311-52. Print. <br />
<br />
Wright, Louis B. ''Middle-class culture in Elizabethan England''. London: Methuen, 1964 reprint. Print.<br />
<br />
<br />
Site created and maintained by David McInnis, University of Melbourne; updated, 05 September 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Main_Page&diff=5
Main Page
2009-10-14T08:20:01Z
<p>Mcinnisd: </p>
<hr />
<div><!-- Lost Plays Database Introduction --><br />
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The ''Lost Plays Database'' is a wiki-style forum for scholars to share information about lost plays in England, 1580-1642. Its purpose is to add lost plays to scholarly discussions of early modern theatrical activity.<br />
<br />
<br />
The editors believe that lost plays are a potential source of significant information on playwrights, playing companies, venues in London and the provinces, repertory studies, and audiences. The database provides a web-accessible, web-editable site for data on these plays concerning theatrical provenance, sources, genre, and authorship.<br />
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Users of the ''Lost Plays Database'' will find information drawn from the following, as applicable:<br />
<br />
• Stationers’ Register<br />
<br />
• Henslowe's Diary<br />
<br />
• Legal records<br />
<br />
• Narrative and dramatic sources <br />
<br />
• Scholarly commentary<br />
<br />
• Online databases and digital archives<br />
<br />
<br />
Unlike many public wikis, the ''Lost Plays Database'' is not open to public editing: for quality control, potential contributors must apply to the editors for contributing privileges (see [[HowtoContribute|How to Contribute]]).<br />
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<div style="text-align: center;">All content © ''Lost Plays Database'', 2009.</div><br />
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{| id="mp-right" style="width:100%; vertical-align:top; background:#ffffff;"<br />
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|-<br />
| style="color:#000;" | <div id="mp-tfa" style="padding:2px 5px"><br />
<br />
* [[God Speed the Plough]]<br />
<br />
* [[Blind Eats Many a Fly, The | The Blind Eats Many a Fly]]<br />
<br />
* [[Bad Beginning Makes a Good End, A | A Bad Beginning Makes a Good End]] <br />
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* [[Bellendon]]<br />
<br />
*[[Knot of Fools, The | The Knot of Fools]]<br />
<br />
*[[New World's Tragedy, The | The New World's Tragedy]]<br />
<br />
*[[Hungarian Lion, The | The Hungarian Lion]]<br />
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*[[Conquest of the West Indies, The | The Conquest of the West Indies]]<br />
<br />
*[[Plantation of Virginia, The |The Plantation of Virginia]]<br />
<br />
*[[Stately Tragedy of the Great Cham| A Stately Tragedy of the Great Cham]]<br />
<br />
*[[Tanner of Denmark, The | The Tanner of Denmark]]<br />
<br />
*[[Saint Christopher]]<br />
<br />
*[[Fortunatus, Part 1]]<br />
<br />
*[[Titus and Vespasian]]<br />
<br />
*[[Spanish Maze, The | The Spanish Maze]]<br />
<br />
*[[Merchant of Emden, The | The Merchant of Emden]]<br />
</div></div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Merchant_of_Emden,_The&diff=579
Merchant of Emden, The
2009-10-14T00:31:17Z
<p>Mcinnisd: Created entry for Merchant of Emden, The</p>
<hr />
<div>Anon. (1594)<br />
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<br />
==Historical Records==<br />
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''Henslowe’s Diary'', F.9<sup>v</sup> (Greg I. 18):<br />
<br />
{| class="wikitable" border="0"<br />
|-<br />
| ye 30 of Julye 1594<br />
|<br />
| ne<br />
|<br />
| R[d] at the marchant of eamden . . .<br />
|<br />
| iij<sup>li</sup> viij<sup>s</sup><br />
|}<br />
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<br />
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==Theatrical Provenance==<br />
<br />
The play is the fourth “ne” offering by the Admiral’s Men on their return to the Rose in June of 1594 from the 10-day run at Newington. Its combination of high receipts and solo performance has aroused scholarly curiosity.<br />
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==Genre==<br />
<br />
Realistic T. C. [tragicomedy] ? (Harbage)<br />
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==Possible Narrative and Dramatic Sources or Analogues==<br />
<br />
Greg credits John Payne Collier with the identification of the play with a ballad, “A Most Sweet Song of an English Merchant, borne at Chichester” (Greg II. 166, Item 48).<br />
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<br />
The ballad tells the story of a rich English merchant from Chichester, who quarrelled with and killed a German in “Emden Towne.” The merchant was tried, found guilty, and taken to a scaffold in the market square to be beheaded. A large crowd gathers, where there is considerable sympathy for the condemned man among the women in the crowd but also among the merchants, whose offer of £2000 to set him free is denied. The merchant, dressed in fine clothes, delivers a scaffold speech full of remorse for having killed the man. He offers compensation of £100 each to the widow and two children, asking only that they speak well of Englishmen, even though he has committed this crime. Ten young women in the crowd then step forward, citing a local law that allows his death sentence to be cancelled if he would choose one of them for his love. They jockey among themselves for the opportunity to save him, but he turns them down, saying he is unworthy. In his refusal, he says the law cannot touch his goods, and he has a chest with £1000 of gold, which he gives to them all. At this, another young woman steps forward and woos him with a kiss. He chooses her. The crowd cheers while she solicits the duke, who grants her wish. In an epithalamic progress to the scaffold to claim her groom, the bride leads the merchant straight to the church; they marry and live happily ever after.<br />
<br />
<br />
Giving the post-1594 provenance of the ballad also, the headnote to the ballad in the Roxburghe collection (vol. 1, p. 319) cites the following entry on 22 March 1594 in Arber:<br />
:Abell Jeffes./.<br />
:Entred for his Copie vnder th[e h]ande of Master Cawood a ballad entituled a moste sweete songe of an Englishe merchant that :killed a man in Guidine and was for the same Judged to lose his head and howe in th[e] ende a mayden saved his lyfe by T. DELONEY<br />
<br />
<br />
<br />
==References to the Play==<br />
<br />
Greg II. 166, Item 48, thinks it “just possible” that a reference to “the signiory of Emden” in ''Doctor Faustus'' could be related to this play.<br />
<br />
<br />
The headnote to the ballad in the Roxburghe collection suggests tenuous connections between the ballad and the ''Famous Historie of Fryer Bacon'', with a song to the tune of “A Rich Merchantman,” and from that source to Robert Greene’s play, ''Friar Bacon and Friar Bungay''.<br />
<br />
<br />
<br />
==Critical Commentary==<br />
<br />
The headnote to the ballad in the Roxburghe collection cites the diary of John Manningham for its three entries relating to the European custom of scaffold marriages (Manningham, 12 December 1602). Manningham phrases the custom thusly: “yf anie notorious professed strumpet will begg for a husband a man which is going to execution, he shal be reprieved, and she may obteine a pardon, and marry him, that both their ill lives may be bettered by so holie an action” (as qtd. in Roxburghe, vol. 1, p. 319). The headnote quotes more of Manningham, including a popular joke in which a man and woman exchange insults over his criminality and her undesirability. <br />
<br />
<br />
Mann, in a note on the Deloney ballad (p. 599), capitalizing on the information in the headnote to the ballad in the Roxburghe collection, adds further a reference to the custom in the ''Dictionnaire Universel'' (''sub'' Mariage), plus a use of the custom by Balzac. Mann adds that he does not know how the custom or the Chichester merchant became associated with Emden, “the flourishing German seaport of the sixteenth century,” but he thinks it unlikely “that Deloney chose these localities out of mere caprice” (p. 600).<br />
<br />
<br />
Gurr lists the play as one of the oddities of solo performances despite high receipts (p. 94).<br />
<br />
<br />
<br />
==For What It’s Worth==<br />
<br />
(information needed)<br />
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<br />
<br />
==Keywords==<br />
<br />
Thomas Deloney [[category: Thomas Deloney]], merchants [[category:merchants]], Emden [[category:Emden]], ballads [[category:ballads]], scaffold speeches [[category:scaffold speeches]], scaffold marriages [[category:scaffold marriages]], John Manningham [[category:John Manningham]]<br />
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<br />
==Works Cited==<br />
<br />
Gurr, Andrew. ''Shakespeare’s Opposites: The Admiral’s Company 1594-1625''. Cambridge: Cambridge University Press, 2009. Print.<br />
Mann, Francis Oscar. ''The Works of Thomas Deloney''. Oxford: Clarendon, 1912. Print.<br />
''Roxburghe Ballads'', vol. 1, 318-25.<br />
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<br />
Site created and maintained by Roslyn L. Knutson, Professor Emerita, University of Arkansas at Little Rock; updated, 25 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Spanish_Maze,_The&diff=564
Spanish Maze, The
2009-10-14T00:18:29Z
<p>Mcinnisd: Created entry for Spanish Maze, The</p>
<hr />
<div>Anon. (>1605)<br />
<br />
<br />
==Historical Records==<br />
<br />
''Accounts of the Office of the Revels'' (AO3/908, no. 13):<br />
<br />
{| class="wikitable" border="0"<br />
|-<br />
| By his Ma<sup>tis</sup><br />
|<br />
|<br />
| On Shroumonday A Tragidye of<br />
|-<br />
| Plaiers:<br />
|<br />
|<br />
| The Spanishe Maz:<br />
|}<br />
:To iiij men on Shrovemunday att xvj<sup>d</sup> ye day & Night …… v<sup>s</sup>:iiij<sup>d</sup><br />
<br />
<br />
<br />
==Theatrical Provenance==<br />
<br />
The play is one of eleven given by the King’s Men at court through the winter holiday season of 1604-5. Having received the patronage of the king, James I, in the spring of 1603, the King’s Men (formerly, the Chamberlain's Men) were unable to perform for their patron at his first Christmastide as king due to the plague. The season of 1604-5 represents the company’s first opportunity to perform for their patron on a large scale. They chose ''The Spanish Maze'' along with two plays by Ben Jonson (''Every Man out of his Humour'', 8 Jan 1605; ''Every Man in his Humour'', Candlemas Night, 2 Feb 1605) and seven by William Shakespeare (''Othello'', 1 Nov 1604; ''The Merry Wives of Windsor'', 4 Nov 1604; ''Measure for Measure'', 26 Nov 1604; ''The Comedy of Errors'', 28 December 1604; ''Henry V'', 7 Jan 1605; ''Love’s Labour’s Lost'', between 1 and 12 Jan 1605; and ''The Merchant of Venice'', Shrove Sunday, 10 Feb 1605 [scheduled again at the request of the king for 12 Feb 1605 but not played]). The name of the dramatist, “Shaxberd,” is attached to ''Measure for Measure'', ''The Comedy of Errors'', and ''The Merchant of Venice''.<br />
<br />
<br />
The Revels Accounts document performances by three companies in addition to the King’s Men at court in the holiday season of 1604-5. The Queen’s Men (Queen Anne’s Men, formerly Worchester’s Men) played ''[[How to Learn of a Woman to Woo]]'' (q.v.), ascribed to [Thomas] Heywood, on 30 December 1604. Prince Henry’s Men (formerly the Admiral’s Men) performed a play, unnamed, before Queen Anne on 23 November, and seven plays, unnamed, before their patron on 24 Nov; 14, 19 Dec; 15, 22 Jan; and 5, 19 Feb 1605. The Children of the Queen’s Revels (“Boyes of the Chapell”) performed ''All Fools'', ascribed to George Chapman, on 1 Jan 1605 before the king; the Chamber Accounts (but not the Revels Accounts) record a second performance by this company on 3 January 1605.<br />
<br />
<br />
There were, in addition, two masques presented on 27 Dec 1604 and 12 Jan 1605, respectively.<br />
<br />
<br />
<br />
==Probable Genre(s)==<br />
<br />
Tragedy (Revels Accounts)<br />
<br />
<br />
<br />
==Possible Narrative and Dramatic Sources or Analogues==<br />
<br />
None known<br />
<br />
<br />
<br />
==References to the Play==<br />
<br />
None Known<br />
<br />
<br />
<br />
==Critical Commentary==<br />
<br />
Streitberger assigns the unnamed play recorded in the Revels Accounts for Sunday, 3 Feb, following Candlemas Day to the King’s Men (“A playe provided And Discharged” [7, 9]).<br />
<br />
<br />
<br />
==For What It’s Worth==<br />
<br />
(information needed)<br />
<br />
<br />
<br />
==Keywords==<br />
Court [[category:Court]], Spain [[category:Spain]]<br />
<br />
<br />
<br />
==Works Cited==<br />
<br />
Streitburger, William. ''Declared Accounts of the Office of the Revels''. ''Malone Society Collections'', 1986. xiii: 7-11.<br />
<br />
<br />
Site created and maintained by Roslyn L. Knutson, Professor Emerita, University of Arkansas at Little Rock; updated, 30 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Knot_of_Fools,_The&diff=546
Knot of Fools, The
2009-10-13T10:31:32Z
<p>Mcinnisd: Created entry for Knot of Fools, The</p>
<hr />
<div>Anon. (>1613)<br />
<br />
<br />
==Historical Records==<br />
<br />
''Accounts of the Office of the Chamber'' (MS. Rawl. A 239; Cook and Wilson, 55-6):<br />
<br />
:47b Item paid to Ion Heminges vppon the Cowncells warra''nt'' dated at Whitehall xx<sup>0</sup> Die Maij 1613 for presentinge before the Princes Highnes the La''dy'' Elizabeth and the Prince Pallaytne Elector fowerteene several playes viz one playe called ‡ Pilaster, One other called the Knott: of Fooles, One other Much adoe abowte nothing, The ‡ Mayeds Tragedy, The merye Dyvell of Edmonton, The Tempest, A Kinge and no Kinge The Twins Tragedie The Winters Tale, Sr Ione Falstafe, The oore of Venice, The Nobleman, Caesars Tragedye And one other called Love Lyes a bleedinge, All w<sup>ch</sup> Playes weare played w<sup>th</sup>in the tyme of this Accompte, viz p<sup>d</sup> the some of . . . . . . iiij<sup>xx</sup>xiij<sup>li</sup> vj<sup>s</sup> viiij<sup>d</sup><br />
<br />
<br />
<br />
==Theatrical Provenance==<br />
<br />
The play was one of 20 performed by the King’s Men at court through the winter holiday season of 1612-13 (the other six plays named are [[Bad Beginning Makes a Good End, A | ''A Bad Beginning Makes a Good Ending'']] (q.v.), ''The Captain'', ''The Alchemist'', ''[[Cardenio]]'' (q.v.), ''The Hotspurr'' [''1H4''?], and ''Benidicte and Betteris'' [''Much Ado''].<br />
<br />
<br />
In addition, the Prince’s Men put on the two parts of [[Knaves, Part 1 | ''The Knaves'']] (q.v.); the Children of the Chapel put on ''The Coxcombe'', ''Cupid’s Revenge'', and ''The Widow’s Tears''; Lady Elizabeth’s Men put on ''Cockle de Moye'' [''The Dutch Courtesan''] and ''[[Raymond Duke of Lyons]]'' (q.v.) <br />
<br />
<br />
The winter of 1612-13 was a bittersweet time for the court. Prince Henry died suddenly of a fever on 6 November 1612, yet the marriage of Princess Elizabeth to the Elector Palatine took place as scheduled on Valentine’s Day, 1613.<br />
<br />
<br />
<br />
==Probable Genre(s)==<br />
<br />
Comedy? (Harbage)<br />
<br />
<br />
<br />
==Possible Narrative and Dramatic Sources or Analogues==<br />
<br />
None known.<br />
<br />
<br />
<br />
==References to the Play==<br />
<br />
None known.<br />
<br />
<br />
<br />
==Critical Commentary==<br />
<br />
(information needed)<br />
<br />
<br />
<br />
==For What It's Worth==<br />
<br />
(information needed)<br />
<br />
<br />
<br />
==Keywords==<br />
Court [[category:Court]], Blackfriars [[category:Blackfriars]]<br />
<br />
<br />
<br />
==Works Cited==<br />
<br />
Cook, David, and F. P. Wilson (eds). “Dramatic Records in the Declared Accounts of the Treasurer of the Chamber 1558–1642.” in ''Malone Society Collections'', 1961, vi.<br />
<br />
<br />
Site created and maintained by Roslyn L. Knutson, Professor Emerita, University of Arkansas at Little Rock; updated 30 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Dramatists_(old)&diff=199
Dramatists (old)
2009-10-13T08:12:13Z
<p>Mcinnisd: </p>
<hr />
<div>'''Browse by Dramatist:''' <br />
<br />
[[Dramatists|Dramatists 1]] | [[Dramatists 2]] | [[Dramatists 3]] | [[Dramatists 4]] <br />
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{| width="900" cellspacing="1" cellpadding="1" align="left" border="0"<br />
|-<br />
! scope="col" style="text-align: left;" | Anon.<br> <br />
! scope="col" style="text-align: left;" | Anon. (cont'd)<br> <br />
! scope="col" style="text-align: left;" | Anon. (cont'd)<br><br />
|-<br />
| <br />
[[Abraham and Lot]]<br>[[Absalom]]<br>[[Abuses]]<br>[[Aeneas and Dido]]<br>[[Agamemnon and Ulysses]]<br>[[Ajax Flagellifer]]<br>[[Alice and Alexis]]<br>[[Alice Pierce]]<br>[[Almanac, The]]<br>[[Amazons]] <br>[[Angel King]]<br>[[Antic Play and a Comedy]]<br>[[Antony and Vallia]] <br>[[Ariodante and Genevora]]<br>[[Astiages]]<br>[[Author’s plot, the scene Macedonia]]<br>[[Bad Beginning Makes a Good End, A]]<br>[[Baptism of Prince Henry, The]]<br>[[Barnado and Fiammetta]]<br>[[Baxter’s Tragedy (Barkstead’s Tragedy)]]<br>[[Beauty and Housewifery]]<br>[[Belinus, Brennus]]<br>[[Bellendon]]<br>[[Bendo (or Byndo) and Richardo]]<br>[[Berowne (also Burone, & Biron)]]<br>[[Black Joan]]<br>[[Black Lady]]<br>[[Bonos Nochios]]<br>[[Brandimer]] <br>[[Branhowlte (Brunhild)]]<br>[[Bridegroom and Madman]] <br>[[Brougham Castle Entertainment]]<br>[[Buck is a Thief]]<br>[[Buckingham]] <br>[[Buckingham’s Mask]]<br>[[Burbon (i.e. Bourbon?)]]<br>[[Caesar and Pompey]] <br>[[Caesar and Pompey, Part 1]]<br>[[Caesar and Pompey, Part 2]]<br>[[Calistus]] <br>[[Capture of Stuhlweissenburg, The]]<br>[[Celestina]]<br>[[Chinon of England]]<br>[[Chirke Castle, Entertainment at]]<br>[[Christ’s Passion]]<br>[[City, The]]<br>[[City Shuffler, Part 2]]<br>[[Clorys and Orgasto]]<br>[[Cloth Breeches and Velvet Hose]]<br>[[Cobbler of Queenheath, The]]<br>[[Constantine]]<br>[[Cosmo]]<br>[[Crack Me This Nut]]<br>[[Cupid and Psyche]]<br>[[Cupid’s Festival]]<br>[[Cutlack]]<br>[[De Humfredo Aulico Confessionem Repudiante]]<br>[[Dead Man’s Fortune, The]]<br>[[Delight]]<br>[[Dido]]<br>[[Diocletian]] <br>[[Don Horatio]] <br>[[Dramatic fragment in verse]]<br>[[Dumb Bawd of Venice]]<br>[[Duns Furens]]<br>[[Dutch Painter, and the French Brawl]]<br>[[Earl of Hereford, The]]<br>[[Edinburgh Entertainmen]]t<br>[[England’s First Happiness, or The Life of St. Austin]]<br> <br />
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[[Fair Maid of Italy, The]]<br>[[Fair Maid of London, The]]<br>[[Fair Star of Antwerp]]<br>[[False Friend]] <br>[[Felix and Philomena]]<br>[[Ferrar, A History of]]<br>[[Fig for a Spaniard, A]]<br>[[Five Plays in One]]<br>[[Focas]]<br>[[Forces of Hercules, The]]<br>[[Fortunatus, Part 1]]<br>[[Fortune’s Tennis, Part 2]]<br>[[Four Seasons]]<br>[[Four Sons of Fabius (Fabii)]]<br>[[Fragment of a play, 17th cent.]]<br>[[Fragment of a play]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Francis]]<br>[[Friar Spendleton]]<br>[[Galiaso]]<br>[[Game of Cards]]<br>[[Garlic]]<br>[[General, The]]<br>[[George Scanderbeg]]<br>[[Give a Man Luck and Throw Him into the Sea]]<br>[[Godfrey of Boulogne, Part 2]]<br>[[God Speed the Plough]]<br>[[Govell’s Mask]]<br>[[Gowry]]<br>[[Gramercy Wit]]<br>[[Grecian Comedy]]<br>[[Guelphs and Ghibbelines]]<br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Heliogabalus]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry the Una]]<br>[[Henry V]]<br>[[Hercules, Part 1]]<br>[[Hercules, Part 2]]<br>[[Hester and Ahasuerus]]<br>[[Hippolytus]]<br>[[Hocus-Pocus]]<br>[[Honour in the End]]<br>[[House is Haunted]]<br>[[Hugh Aston’s Mask]]<br>[[Huon of Bordeaux]]<br>[[Invisible Knight]]<br>[[Irish Gentleman, The]]<br>[[Irish Rebellion]]<br>[[Jealous Comedy, The]]<br>[[Jerusalem]]<br>[[Jesuits Comedy]]<br>[[John of Gaunt]]<br>[[Judith]]<br>[[Julian the Apostate]]<br>[[King Ebrauk with All His Sons]]<br>[[King Lud]]<br>[[Knights of India and China, A Mask of the]]<br>[[Knot of Fools, The]]<br>[[Ladies and Boys, A Mask of]]<br> <br />
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| <br />
[[Lady Amity]]<br>[[Like unto Like]]<br>[[Locus, Corpus, Motus, etc.]]<br>[[London against the Three Ladies]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Look to the Lady]]<br>[[Lost Muse, The]]<br>[[Love and Self-Love (The Essex Entertainment)]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love’s Aftergame, or The Proxy]]<br>[[Lucretia]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Mad Priest of the Sun, The]]<br>[[Mahomet]]<br>[[Man in the Moon Drinks Claret]]<br>[[Marquis d’Ancre]]<br>[[Martin Swart, his Life and Death]]<br>[[Meleager, Publii Ovidii Nasonis]]<br>[[Merchant of Emden, The]]<br>[[Middle Temple Mask]]<br> [[Miller, The]]<br>[[Moore’s Masque]]<br>[[Muly Molloco]]<br>[[Nebuchadnezzar]]<br> [[New World's Tragedy, The]]<br>[[Nine Passions, A Mask of the]]<br>[[Ninus and Semiramis]] <br>[[Noble Grandchild]]<br>[[Octavia]]<br>[[Osmond, the great Turk]]<br>[[Osric]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Parracide]]<br>[[Parroiall (Pareil?) of Princes]]<br>[[Peaceable King, or Lord Mendall]] <br>[[Philipo and Hippolito]]<br>[[Philip of Spain]]<br>[[Phocasse (Focas)]]<br>[[Phyllida and Corin]]<br>[[Plantation of Virginia, The]]<br>[[Play of Plays and Pastimes]]<br>[[Pompey]]<br>[[Pontius Pilate]]<br>[[Pope, Cardinals, Friars]]<br>[[Pope Joan]]<br>[[Portio and Demorantes]]<br>[[Prince Henry’s Welcome to Winchester]]<br>[[Projector Lately Dead]]<br>[[Proud Maid’s Tragedy]]<br>[[Pythagoras]]<br>[[Queen Henrietta’s Mask]]<br>[[Queen’s Welcome at Theobalds, The]]<br>[[Ranger’s Comedy, The]]<br>[[Raymond Duke of Lyons]]<br>[[Richard II]]<br>[[Richard the Confessor]]<br>[[Richard Whittington]]<br>[[Ring, The]]<br>[[Robin Goodfellow]]<br>[[Robinhood and Little John]]<br>[[Roderick]]<br>[[Royal Widow of England, A]]<br>[[Bellendon|Rufus I with Life &amp; Death of Belyn Dun]]<br>[[Running (or Traveling) Mask]]<br> <br />
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|}<br />
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<br></div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Bad_Beginning_Makes_a_Good_Ending,_A&diff=469
Bad Beginning Makes a Good Ending, A
2009-10-13T08:09:59Z
<p>Mcinnisd: Created entry for Bad Beginning Makes a Good End</p>
<hr />
<div>Anon. (>1613)<br />
<br />
<br />
==Historical Records==<br />
<br />
''Accounts of the Office of the Chamber'' (MS. Rawl. A 239; Cook and Wilson, 56)<br />
<br />
:47b It''e''m paid to the said Iohn Heminges vppon the lyke warr''ant'': dated att Whitehall xx<sup>0</sup> die Maij 1613 for presentinge sixe severall playes viz one playe called a badd ‡ beginininge makes a good endinge, One other called y<sup>e</sup> Capteyne, One other the Alcumist. One other Cardenno. One other The Hotspurr. And one other called Benidicte and Bettris All played w<sup>th</sup>in the tyme of this Accompte viz p<sup>d</sup> Fortie powndes, And by waye of his Ma<sup>t''es''</sup> rewarde twentie powndes In all …… lx<sup>li</sup><br />
<br />
<br />
<br />
==Theatrical Provenance==<br />
<br />
The play was one of 20 performances by the King’s Men at court through the winter holiday season of 1612-13 (the other 14 plays named are ''Philaster'' (a second time by its sub-title, “Love Lies a-Bleeding”), ''The Knot of Fools'' (q.v.), ''Much Ado About Nothing'' (also played under the title “Benidicte and Bettris”), ''The Maid’s Tragedy'', ''The Merry Devil of Edmonton'', ''The Tempest'', ''A King and No King'', ''The Twins Tragedy'' (q.v.), ''The Winter’s Tale'', “Sir John Falstaff” (''1H4?''), ''The Nobleman'' (q.v.), and ''Caesars Tragedy'' (q.v., ''Julius Caesar''?).<br />
<br />
<br />
In addition, the Prince’s Men put on the two parts of ''The Knaves'' (q.v.); the Children of the Chapel put on ''The Coxcombe'', ''Cupid’s Revenge'', and ''The Widow’s Tears''; Lady Elizabeth’s Men put on ''Cockle de Moye'' [''The Dutch Courtesan''] and ''Raymond Duke of Lyons'' (q.v.)<br />
<br />
<br />
The winter of 1612-13 was a bittersweet time for the court. Prince Henry died suddenly of a fever on 6 November 1612, yet the marriage of Princess Elizabeth to the Elector Palatine took place as scheduled on Valentine’s Day, 1613.<br />
<br />
<br />
<br />
==Probably Genre(s)==<br />
<br />
Comedy (Harbage)<br />
<br />
<br />
<br />
==Possible Narrative and Dramatic Sources or Analogues==<br />
<br />
Though none are known specifically, it is impossible to resist considering this play as yet another domestic comedy in the mode of patient wives and prodigal husbands.<br />
<br />
<br />
<br />
==References to the Play==<br />
<br />
None known.<br />
<br />
<br />
<br />
==Critical Commentary==<br />
<br />
(information needed)<br />
<br />
<br />
<br />
==For What It's Worth==<br />
<br />
(information needed)<br />
<br />
<br />
<br />
==Keywords==<br />
<br />
Court [[category:Court]], Blackfriars [[category:Blackfriars]]<br />
<br />
<br />
<br />
==Works Cited==<br />
<br />
Cook, David, and F. P. Wilson (eds). “Dramatic Records in the Declared Accounts of the Treasurer of the Chamber 1558–1642.” in ''Malone Society Collections'', 1961, vi.<br />
<br />
<br />
Site created and maintained by Roslyn L. Knutson, Professor Emerita, University of Arkansas at Little Rock; updated 30 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Blind_Eats_Many_a_Fly,_The&diff=440
Blind Eats Many a Fly, The
2009-10-13T07:56:59Z
<p>Mcinnisd: Created entry for Blind Eats Many a Fly, The</p>
<hr />
<div>Thomas Heywood (1603)<br />
<br />
==Historical Records==<br />
<br />
''Henslowe’s Diary'', Payments:<br />
<br />
:Pd vnto Thomas hewode the 24 novmb''e''r<br />
:160[3]2 in p''ar''te of payment of his playe called<br />
:the blinde eates many a flye the some of …… iij<sup>li</sup><br />
:F. 118 (Greg I. 185)<br />
<br />
<br />
:Lent vnto the companye the 15 of desemb''er''<br />
:1602 to paye vnto Thomas hewode Jn p''ar''te<br />
:of paymente for his playe called the blinde<br />
:eates many a fley the some of …… xxx<sup>s</sup><br />
:F. 118<sup>v</sup> (Greg I. 186)<br />
<br />
<br />
:Lent vnto the companye the 7 of Janewary 1602<br />
:to paye nvto m<sup>r</sup> hawode in fulle payment for <br />
:his playe called the blinde eates many a flye<br />
:the some of …… xxx<sup>s</sup><br />
:F. 118<sup>v</sup> (Greg I. 186)<br />
<br />
<br />
<br />
==Theatrical Provenance==<br />
<br />
The play belonged to Worcester’s Men, who leased the Rose playhouse in August 1602 where they played through May 1603.<br />
<br />
<br />
<br />
==Probable Genre(s)==<br />
<br />
Comedy (Harbage)<br />
<br />
<br />
<br />
==Possible Narrative and Dramatic Sources or Analogues==<br />
<br />
(information needed)<br />
<br />
<br />
<br />
==References to the Play==<br />
<br />
(information needed)<br />
<br />
<br />
<br />
==Critical Commentary==<br />
<br />
Greg comments without enthusiasm on F. G. Fleay’s association of the play with “The English Traveler.” Observing also that the title is a proverbial phrase, he mentions a ballad “of Lydgate’s ‘warning men to beware of deceitful women,’ which has the opening words, “Loke wel aboute” (II. 233-4, Item 274).<br />
<br />
<br />
<br />
==For What It's Worth==<br />
<br />
There is another ballad, “The Blynd eates many a Flye; or, The Broken Damsel made whole.” It tells the story of a young country girl, pregnant by a local boy, who goes to London and finds “a Master” (l.3), an old, rich widower. The widower woos her ardently, but she holds him off with false claims that she has both wealth and suitors awaiting her at home. Undeterred, he signs a set of articles whereby he cannot see a dowry from her father, call her children bastards to lift a charge of cuckoldry from himself, and become jealous if she parties with other men. With this protection in place, the pair call for a priest and are married. Three days later, the new wife is brought to bed with twins, a boy and girl. The husband protests to the midwife, who brushes him off, reminding him that he now has a young wife and an heir, so he should be satisfied. The couple travel into the country, where the husband learns that his wife has grossly misrepresented her background. Nonetheless he accepts his fate: “I married you in haste and speed, but may repent at leisure./ ''The Blind'', I see, ''catch many a Flie'', and I must be contented” (ll. st. 12, ll. 2-3). The song ends with a jest that Londoners send broken goods to the country, but the country sends broken lasses to the city, where they “be made whole again” (st.14, l.6).<br />
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<br />
==Keywords==<br />
<br />
Ballad [[category:ballad]], January/May marriage [[category:January/May marriage]], pregnancy out of wedlock [[category: pregnancy out of wedlock]]<br />
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<br />
<br />
==Works Cited==<br />
<br />
''Roxburghe Ballads'', Hindley ed, vol. 8, pp. 684-5.<br />
<br />
<br />
Site created and maintained by Roslyn L. Knutson, Professor Emerita, University of Arkansas, Little Rock; updated, 30 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=God_Speed_the_Plough&diff=412
God Speed the Plough
2009-10-13T07:41:47Z
<p>Mcinnisd: Created entry for God Speed the Plough</p>
<hr />
<div>Anon. (1594) <br />
<br />
<br />
<br />
== Historical Records ==<br />
<br />
''Henslowe’s Diary'',&nbsp;F.8<sup>v</sup> (Greg I. 16):<br />
<br />
:Jn the name of god Amen begninge the 27 of <br />
:desem[r] 1593 the earle of susex his men <br><br />
<br />
{| cellspacing="1" cellpadding="1" align="left" border="0" style="width: 471px; height: 51px;"<br />
|-<br />
| R[d] at good spede the plowghe . . . . . . . . .<br> <br />
| iij<sup>ll</sup> j<sup>s</sup><br><br />
|-<br />
| R[d] at god spead the plowe the 5 of Jenewary 1593 . . . .<br> <br />
| xj<sup>s</sup><br><br />
|}<br />
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<br><br />
<br><br />
== Theatrical Provenance ==<br />
<br />
Beginning on 27 December 1593, Sussex’s Men leased the Rose and played 12 plays through 6 February 1594. ''God Speed the Plough'' was their first offering of the new run (27 Dec); it is not marked “ne.” It received two performances and returned an average of 36s. to Henslowe. <br />
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== Probable Genre(s) ==<br />
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Comedy? (Harbage) <br />
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== Possible Narrative and Dramatic Sources or Analogues ==<br />
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:John harrison Junior filius Johnnis harrison Senior <br />
:Entred for his Copye vnder the handes of master PASFEILD and the wardens A <br />
:booke called GOD spede the ploughe; Book; 1 March 1601 <br />
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== References to the Play ==<br />
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None known. <br />
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== Critical Commentary ==<br />
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Greg notes the registration of the book, “God Speed the Plough,” on 1 March 1601, adding that the phrase was proverbial (II.157, Item 27). <br />
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== For What It’s Worth ==<br />
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A ballad entitled “God speed the Plow, and bless the corn-mow, A Dialogue between the husband-man and the Serving-man” ([http://www.archive.org/stream/p3roxburgheballa06chapuoft#page/522/mode/2up Roxburghe ballads]), is basically estate morality, with each man praising the pleasures of his profession. Predictably, the serving man likes the up-scale, busy, urban life, while the ploughman likes the joys of agricultural life and husbandry. It is an exchange not unlike the meeting of Touchstone and Corin in ''As You Like It'' ([http://internetshakespeare.uvic.ca/Library/Texts/AYL/M/Scene/3.2 Internet Shakespeare Editions]). <br />
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The proverbial phrase is not totally archaic; David Mamet wrote a play in 1988 called ''Speed-the-Plow''. <br />
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== Keywords ==<br />
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Estate satire, country life <br />
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== Works Cited ==<br />
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Ebsworth, J. Woodfall (ed). ''The Roxburghe Ballads''. vol. 6, part 3. Hertford: Printed for the Ballad Society by Stephen Austin and sons, 1888. pp. 521-25. [http://www.archive.org/stream/p3roxburgheballa06chapuoft#page/522/mode/2up Archive.org]<br />
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Site created and maintained by Roslyn L. Knutson, Professor Emerita, University of Arkansas at Little Rock; updated, 30 August 2009. <br />
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[[Category:Estate_satire]] [[Category:Country_life]]</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Auspices_Old&diff=251
Auspices Old
2009-10-13T07:32:00Z
<p>Mcinnisd: </p>
<hr />
<div>'''Browse by Auspices:''' <br />
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[[Auspices|Auspices 1]] | [[Auspices 2]] | [[Auspices 3]] | [[Auspices 4]] <br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Auspices_Old&diff=250
Auspices Old
2009-10-13T07:23:32Z
<p>Mcinnisd: </p>
<hr />
<div>'''Browse by Auspices:''' <br />
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[[Auspices|Auspices 1]] | [[Auspices 2]] | [[Auspices 3]] | [[Auspices 4]] <br />
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{| width="900" cellspacing="1" cellpadding="1" align="left" border="0"<br />
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! style="text-align: left;" scope="col" | Admiral's (cont'd)<br />
|-<br />
| <br />
[[Agamemnon]]<br>[[Alexander and Lodowick]]<br>[[Alice Pierce]]<br>[[All Is Not Gold That Glisters]]<br>[[Antony and Vallia]]<br>[[Arcadian Virgin]]<br>[[Arthur, King of England]]<br>[[As Merry as May Be]]<br>[[Barnado and Fiammetta]]<br>[[Bear a Brain, or Better Late Than Never]]<br>[[Bendo (or Byndo) and Richardo]]<br>[[Black Batman of the North, Part 1]]<br>[[Black Batman of the North,Part 2]]<br>[[Black Joan]]<br>[[Blind Beggar of Bednal Green (Tom Strowd),Part 2]]<br>[[Blind Beggar of Bednal Green (Tom Strowd), Part 3]]<br>[[Boss of Billingsgate, The]]<br>[[Brandimer]]<br>[[Branhowlte (Brunhild)]]<br>[[Bristow Tragedy]]<br>[[Burbon (i.e. Bourbon?)]]<br>[[Caesar and Pompey, Part 1]]<br>[[Caesar and Pompey, Part 2]]<br>[[Caesar’s Fall]]<br>[[Catiline’s Conspiracy (Catiline)]]<br>[[Chance Medley]]<br>[[Chinon of England]]<br>[[Civil Wars of France, Parts 1, 2 and 3]]<br>[[Clorys and Orgasto]]<br>[[Cobbler of Queenheath, The]]<br>[[Connan, Prince of Cornwall]]<br>[[Conquest of Brute, Part 1]]<br>[[Conquest of Brute, Part 2]]<br>[[Conquest of Spain by John a Gaunt, The]]<br>[[Conquest of the West Indies, The]]<br>[[Constantine]]<br>[[Cosmo]]<br>[[Cox of Collumpton]]<br>[[Crack Me This Nut]]<br>[[Cupid and Psyche (The Golden Ass)]]<br>[[Cutlack]]<br>[[Damon and Pithias]]<br>[[Danish Tragedy]] <br>[[Dido]]<br>[[Diocletian]]<br>[[Disguises, or Love in Disguise, a Petticoat Voyage]]<br>[[Don Horatio]]<br>[[Earl Godwin and His Three Sons, Parts 1 and 2]]<br>[[Earl of Hereford, The]]<br>[[English Fugitives, The]]<br>[[Fair Constance of Rome, Part 1]]<br>[[Fair Constance of Rome, Part 2]]<br>[[Famous Wars of Henry I and the Prince of Wales (The Welshman’s Prize)]]<br>[[Felmelanco]]<br>[[Ferrex and Porrex]]<br>[[First Introduction of the Civil Wars of France, The]]<br>[[Five Plays in One]]<br>[[Fortunatus, Part 1]]<br>[[Fortune’s Tennis, Part 1]]<br>[[Fortune’s Tennis, Part 2]]<br>[[Fount(ain) of New Fashions, The]]<br>[[Four Kings, The]]<br>[[Four Sons of Aymon, The]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Rush and the Proud Woman of Antwerp]]<br>[[Friar Spendleton]]<br>[[Funeral of Richard Coeur de Lion, The]]<br> <br />
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[[Galiaso]]<br>[[Godfrey of Boulogne, Part 2]]<br>[[Grecian Comedy]] <br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[Hannibal and Hermes, Part 1]]<br>[[Hannibal and Scipio]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry V]]<br>[[Henry Richmond, Part 2]]<br>[[Hercules, Part 1]]<br>[[Hercules, Part 2]]<br>[[Hester and Ahasuerus]]<br>[[Hot Anger Soon Cold]]<br>[[Humorous Earl of Gloucester, with His Conquest of Portugal, The]]<br>[[Italian Tragedy, The]]<br>[[Jepthah]]<br>[[Joan as Good as My Lady]]<br>[[John a Kent and John a Cumber]]<br>[[Joshua]]<br>[[Judas]]<br>[[Julian the Apostate]]<br>[[Jurgurtha (King of Numidia)]]<br>[[Life of Cardinal Wolsey, The]]<br>[[London Florentine, Part 1]]<br>[[London Florentine, Part 2]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love Parts Friendship]]<br>[[Love Prevented]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Madman’s Morris, The]]<br>[[Mahomet]]<br>[[Malcolm, King of Scots]]<br>[[Martin Swart, his Life and Death]]<br>[[Merchant of Emden, The]]<br>[[Miller, The]]<br>[[Mother Redcap]]<br>[[Mulmutius Dunwallow]]<br>[[Nebuchadnezzar]]<br>[[New World's Tragedy, The]]<br>[[Orestes’ Furies]]<br>[[Orphans’ Tragedy, The]]<br>[[Osric]]<br>[[Owen Tudor]]<br>[[Page of Plymouth]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Pastoral Tragedy, A]]<br>[[Phaeton]]<br>[[Philip of Spain]]<br>[[Philipo and Hippolito]]<br>[[Phocasse (Focas)]]<br>[[Pierce of Exton]]<br>[[Pierce of Winchester]]<br>[[Pope Joan]]<br>[[Poor Man’s Paradise, The]]<br>[[Pythagoras]]<br>[[Randall, Earl of Chester (Chester’s Tragedy)]]<br>[[Richard Crookback]]<br>[[Rising of Cardinal Wolsey, The]]<br>[[Robert II, King of Scots (The Scot’s Tragedy)]]<br>[[Robin Hood’s Pennyworths]] <br />
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[[Scogan and Skelton]]<br>[[Sebastian, King of Portugal]]<br>[[Seleo and Olympio (Seleo and Hengenyo)]]<br>[[Set at Maw, The]]<br>[[Set at Tennis, The]]<br>[[Seven Days of the Week, Part 1]]<br>[[Seven Days of the Week, Part 2]]<br>[[Seven Wise Masters, The]]<br>[[Siege of Dunkirk, with Alleyn the Pirate, The]]<br>[[Siege of London, The]]<br>[[Singer’s Voluntary]]<br>[[Sir John Mandeville]]<br>[[Sir John Oldcastle, Part 2]]<br>[[Six Clothiers of the West, Part 1]]<br>[[Six Clothiers of the West, Part 2]]<br>[[Six Yeomen of the West, The]]<br>[[Spanish Fig, The]]<br>[[Spensers, The]]<br>[[Stepmother’s Tragedy, The]]<br>[[Strange News out of Poland]]<br>[[Sturgflatery|Sturgflatery (Stark Flattery? Strange Flattery?)]]<br>[[Tamar Cham, Part 1]] <br>[[Tamar Cham, Part 2]] <br>[[Tasso’s Melancholy]]<br>[[That Will Be Shall Be]]<br>[[Tinker of Totness, The]]<br>[[Toy to Please Chaste Ladies, A]]<br>[[Triangle (or Triplicity) of Cuckolds, The]]<br>[[Thomas Merry (Beech’s Tragedy)]]<br>[[Time’s Triumph and Fortus]]<br>[[‘Tis No Deceit to Deceive the Deceiver]]<br>[[Tobias]]<br>[[Tom Dough, Part 2]]<br>[[Too Good to Be True]]<br>[[Tristram de Lyons]]<br>[[Troilus and Cressida]]<br>[[Troy]]<br>[[Troy’s Revenge, with the Tragedy of Polyphemus]]<br>[[Truth’s Supplication to Candlelight]]<br>[[Turkish Mahomet and Hiren the Fair Greek]]<br>[[Two Angry Women of Abington, Part 2]]<br>[[Two Merry Women of Abington]]<br>[[Uther Pendragon]]<br>[[Valentine and Orson]]<br>[[Vayvode]]<br>[[Venetian Comedy, The]]<br>[[Vortigern]]<br>[[War without Blows and Love without Suit (or Strife)]]<br>[[Warlamchester]]<br>[[Welshman, The]]<br>[[Widow’s Charm, The]]<br>[[William Cartwright]]<br>[[William Longsword (William Longbeard)]]<br>[[Wise Man of West Chester, The]]<br>[[Witch of Islington, The]]<br>[[Woman Hard to Please, A]]<br>[[Woman’s Tragedy, The]]<br>[[Wonder of a Woman, The]]<br>[[Wooing of Death, The]]<br>[[World Runs Well on Wheels, or All Fools but the Fool]]<br>[[Worse Afeared Than Hurt, Part 2 (Hannibal and Hermes, Part 2)]]<br>[[Zenobia|Zenobia<br>]] <br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Dramatists_(old)&diff=198
Dramatists (old)
2009-10-13T06:44:53Z
<p>Mcinnisd: </p>
<hr />
<div>'''Browse by Dramatist:''' <br />
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[[Dramatists|Dramatists 1]] | [[Dramatists 2]] | [[Dramatists 3]] | [[Dramatists 4]] <br />
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[[Fair Maid of Italy, The]]<br>[[Fair Maid of London, The]]<br>[[Fair Star of Antwerp]]<br>[[False Friend]] <br>[[Felix and Philomena]]<br>[[Ferrar, A History of]]<br>[[Fig for a Spaniard, A]]<br>[[Five Plays in One]]<br>[[Focas]]<br>[[Forces of Hercules, The]]<br>[[Fortunatus, Part 1]]<br>[[Fortune’s Tennis, Part 2]]<br>[[Four Seasons]]<br>[[Four Sons of Fabius (Fabii)]]<br>[[Fragment of a play, 17th cent.]]<br>[[Fragment of a play]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Francis]]<br>[[Friar Spendleton]]<br>[[Galiaso]]<br>[[Game of Cards]]<br>[[Garlic]]<br>[[General, The]]<br>[[George Scanderbeg]]<br>[[Give a Man Luck and Throw Him into the Sea]]<br>[[Godfrey of Boulogne, Part 2]]<br>[[God Speed the Plough]]<br>[[Govell’s Mask]]<br>[[Gowry]]<br>[[Gramercy Wit]]<br>[[Grecian Comedy]]<br>[[Guelphs and Ghibbelines]]<br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Heliogabalus]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry the Una]]<br>[[Henry V]]<br>[[Hercules, Part 1]]<br>[[Hercules, Part 2]]<br>[[Hester and Ahasuerus]]<br>[[Hippolytus]]<br>[[Hocus-Pocus]]<br>[[Honour in the End]]<br>[[House is Haunted]]<br>[[Hugh Aston’s Mask]]<br>[[Huon of Bordeaux]]<br>[[Invisible Knight]]<br>[[Irish Gentleman, The]]<br>[[Irish Rebellion]]<br>[[Jealous Comedy, The]]<br>[[Jerusalem]]<br>[[Jesuits Comedy]]<br>[[John of Gaunt]]<br>[[Judith]]<br>[[Julian the Apostate]]<br>[[King Ebrauk with All His Sons]]<br>[[King Lud]]<br>[[Knights of India and China, A Mask of the]]<br>[[Knot of Fools, The]]<br>[[Ladies and Boys, A Mask of]]<br> <br />
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| <br />
[[Lady Amity]]<br>[[Like unto Like]]<br>[[Locus, Corpus, Motus, etc.]]<br>[[London against the Three Ladies]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Look to the Lady]]<br>[[Lost Muse, The]]<br>[[Love and Self-Love (The Essex Entertainment)]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love’s Aftergame, or The Proxy]]<br>[[Lucretia]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Mad Priest of the Sun, The]]<br>[[Mahomet]]<br>[[Man in the Moon Drinks Claret]]<br>[[Marquis d’Ancre]]<br>[[Martin Swart, his Life and Death]]<br>[[Meleager, Publii Ovidii Nasonis]]<br>[[Merchant of Emden, The]]<br>[[Middle Temple Mask]]<br> [[Miller, The]]<br>[[Moore’s Masque]]<br>[[Muly Molloco]]<br>[[Nebuchadnezzar]]<br> [[New World's Tragedy, The]]<br>[[Nine Passions, A Mask of the]]<br>[[Ninus and Semiramis]] <br>[[Noble Grandchild]]<br>[[Octavia]]<br>[[Osmond, the great Turk]]<br>[[Osric]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Parracide]]<br>[[Parroiall (Pareil?) of Princes]]<br>[[Peaceable King, or Lord Mendall]] <br>[[Philipo and Hippolito]]<br>[[Philip of Spain]]<br>[[Phocasse (Focas)]]<br>[[Phyllida and Corin]]<br>[[Plantation of Virginia, The]]<br>[[Play of Plays and Pastimes]]<br>[[Pompey]]<br>[[Pontius Pilate]]<br>[[Pope, Cardinals, Friars]]<br>[[Pope Joan]]<br>[[Portio and Demorantes]]<br>[[Prince Henry’s Welcome to Winchester]]<br>[[Projector Lately Dead]]<br>[[Proud Maid’s Tragedy]]<br>[[Pythagoras]]<br>[[Queen Henrietta’s Mask]]<br>[[Queen’s Welcome at Theobalds, The]]<br>[[Ranger’s Comedy, The]]<br>[[Raymond Duke of Lyons]]<br>[[Richard II]]<br>[[Richard the Confessor]]<br>[[Richard Whittington]]<br>[[Ring, The]]<br>[[Robin Goodfellow]]<br>[[Robinhood and Little John]]<br>[[Roderick]]<br>[[Royal Widow of England, A]]<br>[[Bellendon|Rufus I with Life &amp; Death of Belyn Dun]]<br>[[Running (or Traveling) Mask]]<br> <br />
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|}<br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Category:Travel&diff=411
Category:Travel
2009-10-13T06:40:32Z
<p>Mcinnisd: Created page with 'The following plays have been added to this category because they are ''about'' travel, ''refer to'' travel, ''incorporate'' travel, or are at least ''set'' abroad.'</p>
<hr />
<div>The following plays have been added to this category because they are ''about'' travel, ''refer to'' travel, ''incorporate'' travel, or are at least ''set'' abroad.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Main_Page&diff=4
Main Page
2009-10-13T06:38:44Z
<p>Mcinnisd: </p>
<hr />
<div><!-- Lost Plays Database Introduction --><br />
{| id="mp-upper" style="margin:0; background:none;"<br />
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<br />
The ''Lost Plays Database'' is a wiki-style forum for scholars to share information about lost plays in England, 1580-1642. Its purpose is to add lost plays to scholarly discussions of early modern theatrical activity.<br />
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<br />
The editors believe that lost plays are a potential source of significant information on playwrights, playing companies, venues in London and the provinces, repertory studies, and audiences. The database provides a web-accessible, web-editable site for data on these plays concerning theatrical provenance, sources, genre, and authorship.<br />
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Users of the ''Lost Plays Database'' will find information drawn from the following, as applicable:<br />
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• Stationers’ Register<br />
<br />
• Henslowe's Diary<br />
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• Legal records<br />
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• Narrative and dramatic sources <br />
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• Scholarly commentary<br />
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• Online databases and digital archives<br />
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<br />
Unlike many public wikis, the ''Lost Plays Database'' is not open to public editing: for quality control, potential contributors must apply to the editors for contributing privileges (see [[HowtoContribute|How to Contribute]]).<br />
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<div style="text-align: center;">All content © ''Lost Plays Database'', 2009.</div><br />
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</div><br />
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{| id="mp-right" style="width:100%; vertical-align:top; background:#ffffff;"<br />
! style="padding:2px" | <h2 id="mp-tfa-h2" style="margin:3px; background:#C8B560; font-size:120%; font-weight:bold; border:1px solid #C8B560; text-align:left; color:#000; padding:0.2em 0.4em;">Demo Links</h2><br />
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* [[God Speed the Plough]]<br />
<br />
* [[Blind Eats Many a Fly, The | The Blind Eats Many a Fly]]<br />
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* [[Bad Beginning Makes a Good End, A | A Bad Beginning Makes a Good End]] <br />
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* [[Bellendon]]<br />
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*[[Knot of Fools, The | The Knot of Fools]]<br />
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*[[New World's Tragedy, The | The New World's Tragedy]]<br />
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*[[Hungarian Lion, The | The Hungarian Lion]]<br />
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*[[Conquest of the West Indies, The | The Conquest of the West Indies]]<br />
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*[[Plantation of Virginia, The |The Plantation of Virginia]]<br />
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*[[Stately Tragedy of the Great Cham| A Stately Tragedy of the Great Cham]]<br />
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*[[Tanner of Denmark, The | The Tanner of Denmark]]<br />
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*[[Saint Christopher]]<br />
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*[[Fortunatus, Part 1]]<br />
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*[[Titus and Vespasian]]<br />
</div></div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Hungarian_Lion,_The&diff=403
Hungarian Lion, The
2009-10-13T06:33:48Z
<p>Mcinnisd: Created entry for Hungarian Lion, The</p>
<hr />
<div>Richard Gunnell (1623)<br />
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== Historical Records ==<br />
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Licensing (Herbert 26): <br />
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1623, December 4. “For the Palsgrave’s Players; The Hungarian Lion: Written by Gunnel.” (S. A. 216.)<br />
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== Theatrical Provenance ==<br />
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Licensed for Palsgrave’s Men who were at the new Fortune at this time; Gunnell (as Adams notes) being “a distinguished actor” and their manager (Herbert 26n). They had moved into this theatre only months before, when its construction had been completed.<br />
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== Probable Genre(s) ==<br />
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Foreign history (?) (Harbage); “obviously a comedy” (Adams 389); Eastern; History.<br />
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== Possible Narrative and Dramatic Sources or Analogues ==<br />
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Unknown, though Barbour and Shields (see "[[#Critical commentary|Critical commentary]]" below) maintain that the play’s subject matter was the life of Captain John Smith. The information provided by Smith himself as a corrective to the stage version of his adventures was published in 1630, which is too late for a source (see "[[#References to the play|References to the play]]"), but this information must have been known to Gunnell and others previously, through other means. Gunnell’s personal acquaintance with Smith (see "[[#For what it’s worth|For what it's worth]]") may have been the unusually direct avenue of information.<br />
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Smith’s epitaph provides some indication of what his contemporaries found most memorable about his life:<br />
:Here lyes one conquered that hath conquered Kings.<br />
:Subdu’d large Territories, and done things<br />
:Which to the World impossible would seem,<br />
:But that the Truth is held in more esteem.<br />
:Shall I report his former Service done<br />
:In honour of his God and Christendom?<br />
:How that he did divide from Pagans three<br />
:Their Heads and Lives, Types of his Chivalry?<br />
:For which great Service in that Climate done,<br />
:Brave Sigismundus, King of Hungarion,<br />
:Did give him as a Coat of Armes to wear,<br />
:These Conquered Heads got by his Sword and Spear.<br />
:Or shall I tell of his Adventures since,<br />
:Done in Virginia, that large Continent?<br />
:How that he subdu’d Kings unto his Yoke,<br />
:And made those Heathen flee, as Wind doth Smoke:<br />
:And made their land, being of so large a Station,<br />
:An Habitation for our Christian Nation,<br />
:Where God is glorify’d, their Wants supply’d;<br />
:Which else, for Necessaries must have dy’d.<br />
:But what avails his Conquests, now he lyes<br />
:Interr’d in Earth, a Prey to Worms and Flyes?<br />
:O! May his Soul in sweet Elysium sleep,<br />
:Until the Keeper that all Souls doth keep,<br />
:Return to Judgment; and that after thence,<br />
:With Angels he may have his Recompence. <br />
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(“Original Epitaph in St. Sepulchre’s Church, London,” in Barbour, ''Complete Works'' III.390).<br />
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== References to the Play ==<br />
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In the dedication to Pembroke, Lindsey and Dover in his 1630 folio ''The True Travels'', Captain John Smith (of Pocahontas fame) claimed with mixed feelings that his colourful adventures had been adapted for the stage:<br />
<blockquote>Sir Robert Cotton, that most learned Treasurer of Antiquitie, having by perusall of my Generall Historie, and others, found that I had likewise undergone divers other as hard hazards in the other parts of the world, requested me to fix the whole course of my passages in a booke by it selfe, whose noble desire I could not but in part satisfie; the rather, because they have acted my fatall Tragedies upon the Stage, and racked my Relations at their pleasure. To prevent therefore all future misprisions, I have compiled this true discourse. (A2<sup>r-v</sup>)</blockquote><br />
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Richard James’s commendation in Smith’s ''True Travels'' (A5) also refers to the play, as Barbour (“London Theatre”) was the first to notice:<br />
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::''To my worthy friend, Captaine John Smith''.<br />
:Deare noble Captaine, who by Sea and Land,<br />
:To act the earnest of thy name hast hand<br />
:And heart; who canst with skill designe the Fort,<br />
:The Leaguer, Harbour, City, Shore, and Port:<br />
:Whose sword and pen in bold, ruffe, Martiall wise,<br />
:Put forth to try and beare away the prize,<br />
:From ''Caesar'' and ''Blaize Monluc'': Can it be,<br />
:That Men alone in ''Gonnels'' fortune see<br />
:Thy worth advanc’d? no wonder since our age,<br />
:Is now at large a Bedlam or a Stage.<br />
::RICH. IAMES.<br />
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== Critical Commentary ==<br />
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Bentley acknowledges that nothing is known of the play (other than Herbert’s licence for it), but speculates as follows:<br />
<blockquote>Since the Thirty Years War was a subject of great interest in England in the 1620’s, it seems possible that Gunnell’s play may have concerned one of the Protestant figures in the war, or an historic predecessor whose career might seem suggestive. Such a subject would have been appropriate for a company whose patron was the Winter King of Boehmia. Bethlen Gabor seems a likely figure, but the Master of the Revels might have considered him too timely. (IV.518)</blockquote><br />
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Burian adds The Hungarian Lion to his appendix of Elizabethan/Jacobean plays dealing (partly or entirely) with Turkish themes (229).<br />
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Engaging directly with Bentley, Barbour (“London Theatre”) notes that <br />
<blockquote>Gábor Bethlen has been postulated as a likely central figure. But John Smith’s quasi-hero Sigismundus (Zsigmond) Báthory was also a Hungarian (Transylvanian) leader in the earlier “Long War” against the Turks, ''and'' the Habsburgs, off and on. Within the framework of sheer guessing, Báthory was as good a candidate for the “Lion” as Bethlen. (278-79).</blockquote><br />
Barbour appears to be the first to notice the allusion in Richard James’s verse (above) to the stage play, and comments on it as follows: <br />
<blockquote>In these lines, then, we have a clear, independent statement that some scene or scenes from Smith’s life had been presented ‘upon the stage’ at the Fortune Theatre, where Gunnell is known to have been manager. Whether “The Hungarian Lion” was the play, or Bethlen or Báthory the central figure, is of little importance. The statement in the Dedication of Smith’s ''True Travels'' is here borne out. (279)</blockquote><br />
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Following Barbour, David S. Shields discusses the lost play at length:<br />
<blockquote>Smith was the rare Elizabethan who saw his own life celebrated on the stage. Richard Gunnell’s ''Hungarian Lion'' (1623) celebrated Smith’s service on behalf of the prince of Hungary in the war against the Ottoman Turks. If some filmmaker of the future wished to break the thrall of Pocahontas on the popular imagining of Smith’s life and present a new film narrative, the opening scene would be Smith in the audience of the New Fortune playhouse witnessing with profound discomfort his representation as a miles gloriosus, inventing signal systems and beheading Turks. From the remarks of one of the poets prefacing a New England tract, we know Smith had mixed feelings about the play. His pride as a martial man was gratified, yet he knew that he had ceased to be that man. He struggled toward another identity, that of a man of learning. (492-93).</blockquote><br />
Shields also confidently asserts that “[i]n 1623, Richard Gunnell, master of the New Fortune playhouse, staged ''The Hungarian Lion'', banking on the enduring popular interest in the contest of the Ottoman Turks with Christendom. A caricature of Smith appeared conspicuously in the action.<br />
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== For What It's Worth ==<br />
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Gunnell also wrote a commendatory verse for Smith’s Description of New England (London, 1616) (A2<sup>v</sup>), which suggests the two men’s friendship began at least 7 years earlier than the performance of ''The Hungarian Lion'':<br />
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::''To that worthy and generous Gentleman, my very good friend'', Captaine Smith.<br />
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:May Fate thy Proiect prosper, that thy name<br />
:May be eternised with liuing fame:<br />
::Though foule Detraction Honour would peruert,<br />
::And Enuie euer waits vpon desert:<br />
:In spight of ''Pelias'', when his hate lies colde,<br />
:Returne as ''Iason'' with a fleece of Golde.<br />
::Then after-ages shall record thy praise,<br />
::That a ''New England'' to this Ile didst raise:<br />
:And when thou dy’st (as all that liue must die)<br />
:Thy fame liue heere, thou, with Eternitie.<br />
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::R: GUNNELL<br />
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Barbour provides biographical information on the two candidates for the “Hungarian Lion”: <br />
<blockquote> Gábor Bethlen (1580-1629) was Prince of Transylvania from 1613 until well into the Thirty Years War (1618-1648). Zsigmond Báthory (1572-1613) … had been hereditary ruler 1580-1601, but had abdicated. It was he from whom John Smith received the right to wear “Three Turks’ Heads” on his shield. (“London Theatre” 278n) </blockquote><br />
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== Keywords ==<br />
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Captain John Smith [[category:Captain John Smith]], Thirty Years War [[category:Thirty Years War]], Gábor Bethlen, Zsigmond Báthory, Prince of Hungary [[category:Hungary]], Turks [[category:Turks]], Eastern [[category:Eastern]], miles gloriosus, Richard Gunnell.<br />
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== Works Cited ==<br />
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Adams, Joseph Quincy. ''Shakespearean Playhouses. A History of English Theatres from the Beginnings to the Restoration''. London: Constable, 1917. Print. [http://www.archive.org/details/shakespeareanpl00adamgoog (archive.org)] <br />
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Barbour, Philip L. “Captain John Smith and the London Theatre.” ''The Virginia Magazine of History and Biography'' 83.3 (1975): 277-79. Print. [http://www.jstor.org/stable/4247962 JSTOR.] <br />
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Barbour, Philip L., ed. ''The Complete Works of Captain John Smith''. 3 vols. Chapel Hill: University of North Carolina Press, 1986. Print.<br />
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Burian, Orhan. “Interest of the English in Turkey as Reflected in English Literature of the Renaissance.” ''Oriens'' 5.2 (1952): 209-229. Print.<br />
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Shields, David S. “The Genius of Ancient Britain.” ''The Atlantic World and Virginia, 1550-1624''. ed. Peter C. Mancall. Chapel Hill: University of North Carolina Press, 2007. 489-509. Print.<br />
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Smith, John. ''A description of New England: or The obseruations, and discoueries, of Captain Iohn Smith (admirall of that country) in the north of America, in the year of our Lord 1614''. London, 1616. Print. (EEBO)<br />
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Smith, John. ''The True Travels, Adventures, and Observations of Captaine Iohn Smith, In Europe, Asia, Affrica, and America, from Anno Domini 1593. to 1629''. London, 1630. Print. (EEBO)<br />
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Site created and maintained by David McInnis, University of Melbourne; updated, 02 September 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Titus_and_Vespasian&diff=380
Titus and Vespasian
2009-10-13T06:29:16Z
<p>Mcinnisd: Created entry for Titus and Vespasian</p>
<hr />
<div>Anon. (1591/2) <br />
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== Historical Records ==<br />
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=== Henslowe's Diary ===<br />
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{| width="650" cellspacing="1" cellpadding="1" align="left" border="0"<br />
|-<br />
| F.7<sup>v</sup> (Greg I.14):<br> <br />
| ne . . .<br> <br />
| R[d] at tittus &amp; vespacia the 11 of ap<sup>r</sup>ell 1591 . . . . . .<br> <br />
| iiij<sup>ll</sup> iiij<sup>s</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| R[d] at tittus &amp; vespacia the 20 of ap<sup>r</sup>ell 1591 . . . . . .<br> <br />
| lvj<sup>s</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| R[d] at titus &amp; vespacia the 3 of maye 159[1]2 . . . . . .<br> <br />
| lvij<sup>s</sup> vj<sup>d</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| R[d] at tittus &amp; vespacia the 8 of maye 1592 . . . . . .<br> <br />
| xxx<sup>s</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| R[d] at tittus &amp; vespacia the 15 of maye 1592 . . . . . .<br> <br />
| iij<sup>ll</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| R[d] at titus &amp; vespacia the [16] 24 of maye 1592 . . .<br> <br />
| xxx<sup>s</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| <br> <br />
| <br><br />
|-<br />
| F.8 (Greg I.15):<br> <br />
| <br> <br />
| R[d] at tittus &amp; vespacia the 6 of June 1592 . . . . . .<br> <br />
| xxxxij<sup>s</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| R[d] at titvs the 6 of Jenewary 1592 . . . . . . <br> <br />
| lij<sup>s</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| R[d] at tittus the 15 of Jenewary 1593 . . . . . . <br> <br />
| xxx<sup>s</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| R[d] at titus the 25 of Jenewary 1593 . . . . . . <br> <br />
| xxx<sup>s</sup><br><br />
|}<br />
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[NB. Against the objection that “titvs”, “tittus” and “titus” (the final 3 entries) might refer to Shakespeare’s ''Titus'', it should be noted that ''Titus Andronicus'' appears as a new play (i.e. marked “ne”) only after these entries: “R[d] at titus &amp; ondronicus the 23 of Jenewarye . . . . . . iij<sup>ll</sup> viij<sup>s</sup>” (''Henslowe's Diary'' F.8<sup>v</sup>; Greg I.16). Furthermore, when Henslowe does abbreviate ''Titus Andronicus'', he dubs it “ondronicus”, not “Titus”; see F.9 / Greg I.17, entries for 5 and 12 June 1594.] <br />
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=== Cotton MS. Tiberius E. X. ===<br />
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In 1925 Frank Marcham transcribed and published the contents of the manuscript named above. It contains the ''History of Richard III'' by the Master of the Revels, Sir George Buck, written on what appears to be “Revels Office waste,” sometime after 1617 (Chambers 479). Amongst the papers are “four lists of plays, bare lists without any indication of their objects,” which may or may not be all in Buck’s hand (Chambers 479). Chambers believes it “most likely that the lists represent plays which the Revels Office had at some time or times under consideration for performance at court” (484). One of the plays listed at this surprisingly late date is “Titus, and Vespatian” (Chambers 483). <br />
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== Theatrical Provenance ==<br />
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10 known performances by Strange’s Men, beginning 11 April 1591 as a new play. <br />
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== Probable Genre(s) ==<br />
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Classical or British History (Harbage), Classical or Biblical History (Greg, Clark), Romance (Waith). <br />
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<br> <br />
<br />
== Possible Narrative and Dramatic Sources and Analogues ==<br />
<br />
Cohn declared that “[i]n Shakespeare’s ‘Titus Andronicus’ there is no Vespasian; no one therefore could ever imagine that the piece alluded to by Henslowe was the original form of the Shakespearian piece. A far more probably supposition is, that the subject must have been the destruction of Jerusalem, during the reign of the Emperor Vespasian, by his son Titus” (cxii). Clark cites J. A. Herbert’s summary of the Titus and Vespasian story in his introduction to the fifteenth century poem on this topic: <br />
<blockquote>The poem which is printed here for the first time begins with the introductory passage treating of the ministry, passion, and resurrection of Jesus Christ, and the subsequent events, actual or legendary, in Jerusalem. It then proceeds to tell how Nathan was sent by Pilate to deprecate the Emperor’s wrath; how a contrary wind took him instead to Bordeaux in Gascony, where Vespasian was then King under the Emperor Nero; how his report of the miracles of Christ led to the mission of Vespasian’s steward Velosian to Jerusalem, from whence he returned with Veronica; how Vespasian was cured of leprosy, and of a plague of wasps in his nose, by gazing on Veronica’s miraculous portrait of the Saviour; and how in gratitude he vowed revenge on the murderers of Christ. The second half of the poem narrates the fulfilment of this vow by the seven years’ siege and capture of Jerusalem, and by the merciless treatment dealt out to its defenders. (Herbert qtd. in Clark 525)</blockquote> <br />
Clark explains (it is not evident from the quoted text) that “Titus, the son of Vespasian, figures largely in this second part as the leader during this long siege” (525). She concludes that ''Titus and Vespasian'' “offered a very likely subject for a play of the early nineties, since it abounded in matter of cruelty and slaughter such as that which went to make up the machinery of the tragedy-of-blood type so popular at this very date” (Clark 525). <br />
<br />
<br> Jonathan Bate arrives at a similar conclusion in his Arden 3 edition of Shakespeare’s play: “''Titus and Vespasian'' almost certainly concerned the two Roman emperors and the siege of Jerusalem in AD 70; the Roman historians record that when Titus returned to Rome after capturing Jerusalem he was welcomed by the senate and made joint emperor with his father, Vespasian” (73). The Oxford editor, Eugene M. Waith, likewise distinguishes ''Titus and Vespasian'' from Shakespeare’s play, claiming “it is much more likely to have been about the two Roman emperors, who were the subject of a romance with that name” (8). <br />
<br />
<br> There remains the possibility that ''Titus and Vespasian'' may be connected with the two ''Destruction of Jerusalem'' plays (by Thomas Legge and by John Smythe, both 1584) or even with the anonymous ''Jerusalem'' of Harbage’s 1590 addenda. <br />
<br />
<br> <br />
<br />
== References to the Play ==<br />
<br />
Drawing on Bennett's two notes on the topic, Jonathan Bate rehearses the case for an allusion to ''Titus and Vespasian'' in a Strange’s play, ''A Knack to Know a Knave'', printed in 1594 (but belonging to the same repertory as ''Titus and Vespasian''): “one line refers to Vespasian having his son’s hand cut off as punishment for beating a swain” (73). Bate also suggests that another allusion, ostensibly to the Titus Andronicus story, might actually have been a corrupted allusion to ''Titus and Vespasian''. He refers to the following passage from Knack: <br />
<br />
:My gratious Lord, as welcome shall you be, <br />
:To me, my Daughter, and my sonne in Law, <br />
:As ''Titus'' was unto the Roman Senators, <br />
:When he had made a conquest on the Goths: <br />
:That in requital of his service done, <br />
:Did offer him the imperiall Diademe: <br />
:As they in ''Titus'', we in your Grace still fynd, <br />
:The perfect figure of a Princelie mind. <br />
::([http://www.fullbooks.com/A-Select-Collection-of-Old-English-Plays-Volx54489.html ''Knack''], sig.F2v, lines 1488-95, qtd. in Bate 72)<br />
<br />
Noting that the ''Knack'' text is almost certainly the product of memorial reconstruction by actors who were, at the time of printing in 1594, also performing Shakespeare’s ''Titus'' play, Bate argues that “contamination from one to the other is eminently plausible” and that “[i]f this incident was dramatized in the lost play, the possibility for confusion is immediately apparent: replace ‘Goths’ with ‘Jews’ and you have an allusion to ''Titus and Vespasian'' as precise as that in the received text appears to be to ''Titus Andronicus'' — perhaps more precise, since in Shakespeare’s play the offer comes not from the senate but form the people via their tribunes” (73). See also Baker, who almost a century earlier had observed of this passage, “Naturally, this play [''Knack''] should refer to ‘tittus and Vespacia,’ for it was produced side by side with it, was not given after January 13, 1593, and was entered for printing January 7, 1594” (74), but who believes the reference is to an earlier version of the “titus and Ondronicus” play. (NB. Baker’s article appeared before the discovery of the single extant copy of the 1594 Q1 of ''Titus Andronicus'', which rendered many of his conjectures invalid). <br />
<br />
<br> <br />
<br />
== Critical Commentary ==<br />
<br />
Greg denied the common equation of ''Titus and Vespasian'' with ''Titus Andronicus'' (“the identification is open to doubt”), observing that “[i]t is difficult to believe that the title could have been given to any play not connected with the siege of Jerusalem” (II.155). Also taking issue with the commonly held critical assumption that ''Titus and Vespasian'' probably = ''Titus Andronicus'' (or an early version of), Clark demonstrated that it is “clear that the story of ''Titus and Vespasian'' has nothing whatsoever in common with ''Titus Andronicus'' except the name Titus occuring [sic] in both titles” (Clark 525). <br />
<br />
<br> The thornier critical issue seems to be whether there had been an earlier version of Shakespeare’s ''Titus Andronicus'' (possibly by another playwright) and what relation (if any) it had to the lost ''Titus and Vespasian'' play. Fuller (esp. 10-12) and Baker (passim) address this issue through consideration of two continental adaptations/analogues, in German and Dutch. Baker thought that ''Titus Andronicus'' was a source for the Dutch play (66), whilst ''Titus and Vespasian'' was the source for the German version, “Eine sehr klägliche ''Tragodedia'' von ''Tito Andronico'' and der hoffertigen Kayserin, darinnen denckwürdige ''actiones'' zubefinden” (1620), which contains a character identified as “Vespasian, Son to Titus” (Clark 526; Greg II.155). Greg urged caution over the “Vespasian” link though: “It should, however, be remarked that the German play is never called ''Titus and Vespasian'', that the part of Vespasianus (Lucius) is quite subordinate, and that the first speech which gives the name prominence should almost certainly be assigned to Victoriades (Titus’ brother, Marcus)” (II.155). He attributes the existence of “Titus” and “Vespasian” in the same (German) play to a fault of memory, “for if a ''Titus Andronicus'' and a ''Titus and Vespasian'' were both current pieces, a popular reporter, writing from memory, might easily confuse, or even deliberately combine, the character names of both” (II.155). Clark offered the almost identical explanation that continental versions, being “the productions of inferior actors,” were “very miserable adaptations of current English plays,” and that the Germans could easily have recalled the name “Vespasian” from “a popular play that they had seen at the Rose” when trying to remember the correct name for the son of Titus Andronicus (526). Cohn, failing to consider the possibility of misremembering, interprets the existence of a “Vespasian” character in the German (but not the Shakespearean) text as evidence that (contra his own earlier argument) “we should have to acknowledge that ''Titus and Vespasian'' as the original on which Shakspere’s play was founded” (cxiii). None of these critics comments on the reversal of filial relation (Vespasian has become the son, not the father, in the German play), which accords better with Clark’s and Greg’s theory of the German redaction being a poorly reconstructed version of the Shakespeare play. <br />
<br />
<br> In response to the Cotton MS reference to “Titus, and Vespatian” (see [[#Historical_records|Historical records]] above), Chambers wrote: <br />
<blockquote>A very unexpected entry. The ''Titus and Vespasian'' played by Strange’s men at the Rose in 1592-3 is often conjectured to have been revised as ''Titus Andronicus'' for Sussex’s men in 1594. Can it have had an independent existence to the middle of the seventeenth century? Or is this a distinct play, hitherto unknown? The name can hardly have clung to ''Titus Andronicus'' itself. (483)</blockquote> <br />
<br> <br />
<br />
== For What It's Worth ==<br />
<br />
William Heminges (“Son of John Hemmings a Comedian or Actor of playes with Will. Shakespear”) wrote a play on this topic, described by Wood as “The Jewes Tragedy: or, their fatal and final overthrow by Vespasian, and Titus his Son. Lond. 1662. qu. written agreeable to the authentick History of Josephus” (Wood II.73). The play is usually supposed to have been written considerably earlier, in 1628 (Harbage); but this is still too late to be the subject of the reference in the Cotton MS (see [[#Historical_Records|Historical Records]], above). <br />
<br />
<br> <br />
<br />
== Keywords ==<br />
<br />
Titus, Vespasian, Siege of Jerusalem, Biblical history, Jews, Romans. <br />
<br />
<br> <br />
<br />
== Works Cited ==<br />
<br />
Baker, George P. “ ‘Titus and Vespasia’ and ‘Titus ondronicus’ in Henslowe’s Diary.” ''PMLA'' (1901): 66-76. Print. [http://www.jstor.org/stable/456400 JSTOR] <br />
<br />
Bate, Jonathan (ed). Shakespeare. ''Titus Andronicus''. London: Routledge, rpt. 1995. Print. Arden 3. <br />
<br />
Bennett, Paul E. "The word 'goths' in 'A Knack to Know a Knave'." ''Notes &amp; Queries'' 200 (1955): 462-63. Print. <br />
<br />
Bennett, Paul E. "An Apparent Allusion to 'Titus Andronicus'." ''Notes &amp; Queries'' 200 (1955): 422-24. Print. <br />
<br />
Chambers, E. K. (review author). “''The King’s Office of the Revels, 1610-1622''. Fragments of Documents in the Department of Manuscripts, British Museum, transcribed by FRANK MARCHAM, with a Preface by J. P. GILSON. London: Frank Marcham, 53, Chalk Farm Road, N.W.1. Pp. 50, including 19 Collotype Plates. £2. 2s. 1925.” ''Review of English Studies'' 1.4 (1925): 479-84. Print. <br />
<br />
Clark, Eleanor Grace. “Titus and Vespasian.” ''Modern Language Notes'' 41.8 (Dec. 1926): 523-27. Print. [http://www.jstor.org/stable/2914118 JSTOR] <br />
<br />
Cohn, Albert. ''Shakespeare in Germany''. London: 1865. Print. <br />
<br />
Fuller, Harold DeW. “The Sources of ''Titus Andronicus''.” ''PMLA'' (1901): 1-65. Print. [http://www.jstor.org/stable/456399 JSTOR] <br />
<br />
Waith, Eugene M. (ed). Shakespeare. ''Titus Andronicus''. Oxford: OUP, 2002. Print. The Oxford Shakespeare. <br />
<br />
Wood, Anthony à. ''Athenae Oxonienses''. 1691-92. 2 vols. Print. (EEBO) <br />
<br />
<br> <br />
<br />
Site created and maintained by David McInnis, University of Melbourne; updated, 26 August 2009. <br />
<br />
[[Category:Titus]] [[Category:Vespasian]] [[Category:Siege of Jerusalem]] [[Category:Biblical history]] [[Category:Jews]] [[Category:Romans]]</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Tanner_of_Denmark,_The&diff=370
Tanner of Denmark, The
2009-10-13T06:26:35Z
<p>Mcinnisd: Created entry for Tanner of Denmark, The</p>
<hr />
<div>Anon. (1592) <br />
<br />
<br />
<br />
== Historical Records == <br />
<br />
''Henslowe’s Diary'' F7<sup>v</sup> (Greg I.14): <br><br />
<br />
ne . . . R[d] at the taner of denmarke the [14] 23 of maye 1592 . iij<sup>ll</sup> xiij<sup>s</sup> vj<sup>d</sup><br><br />
<br />
<br />
<br />
== Theatrical Provenance ==<br />
<br />
Performed as a new play by Strange’s Men at the Rose on 23 May 1592 (Greg II.156 adjusts the date to 26 May). Despite the high takings, no further performances are recorded.<br />
<br />
<br />
<br />
== Probable Genre(s) ==<br />
<br />
History (?) (Harbage), “a craft play” (Knutson, “Playing Companies” 185); “gild or citizen’s play” (Knutson, ''Repertory'' 43).<br />
<br />
<br />
<br />
== Possible Narrative and Dramatic Sources and Analogues ==<br />
<br />
Unknown.<br />
<br />
<br />
<br />
== References to the Play ==<br />
<br />
Dollerup suggested that given the Danish context, when a reference is made in ''Hamlet'' (Act 5, scene 1) to a tanner’s corpse lasting nine years in the grave before it began to rot, “Shakespeare’s lines refer to this old play [''The Tanner of Denmark'']” (157). The Arden 3 editors do not engage Dollerup, but Harold Jenkins did note, in his Arden 2 edition, that “[i]t is difficult (as desired by ''N&Q,'' CCXXI, 156) to see more than coincidence in a nine-year-old play, ''The Tanner of Denmark''” (5.1.162n). Indeed, it seems that tanners proverbially had thick skins. In Holyday’s ''Technogamia'', for example, Poeta’s skin is described as “inchanted” and “farre tougher than a Tanners” (Act 4, scene 4).<br />
<br />
<br />
<br />
== Critical Commentary ==<br />
<br />
Greg (II.156) states that “[t]he only tanner known to dramatic history is, I believe, the tanner of Tamworth in ''Edward IV''.”<br />
<br />
<br />
Harbage, following Greg, lists the play as “''The Tanner of Denmark'' (i.e. Tamworth?) (Part basis of ''Edward IV'', 1599?)”.<br />
<br />
<br />
Although there is no reason, beyond the coincidence of the word “tanner”, to conflate these plays, there is a common tendency to assume that Henslowe meant the tanner of Tamworth (from Heywood’s ''1 & 2 Edward IV''). Thus Ethel Seaton speculated that “[t]he unknown ‘Tanner of Denmark’ (1592) may be no alien, but a homeborn tanner of Tamworth” (322) and G. K. Hunter entertains an early date of 1592 for Heywood’s plays (instead of their printing date of 1599) on account of “some perceived relation with ''The Tanner of Denmark''” --- though he concedes that he “cannot see anything more than an adventitious connection, and so would prefer to put the play at the later end of the range” (253).<br />
<br />
<br />
== For What It's Worth ==<br />
<br />
In Act 2, scene 1 of Edward Sharpham’s 1607 play, ''Cupid’s Whirligig'', Nan perceives the knight’s heart beating so rapidly that she likens him to “the Denmarke Drummer.” The allusion passes without explanation, which implies it was in currency at the time. Could Henslowe have confused or mistakenly written “tanner” for “drummer”?<br />
<br />
<br />
<br />
== Keywords ==<br />
<br />
Tanner [[category:tanner]], Denmark [[category:Denmark]], craft [[category:craft]], Tamworth [[category:Tamworth]], Edward IV [[category:Edward IV]].<br />
<br />
<br />
== Works Cited ==<br />
<br />
Cavanaugh, Sister M. Jean Carmel, ed. ''Technogamia By Barten Holyday: A Critical Edition''. Washington, D.C.: The Catholic U of America P, 1942. Print.<br />
<br />
Dollerup, Cay. “A Shakespeare Allusion to a Lost Play (“Hamlet”, V.i.162)?” ''Notes & Queries'' 23.4 (1976): 156-57. Print.<br />
<br />
Hunter, G. K. ''English Drama 1586-1642: The Age of Shakespeare''. Vol.6. Oxford: Clarendon Press, 1997. Print. The Oxford History of English Literature.<br />
<br />
Jenkins, Harold, ed. Shakespeare. ''Hamlet''. London: Routledge, 1995 rpt. Print. Arden 2 edition.<br />
<br />
Knutson, Roslyn Lander. ''The Repertory of Shakespeare’s Company, 1594-1613''.Fayetteville: University of Arkansas Press, 1991. Print. <br />
<br />
Knutson, Roslyn L. “Playing Companies and Repertory.” ''A Companion to Renaissance Drama''. ed. Arthur F. Kinney. Malden: Blackwell, 2002. 180-92. Print.<br />
<br />
Seaton, Ethel. ''Literary Relations of England and Scandinavia in the Seventeenth Century''. Oxford: Clarendon Press, 1935. Print.<br />
<br />
Sharpham, Edward. ''Cupid’s Whirligig''. 1607. Cambridge: Chadwyck-Healey, 1996. Web. [http://www.letrs.indiana.edu/cgi-bin/eprosed/eprosed-idx?coll=eprosed;idno=P1.0207| English Prose Drama Full-Text Database]. <br />
<br />
<br />
<br />
Site created and maintained by David McInnis, University of Melbourne; updated, 12 September 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Stately_Tragedy_of_the_Great_Cham_(Folger_MS._X.d.259)&diff=339
Stately Tragedy of the Great Cham (Folger MS. X.d.259)
2009-10-13T06:23:06Z
<p>Mcinnisd: Created entry for Stately Tragedy of the Great Cham</p>
<hr />
<div>Anon. [[#Critical Commentary|(c.1590)]]<br><br />
<br />
<br />
NB. This play is not to be confused with the two part ''Tamar Cham'' plays in the Admiral’s and Strange’s repertory.<br />
<br />
<br />
== Historical Records ==<br />
<br />
<br />
Exists only as a MS fragment (Folger Shakespeare Library MS. X.d.259, formerly Folger MS 450528); reprinted by The Malone Society in G. R. Proudfoot, “Five Dramatic Fragments,” ''Collections, Volume IX'' (Oxford: OUP, 1971 [1977]), pp.52-75 (pp.64-67 reproduces a transcript of the text).<br />
<br />
<br />
Alternative titles:<br />
:“She who doth rule her table books with blood” (from the Prologue)<br />
:“Life and death of the great Cham”<br />
:“The Great Cham”<br />
:“A stately tragedy containing the ambitious life and death of the great Cham”<br />
<br />
<br />
== Theatrical Provenance ==<br />
<br />
Unknown. Former owners of the MS include:<br />
:Sir Israel Gollancz, 1864-1930<br />
:James Wright, 1643-1713 (possibly)<br />
<br />
<br />
<br />
== Probable Genre(s) ==<br />
<br />
<br />
“Unusual burlesque masque” (Sotheby brochure, 12 April 1927); Tragedy (Harbage); eastern; conqueror play.<br />
<br />
<br />
<br />
== Possible Narrative and Dramatic Sources and Analogues ==<br />
<br />
===Subject matter===<br />
McInnis (excerpt): <br />
:In addition to the Great Cham’s history, the fragment’s title reveals that the lost play concerned itself with the “inchantments of Bagous the Brachman[,] wth the straunge fortunes of Roxen[;] the Captiuity[,] release and death of his brother Manzor the Turchestan King[;] and [the] happy Fortunes of the Sophy of Persia[,] with the loue of Bargandell his sonne.” Here are the makings of a typical eastern play: a captivity narrative, a Persian Sophy and Turkestan King, and an all-powerful Cham, Velruus, whose wife Drepona declares “other courtes are cottages to this / Mayntained by my Lord the mighty Cham” (45-46). In her speculation that her husband’s displeasure stems from “our vassayles the Tartarians” having “Bessegd or sackt some of our fronter townes” (57-58), Drepona effectively hints at the possibility that the Cham of the lost play had some analogy with the all-conquering Tamburlaine of Marlowe’s creation; Drepona’s hyperbolical solution to the dilemma is for “our army far more great” to “Waste all Tartaria to the Northren Seas” (59, 61).<br />
<br />
:But whereas the title of this lost play would suggest an imitation of Tamburlaine on par with the “weak sons”, an engagement with Faustian magic is evident even from the fragment’s two extant pages. When Bagous the Brachman enters the stage alone, he is joined by Aldeboran, a spirit or “deuill” whom the stage direction explains “must rise from vnder the stage in a flash of fier” (17 SD). Aldeboran immediately establishes a Faustian pact with Bagous, offering him diabolical temptations:<br />
::Fiendes of Auernus shall attend on thee<br><br />
::And tremble at thine incantations<br><br />
::Thou shalt haue power to countermand the fates<br><br />
::And to presage of future accidents<br><br />
::To rise Latonas daughter from her spheare<br><br />
::And blindfold Phœbus with æternall might<br><br />
::To walke about the worlde with a wish<br><br />
::And dart destruction and deserued death<br><br />
::On those who manage enmities with thee<br><br />
::If you plot your ententions with mee. (17-26)<br />
<br />
<br />
===Dramatis Personae===<br />
<br />
:Bagous the Brachman (''brother of the Sophy?'')<br />
:Roxen<br />
:Manzor, ''his brother and the Turchestan King''<br />
:The Sophy of Persia<br />
:Bargandell, ''his son''<br />
:Aldeboran, ''a spirit''<br />
:Velruus (''or'' Velraus), ''the Great Cham''<br />
:Drepona, ''his wife''<br />
<br />
:a guard<br />
<br />
<br />
<br />
== References to the Play ==<br />
<br />
<br />
None known.<br />
<br />
<br />
<br />
== Critical Commentary ==<br />
<br />
'''Genre'''<br />
According to the Folger’s catalogue, it was “[d]escribed in the Sotheby April 12 1927 brochure as ‘the fragment of an unusual burlesque masque, entitled ‘The life & death of the Great Cham,’ containing an interesting reference to the growth of Tobacco-Smoking’ (85).” Bentley disagreed with this classification: “''The Great Cham'' is certainly not a masque. As for burlesque, the style is inflated and the tone of the prologue ambiguous, but there is not enough in these sixty-one lines to demonstrate that the attitude of the author was mocking rather than naively solemn” (V.1345).<br />
<br />
<br />
'''Date'''<br />
The c.1590 date comes from the Folger’s own catalogue. The Sotheby catalogue lists it as a Jacobean drama. Bentley notes that “the tobacco reference is the only reason for calling ''The Great Cham'' Jacobean, for it could be earlier or later than the time of James I” (V.1345). Wagonheim’s revision of Harbage merely lists the fragment as “17th Cent.” (Supp. List I.). Proudfoot, in his Malone Society edition of the fragment, allows that “[a]n earlier limit is suggested by the style and allusions, which imply knowledge of the tragic writing of the later 1580s and early 1590s” (64-65) but concludes that “a date within the first two decades of the [17th] century may seem likely enough” (65).<br />
<br />
<br />
<br />
== For What It's Worth ==<br />
<br />
Bagous the Brachman, an eastern priest figure, is also possibly a eunuch: “Bagôus, in the Persian tunge signifieth a geldynge, or a man geldyd” (Elyot sig. f.i). Proudfoot, however, thinks “the name ‘Bagous’ recalls the ‘Bagoa’ of Lyly’s ''Endimion''” (64-65).<br />
<br />
<br />
The name Aldeboran, here a spirit or “deuill”, is also associated with a star.<br><br />
cf. ''Tamburlaine'': “Raise me to match the faire Aldebaran, / Above the threefold astracism of heaven” (''2 Tam'', 4.3.61-62)<br><br />
cf. Agrippa: “The third is the star Aldeboran” (p64).<br />
<br />
<br />
The name Velruus (or Velraus), for the Great Cham, may simply be related to / derived from the ostensibly authentic Tartarian word for “mighty king” (“Vlu-Chan”). In his discussion of “The ruine of the Turks first Empire in Persia: with the successe of their second kingdome in the lesser Asia vnder the Aladin Kings,” Knolles writes:<br />
<blockquote> the Tartars or rather Tattars . . . stirred vp by their owne wants, and the persuasion of one Zingis (or as some call him, Cangis) holden amongst them for a great prophet, and now by them made their leader, and honoured with the name of Vlu-Chan, that is to say, the Mightie king (commonly called the great Cham)…. (75)</blockquote><br />
<br />
<br />
<br />
== Keywords ==<br />
<br />
<br />
Cham [[category:cham]], Tartary [[category:Tartary]], Sophy [[category:Sophy]], eastern [[category:Eastern]], conqueror [[category:conqueror]], Faustian pact [[category:Faustian pact]], devils [[category:devils]], travel [[category:travel]]<br />
<br />
<br />
<br />
== Works Cited ==<br />
<br />
<br />
Agrippa, Henry Cornelius. ''Three Books of Occult Philosophy''. London, 1650. Print. (EEBO)<br />
<br />
''A stately tragedy containing the ambitious life and death of the great Cham...'' ca. 1590. MS. X.d.259. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=193267| Folger Shakespeare Library].<br />
<br />
Elyot, Thomas. ''Bibliotheca Eliotae''. 1542. Print.<br />
<br />
Harbage, Alfred, Sylvia S. Wagonheim and Samuel Schoenbaum. ''Annals of English Drama, 975-1700''. London: Routledge, 1989. Print. <br />
<br />
Knolles, Richard. ''The generall historie of the Turkes''. 1603. Print. (EEBO)<br />
<br />
Marlowe, Christopher. ''Tamburlaine: Parts One and Two''. Ed. Anthony B. Dawson. 2nd ed. London: A & C Black, 1997. Print. New Mermaids.<br />
<br />
McInnis, David. “The Wings of Active Thought: A Study of Mind-Travelling and Voyage Drama in Early Modern England, 1587-1687.” Dissertation. University of Melbourne. Print.<br />
<br />
Proudfoot, G. R. “Five Dramatic Fragments,” ''Collections, Volume IX''. The Malone Society. Oxford: OUP, 1971 (1977). pp.52-75. Print.<br />
<br />
<br />
<br />
Site created and maintained by David McInnis, University of Melbourne; updated, 30 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Saint_Christopher&diff=329
Saint Christopher
2009-10-13T06:18:38Z
<p>Mcinnisd: Created entry for Saint Christopher</p>
<hr />
<div>Anon. (1609)<br />
<br />
<br />
== Historical Records ==<br />
<br />
<br />
Court of Star Chamber records for the proceeding involving Sir John Yorke of Nidderdale, brought about by the evidence of William Stubbs, Puritan minister of Pateley Bridge (Boddy 105, also discussed by Sisson in his commentaries).<br />
<br />
<br />
<br />
== Theatrical Provenance ==<br />
<br />
<br />
Strollers in Yorkshire (Harbage). Sisson elaborates: “acted at Golthwayt [or Gowthwaite Hall, Nidderdale] and in other places in Yorkshire about Christmas 1609, by a travelling company of local players. If we are to accept the evidence of the actors, the play was in print, and the printed copy used by them as their prompt-copy, even as they used in 1609 such printed books as ''Pericles'' and ''King Lear''” (Sisson, “''Keep the Widow Waking''” 41).<br />
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<br />
Boddy relates that ''Saint Christopher'' was “a version of an old morality play with a cast of nine” (105).<br />
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<br />
Under the “Christopher” entry for 1609 (Nidderdale), the [http://www.wmich.edu/medieval/resources/edam/pdf/SaintPlays.pdf ''British Saint Play Records''] resource (housed by the ''EDAM'' project, under Clifford Davidson’s directorship) states (following Boddy) that “[d]uring the Christmas season, [Sir Richard] Cholmeley’s Men, a company of recusant players from Egton led by Christopher Simpson, a cordwainer, performed a play of St. Christopher from a printed book at Gowthwaite Hall. … Other plays in the players’ repertoire included ''King Lear'', ''Pericles'', and ''The Three Shirleys''” (74). <br />
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<br />
Boddy (107-08) relates that in 1609, at Masham, North Riding, there was a repeat performance of the controversial play, this time under the auspices of Sir Thomas Danby: “The Simpsons performed the same Catholic version of <u>St. Christopher</u> as at Gowthwaite with the duel between yellow cross and the bible, devils, and flashes of fire. When the English minister was carried off by the devil ‘all the people greatlie laughed and rejoiced a long time together’.”<br />
<br />
<br />
On account of the sensitivity of Catholic associations, the players were only unofficially patronised by Cholmley: “Unofficially they did travel as Sir Richard Cholmley’s men even though he could not acknowledge his patronage to the Privy Council” (Boddy 108).<br />
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<br />
== Probable Genre(s) ==<br />
<br />
Neo-miracle (?) (Harbage); “belated Mystery with topical additions” (Sisson, “''Keep the Widow Waking''” 41); “a version of an old morality play” (Boddy 105).<br />
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== Possible Narrative and Dramatic Sources and Analogues ==<br />
<br />
Boddy relates that the play “enacted the well-known legend of Reprobus ‘that neither feared God nor the Divell, nor was of any religion, but would serve the mightiest man upon the earth, and having served two kinges and an Emperour, and hearinge the Divell was of more might than they were, lefte them, and betooke himselfe to the Divell his service’. Then Reprobus discovered the Devil feared the crucifix, ‘whereupon Raphalus (Reprobus) left the Divell saying there was a mightier man than he was, and went to the cross’. The Simpsons [company; after Christopher and Robert Simpson] used a ‘great yallowe coloured crosse’. Reprobus submitted to the cross, received instruction from a hermit, did penance for his sins and received the new name of Christopher” (105).<br />
<br />
<br />
The objection made by William Stubbs, which led to the Star Chamber proceedings, was founded on an interpolated Catholic interlude:<br />
<blockquote>The interlude took the form of a diputation ‘counterfeyted betwixt him that plaid the English Minister and him that plaid the Popishe preist toucheinge matters of religion’. The minister argued on the basis of the Bible but the priest countered that this was not enough and held up the yellow cross. ‘The minister [did] shew forth his said booke or Byble to defend his profession withal, and that it was rejected and scoffed at’, alleged Stubbs. [Sir Stephen] Proctor [the Puritan Justice of Fountains Abbey] described how ‘he that plaide the foole (William Harrison) did deryd the minister’. When the minister was condemned or overcome ‘there was flashes of fire cast foorthe and then he that plaid the Divell did carrie the Englishe minister away’.<br><br><br />
Another witness, William Browne, a Nidderdale linen weaver described: ‘the English minister in a blacke cloke, also a Popishe preist in a blacke (MS. Torn) and a crosse on his shoulder: one in whyte like an anngell, and more than one or two divells and a fool. … And the foole did clap the Englishe minister on the shoulder and mocked and flowred him, and said, “Well, thou must away anon”.’ (Boddy 105)</blockquote><br />
The audience, mostly Catholic, “loved this spectacle”: Boddy cites evidence from Proctor and Browne (105) attesting to the merriment.<br />
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<br />
Sisson (“Shakespeare Quartos”) claims that “[f]rom the account of the action of the play it appears to me to have a close relation with an Italian play, a ''Rappresentazione'' printed in 1575, which I came across in the Treasure Room of the Widener Library of Harvard College” (138). He gives the author as “Cesare Sacchetti of Bologna,” and gives the following quasi-facsimile transcription of the title: “Rappresentatione/di Santo Christoforo/Martire, Ridotta A/Vso di Comedia,/Composta da Cesare Sac/chetti Bolognese,/[Device]/Nouamente ristampata,/[Device]/In Fiorenza MDLXXV” (138n).<br />
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== References to the Play ==<br />
<br />
(Information Needed)<br />
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== Critical Commentary ==<br />
<br />
Referring to the evidence of the actors, Sisson notes that “[e]xceptional interest attaches to this evidence, to the full description of the play of ''St. Christopher'', to the activities of this provincial company, and to the element of religious controversy imported into the play. This last factor, which lies at the root of the Star Chamber trial in 1613-14, brings the case into the first category of State Trials, and it hints at the degeneration of the Star Chamber into an instrument of royal inquisition” (“''Keep the Widow Waking''” 41).<br />
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<br />
Sisson subsequently explained (in his monograph) the controversy with slightly more detail: “players and audience alike were Catholics. Their play ridiculed the Church by law established in England, and spread disaffection among its hearers. In all its circumstances and setting it was too closely related to the recent Gunpowder Plot to be lightly treated” (4).<br />
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<br />
Sisson takes up the topic again, and at greatest length, in his ''Review of English Studies'' article (esp. 135-43), where he notes that “[i]t appears that Cholmeley’s Players acted two versions of their play of ''Saint Christopher'', according to the religious colour of their audience. For a Catholic audience, they interpolated scenes representing a conflict between a Protestant minister and a Catholic priest, ending in the extreme discomfiture of the official man of God at the hands of his outlawed rival. In the houses of Protestant magnates these were omitted” (142). He further notes that these scenes must have been improvised rather than written in, since there would scarcely be room “in the scanty margins of a cheap quarto,” and it is known that the players used print copies for their prompt books (142). (Sisson relates that according to the Star Chamber records, the players “only acted plays which were in print and allowed, exactly as they were printed,” but queries whether this testimony was accurate [142]).<br />
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Boddy notes that the Protestant minister was carried off to hell: “How it must have comforted and uplifted the morale of these Catholics who clung to the old faith and practised it in stealth, to share such an occasion when a hundred were gathered together to watch a Catholic victory and to see the Protestant minister carried off in ridicule to Hell. How ominous and seditious it must have appeared to Stubbs and other Protestant interlopers” (106).<br />
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== For What It's Worth ==<br />
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<br />
Sir John Yorke and his wife were fined and imprisoned for the interlude (Boddy 107).<br><br />
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St. Christopher is the patron saint of travellers.<br />
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== Keywords ==<br />
<br />
Catholic [[category:Catholic]], Protestant [[category:Protestant]], St Christopher, saints [[category:saints]], Star Chamber [[category:Star chamber]], Reprobus, devils [[category:Devils]], hell [[category:hell]], Gowthwaite Hall, travelling players [[category:travelling players]], Sir John Yorke, Sir Thomas Danby, Yorkshire [[category:Yorkshire]], mystery [[category:mystery]], morality [[category:morality]], miracle [[category:miracle]].<br />
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== Works Cited ==<br />
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<br />
Boddy, G. W. “Players of Interludes in North Yorkshire in the Early Seventeenth Century.” ''North Yorkshire County Record Office Journal'' 3 (1976): 95-130. Print.<br />
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Davidson, Clifford. [http://www.wmich.edu/medieval/resources/edam/pdf/SaintPlays.pdf ''British Saint Play Records'']. ''Early Drama, Art, and Music (EDAM) Project''. Kalamazoo: Medieval Institute, Western Michigan University, 2009. Web.<br />
<br />
Sisson, Charles J. “''Keep the Widow Waking'': A Lost Play by Dekker.” ''The Library'', 4th Ser., 8 (1927-28), 39-57. Print.<br />
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Sisson, Charles J. “Shakespeare Quartos as Prompt-Copies, with Some Account of Cholmeley’s Players and a New Shakespeare Allusion.” ''Review of English Studies'' 18 (1942): 137-43. Print. [http://www.jstor.org/stable/509377 JSTOR]. <br />
<br />
Sisson, Charles J. ''Lost Plays of Shakespeare’s Age''. London: Frank Cass & Co. Ltd., 1970 rpt. Print.<br />
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Site created and maintained by David McInnis, University of Melbourne; updated, 14 September 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Dramatists_(old)&diff=197
Dramatists (old)
2009-10-13T06:14:48Z
<p>Mcinnisd: </p>
<hr />
<div>'''Browse by Dramatist:''' <br />
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[[Dramatists|Dramatists 1]] | [[Dramatists 2]] | [[Dramatists 3]] | [[Dramatists 4]] <br />
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{| width="900" cellspacing="1" cellpadding="1" align="left" border="0"<br />
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! scope="col" style="text-align: left;" | Anon.<br> <br />
! scope="col" style="text-align: left;" | Anon. (cont'd)<br> <br />
! scope="col" style="text-align: left;" | Anon. (cont'd)<br><br />
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[[Abraham and Lot]]<br>[[Absalom]]<br>[[Abuses]]<br>[[Aeneas and Dido]]<br>[[Agamemnon and Ulysses]]<br>[[Ajax Flagellifer]]<br>[[Alice and Alexis]]<br>[[Alice Pierce]]<br>[[Almanac, The]]<br>[[Amazons]] <br>[[Angel King]]<br>[[Antic Play and a Comedy]]<br>[[Antony and Vallia]] <br>[[Ariodante and Genevora]]<br>[[Astiages]]<br>[[Author’s plot, the scene Macedonia]]<br>[[Baptism of Prince Henry, The]]<br>[[Barnado and Fiammetta]]<br>[[Baxter’s Tragedy (Barkstead’s Tragedy)]]<br>[[Beauty and Housewifery]]<br>[[Belinus, Brennus]]<br>[[Bendo (or Byndo) and Richardo]]<br>[[Berowne (also Burone, & Biron)]]<br>[[Black Joan]]<br>[[Black Lady]]<br>[[Bonos Nochios]]<br>[[Brandimer]] <br>[[Branhowlte (Brunhild)]]<br>[[Bridegroom and Madman]] <br>[[Brougham Castle Entertainment]]<br>[[Buck is a Thief]]<br>[[Buckingham]] <br>[[Buckingham’s Mask]]<br>[[Burbon (i.e. Bourbon?)]]<br>[[Caesar and Pompey]] <br>[[I Caesar and Pompey]]<br>[[II Caesar and Pompey]]<br>[[Calistus]] <br>[[Capture of Stuhlweissenburg, The]]<br>[[Celestina]]<br>[[Chinon of England]]<br>[[Chirke Castle, Entertainment at]]<br>[[Christ’s Passion]]<br>[[City, The]]<br>[[II City Shuffler]]<br>[[Clorys and Orgasto]]<br>[[Cloth Breeches and Velvet Hose]]<br>[[Cobbler of Queenheath, The]]<br>[[Constantine]]<br>[[Cosmo]]<br>[[Crack Me This Nut]]<br>[[Cupid and Psyche]]<br>[[Cupid’s Festival]]<br>[[Cutlack]]<br>[[De Humfredo Aulico Confessionem Repudiante]]<br>[[Dead Man’s Fortune, The]]<br>[[Delight]]<br>[[Dido]]<br>[[Diocletian]] <br>[[Don Horatio]] <br>[[Dramatic fragment in verse]]<br>[[Dumb Bawd of Venice]]<br>[[Duns Furens]]<br>[[Dutch Painter, and the French Brawl]]<br>[[Earl of Hereford, The]]<br>[[Edinburgh Entertainmen]]t<br>[[England’s First Happiness, or The Life of St. Austin]]<br> <br />
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[[Fair Maid of Italy, The]]<br>[[Fair Maid of London, The]]<br>[[Fair Star of Antwerp]]<br>[[False Friend]] <br>[[Felix and Philomena]]<br>[[Ferrar, A History of]]<br>[[Fig for a Spaniard, A]]<br>[[Five Plays in One]]<br>[[Focas]]<br>[[Forces of Hercules, The]]<br>[[Fortunatus, Part 1]]<br>[[II Fortune’s Tennis]]<br>[[Four Seasons]]<br>[[Four Sons of Fabius (Fabii)]]<br>[[Fragment of a play, 17th cent.]]<br>[[Fragment of a play]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Francis]]<br>[[Friar Spendleton]]<br>[[Galiaso]]<br>[[Game of Cards]]<br>[[Garlic]]<br>[[General, The]]<br>[[George Scanderbeg]]<br>[[Give a Man Luck and Throw Him into the Sea]]<br>[[II Godfrey of Boulogne]]<br>[[God Speed the Plough]]<br>[[Govell’s Mask]]<br>[[Gowry]]<br>[[Gramercy Wit]]<br>[[Grecian Comedy]]<br>[[Guelphs and Ghibbelines]]<br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Heliogabalus]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry the Una]]<br>[[Henry V]]<br>[[I Hercules]]<br>[[II Hercules]]<br>[[Hester and Ahasuerus]]<br>[[Hippolytus]]<br>[[Hocus-Pocus]]<br>[[Honour in the End]]<br>[[House is Haunted]]<br>[[Hugh Aston’s Mask]]<br>[[Huon of Bordeaux]]<br>[[Invisible Knight]]<br>[[Irish Gentleman, The]]<br>[[Irish Rebellion]]<br>[[Jealous Comedy, The]]<br>[[Jerusalem]]<br>[[Jesuits Comedy]]<br>[[John of Gaunt]]<br>[[Judith]]<br>[[Julian the Apostate]]<br>[[King Ebrauk with All His Sons]]<br>[[King Lud]]<br>[[Knights of India and China, A Mask of the]]<br>[[Knot of Fools, The]]<br>[[Ladies and Boys, A Mask of]]<br> <br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Auspices_Old&diff=249
Auspices Old
2009-10-13T06:13:17Z
<p>Mcinnisd: </p>
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<div>'''Browse by Auspices:''' <br />
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[[Auspices|Auspices 1]] | [[Auspices 2]] | [[Auspices 3]] | [[Auspices 4]] <br />
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! style="text-align: left;" scope="col" | Admiral’s<br> <br />
! style="text-align: left;" scope="col" | Admiral's (cont'd) <br> <br />
! style="text-align: left;" scope="col" | Admiral's (cont'd)<br />
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[[Agamemnon]]<br>[[Alexander and Lodowick]]<br>[[Alice Pierce]]<br>[[All Is Not Gold That Glisters]]<br>[[Antony and Vallia]]<br>[[Arcadian Virgin]]<br>[[Arthur, King of England]]<br>[[As Merry as May Be]]<br>[[Barnado and Fiammetta]]<br>[[Bear a Brain, or Better Late Than Never]]<br>[[Bendo (or Byndo) and Richardo]]<br>[[I Black Batman of the North]]<br>[[II Black Batman of the North]]<br>[[Black Joan]]<br>[[II The Blind Beggar of Bednal Green (Tom Strowd)]]<br>[[III The Blind Beggar of Bednal Green (Tom Strowd)]]<br>[[Boss of Billingsgate, The]]<br>[[Brandimer]]<br>[[Branhowlte (Brunhild)]]<br>[[Bristow Tragedy]]<br>[[Burbon (i.e. Bourbon?)]]<br>[[I Caesar and Pompey]]<br>[[II Caesar and Pompey]]<br>[[Caesar’s Fall]]<br>[[Catiline’s Conspiracy (Catiline)]]<br>[[Chance Medley]]<br>[[Chinon of England]]<br>[[I, II, & III The Civil Wars of France]]<br>[[Clorys and Orgasto]]<br>[[Cobbler of Queenheath, The]]<br>[[Connan, Prince of Cornwall]]<br>[[I The Conquest of Brute]]<br>[[II The Conquest of Brute]]<br>[[Conquest of Spain by John a Gaunt, The]]<br>[[Conquest of the West Indies, The]]<br>[[Constantine]]<br>[[Cosmo]]<br>[[Cox of Collumpton]]<br>[[Crack Me This Nut]]<br>[[Cupid and Psyche (The Golden Ass)]]<br>[[Cutlack]]<br>[[Damon and Pithias]]<br>[[Danish Tragedy]] <br>[[Dido]]<br>[[Diocletian]]<br>[[Disguises, or Love in Disguise, a Petticoat Voyage]]<br>[[Don Horatio]]<br>[[I & II Earl Godwin and His Three Sons]]<br>[[Earl of Hereford, The]]<br>[[English Fugitives, The]]<br>[[I Fair Constance of Rome]]<br>[[II Fair Constance of Rome]]<br>[[Famous Wars of Henry I and the Prince of Wales (The Welshman’s Prize)]]<br>[[Felmelanco]]<br>[[Ferrex and Porrex]]<br>[[First Introduction of the Civil Wars of France, The]]<br>[[Five Plays in One]]<br>[[Fortunatus, Part 1]]<br>[[Fortune’s Tennis]]<br>[[II Fortune’s Tennis]]<br>[[Fount(ain) of New Fashions, The]]<br>[[Four Kings, The]]<br>[[Four Sons of Aymon, The]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Rush and the Proud Woman of Antwerp]]<br>[[Friar Spendleton]]<br>[[Funeral of Richard Coeur de Lion, The]]<br> <br />
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[[Galiaso]]<br>[[II Godfrey of Boulogne]]<br>[[Grecian Comedy]] <br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[I Hannibal and Hermes]]<br>[[Hannibal and Scipio]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry V]]<br>[[II Henry Richmond]]<br>[[I Hercules]]<br>[[II Hercules]]<br>[[Hester and Ahasuerus]]<br>[[Hot Anger Soon Cold]]<br>[[Humorous Earl of Gloucester, with His Conquest of Portugal, The]]<br>[[Italian Tragedy, The]]<br>[[Jepthah]]<br>[[Joan as Good as My Lady]]<br>[[John a Kent and John a Cumber]]<br>[[Joshua]]<br>[[Judas]]<br>[[Julian the Apostate]]<br>[[Jurgurtha (King of Numidia)]]<br>[[Life of Cardinal Wolsey, The]]<br>[[I The London Florentine]]<br>[[II The London Florentine]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love Parts Friendship]]<br>[[Love Prevented]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Madman’s Morris, The]]<br>[[Mahomet]]<br>[[Malcolm, King of Scots]]<br>[[Martin Swart, his Life and Death]]<br>[[Merchant of Emden, The]]<br>[[Miller, The]]<br>[[Mother Redcap]]<br>[[Mulmutius Dunwallow]]<br>[[Nebuchadnezzar]]<br>[[New World's Tragedy, The]]<br>[[Orestes’ Furies]]<br>[[Orphans’ Tragedy, The]]<br>[[Osric]]<br>[[Owen Tudor]]<br>[[Page of Plymouth]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Pastoral Tragedy, A]]<br>[[Phaeton]]<br>[[Philip of Spain]]<br>[[Philipo and Hippolito]]<br>[[Phocasse (Focas)]]<br>[[Pierce of Exton]]<br>[[Pierce of Winchester]]<br>[[Pope Joan]]<br>[[Poor Man’s Paradise, The]]<br>[[Pythagoras]]<br>[[Randall, Earl of Chester (Chester’s Tragedy)]]<br>[[Richard Crookback]]<br>[[Rising of Cardinal Wolsey, The]]<br>[[Robert II, King of Scots (The Scot’s Tragedy)]]<br>[[Robin Hood’s Pennyworths]] <br />
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[[Scogan and Skelton]]<br>[[Sebastian, King of Portugal]]<br>[[Seleo and Olympio (Seleo and Hengenyo)]]<br>[[Set at Maw, The]]<br>[[Set at Tennis, The]]<br>[[I The Seven Days of the Week]]<br>[[II The Seven Days of the Week]]<br>[[Seven Wise Masters, The]]<br>[[Siege of Dunkirk, with Alleyn the Pirate, The]]<br>[[Siege of London, The]]<br>[[Singer’s Voluntary]]<br>[[Sir John Mandeville]]<br>[[II Sir John Oldcastle]]<br>[[I Six Clothiers of the West]]<br>[[II Six Clothiers of the West]]<br>[[Six Yeomen of the West, The]]<br>[[Spanish Fig, The]]<br>[[Spensers, The]]<br>[[Stepmother’s Tragedy, The]]<br>[[Strange News out of Poland]]<br>[[Sturgflatery|Sturgflatery (Stark Flattery? Strange Flattery?)]]<br>[[I Tamar Cham]] <br>[[II Tamar Cham]] <br>[[Tasso’s Melancholy]]<br>[[That Will Be Shall Be]]<br>[[Tinker of Totness, The]]<br>[[Toy to Please Chaste Ladies, A]]<br>[[Triangle (or Triplicity) of Cuckolds, The]]<br>[[Thomas Merry (Beech’s Tragedy)]]<br>[[Time’s Triumph and Fortus]]<br>[[‘Tis No Deceit to Deceive the Deceiver]]<br>[[Tobias]]<br>[[II Tom Dough]]<br>[[Too Good to Be True]]<br>[[Tristram de Lyons]]<br>[[Troilus and Cressida]]<br>[[Troy]]<br>[[Troy’s Revenge, with the Tragedy of Polyphemus]]<br>[[Truth’s Supplication to Candlelight]]<br>[[Turkish Mahomet and Hiren the Fair Greek]]<br>[[II The Two Angry Women of Abington]]<br>[[Two Merry Women of Abington]]<br>[[Uther Pendragon]]<br>[[Valentine and Orson]]<br>[[Vayvode]]<br>[[Venetian Comedy, The]]<br>[[Vortigern]]<br>[[War without Blows and Love without Suit (or Strife)]]<br>[[Warlamchester]]<br>[[Welshman, The]]<br>[[Widow’s Charm, The]]<br>[[William Cartwright]]<br>[[William Longsword (William Longbeard)]]<br>[[Wise Man of West Chester, The]]<br>[[Witch of Islington, The]]<br>[[Woman Hard to Please, A]]<br>[[Woman’s Tragedy, The]]<br>[[Wonder of a Woman, The]]<br>[[Wooing of Death, The]]<br>[[World Runs Well on Wheels, or All Fools but the Fool]]<br>[[II Worse Afeared Than Hurt (II Hannibal and Hermes)]]<br>[[Zenobia|Zenobia<br>]] <br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Conquest_of_the_West_Indies,_The&diff=285
Conquest of the West Indies, The
2009-10-13T06:12:16Z
<p>Mcinnisd: </p>
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<div>John Day, William Haughton, and Wentworth Smith (1601)<br />
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== Historical Records ==<br />
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On Samuel Rowley’s authorisation, Henslowe (on behalf of the Admiral’s Men) paid amounts totalling £6. 15 to Day, Haughton and Smith for this play between 04 April and 01 Sept 1601, and an additional £15. 5. 9 for properties including suits, stockings and copper lace (NB. Greg II.217 gives £14. 7. 9).<br />
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===Payments to Playwrights (''Henslowe's Diary'')===<br />
<br />
:Lent vnto John daye & w<sup>m</sup> hawghton the 4 of<br />
:ap<sup>r</sup>ell 1601 in earnest of playe called the conqueste<br />
:of the weste enges at the apoyntment of<br />
:Samvell Rowlye the some of . . . . . . xxxx<sup>s</sup> <br />
:(F.86, Greg I.135)<br />
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:Lent vnto m<sup>r</sup> smyth & m<sup>r</sup> hawghton the xj<br />
:of ap<sup>r</sup>ell 1601 in earnest of a Boocke called the<br />
:conquest of the west enges at the apoyntment<br />
:of samwell Rowly the some of . . . . . . xx<sup>s</sup> <br />
:(F.86, Greg I.135)<br />
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:lent w<sup>m</sup> Haughton in earneste of the<br />
:playe called the conquest of the west enges<br />
:the 2 of maye 1601 the some of . . . . . . v<sup>s</sup> <br />
:(F.86<sup>v</sup>, Greg I.136)<br />
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:Lent vnto John daye the 21 of maye 1601<br />
:in earnest of a Boocke called the ^<sup>[vj yemen of the]</sup> weste<br />
:<sup>enges</sup>[enges] the some of . . . . . . xx<sup>s</sup><br />
:at the a poyntment of Samwell Rowley <br />
:(F.87, Greg I.137)<br />
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:Lent vnto Samwell Rowley the 5 of<br />
:agust 1601 to lend in pte of payment vnto<br />
:John daye & w<sup>m</sup> hawghton of a Boocke<br />
:called the weaste enges some of . . . . . . x<sup>s</sup> <br />
:(F.92, Greg I.145)<br />
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:Lent vnto w<sup>m</sup> hawghton & John daye<br />
:the 11 of aguste 1601 in pt of payment<br />
:of the playe called the west enges some of xx<sup>s</sup> <br />
:(F.92<sup>v</sup>, Greg I.146)<br />
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:Lent vnto John daye the 26 of agust 1601<br />
:in pt of payment of a Boocke called the<br />
:weast enges the some of . . . . . . x<sup>s</sup> <br />
:(F.93, Greg I.147)<br />
<br />
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:Lent vnto the company the 1 of septmbr to<br />
:Lend John daye in pt of payment of<br />
:a Boocke called the weaste enges some of . . x<sup>s</sup> <br />
:(F.93, Greg I.147)<br />
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===Payments for Properties (''Henslowe's Diary'')===<br />
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:Lent vnto my sonne & wm Jube the<br />
:31 of Septmbr 1601 to bye divers thinges &<br />
:sewttes & stockenes for the playe of the weaste<br />
:enges the some of . . . . . . x<sup>ll</sup> x<sup>s</sup> <br />
:pd more vnto the lace man for cope lace some . iij<sup>s</sup> ix<sup>d</sup><br />
:pd mor for cope lace for this playe . . . . . . vij<sup>s</sup> <br />
:(F.94, Greg I.149)<br />
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:pd the tayllers bille Radford & w<sup>m</sup> whites bell<br />
:at the apoyntment of Robart shawe & Jube the<br />
:10 of octobr 1601 for the playe of the weaste enges<br />
:the some of . . . . . . lvij<sup>s</sup> <br />
:(F.94, Greg I.149)<br />
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:pd the 21 of Janewary [1601/2] for xij oz of lace<br />
:for Jndies . . x<sup>s</sup> & pd to spencer for twiste<br />
:ij<sup>s</sup> vj<sup>d</sup> pd for ij tiers . . x<sup>s</sup> & pd for v oz<br />
:& lacynge ye sleues <sup>^. . vs vjd</sup> to E Alleyn the some of xxviij<sup>s</sup> <br />
:(F.104, Greg I.164)<br />
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===''Henslowe’s Papers''===<br />
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ARTICLE 32.<br />
[Samuel Rowley to Philip Henslowe, 4 April 1601. Autograph. See ''Diary'', 86 18. Printed, Malone, xxi. P. 391; ''Alleyn Papers'', p. 23.]<br />
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:M<sup>r</sup> hinchloe J haue harde fyue sheets of a playe of the Conqueste of the<br />
:Jndes & J dow not doute but Jt wyll be a verye good playe therefore J praye <br />
:ye delyuer them fortye shyllynges Jn earneste of Jt & take the papers Jnto yo<sup>r</sup><br />
:one hands & on easter eue thaye promise to make an ende of all the reste.<br />
::Samuell<br />
::Rowlye<br />
<br />
:[note in Henslowe’s hand:]<br />
:lent the 4 of ap<sup>r</sup>ell<br />
:1601—xxxx<sup>s</sup><br />
<br />
(''Henslowe's Papers'' MS. I. 32; Greg, ''Papers'' 56)<br />
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ARTICLE 35.<br />
[Samuel Rowley to Philip Henslowe, 4 June 1601 (?). Autograph, with note and copy of verses in the hand of John Day. The payment mentioned in Art. 34 was the full and final one for the ''Six Yeomen''; the present letter must therefore be earlier. The ‘rest due’ would probably mean due up to date for papers delivered, possibly the first three acts. It implies, however, that it was not the first payment, 20 May. The next on 4 June, for £2, is entered as paid to Day, but it may have been at his appointment, and this may have been his share only, for two days later there is a payment to Haughton of 15''s''. See ''Diary'' '''87''' and '''87<sup>v</sup>'''. . . . Printed, Malone, xxi. p. 392 (without the verses); ''Alleyn Papers'', p. 23; Warner, p. 23.]<br />
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:M<sup>r</sup> henchloe J praye ye delyver the Reste of the Monye to John daye & wyll<br />
:Hawton dew to them of the syx yemen of the weste<br />
::Samuell<br />
::Rowlye<br />
<br />
:[note in Day’s hand:]<br />
:J have occasion to be absent about the plott of the Jndyes therfre pray delyver<br />
:it to will hamton sadler<br />
::by me John Daye<br />
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(''Henslowe's Papers'' MS. I. 35; Greg, ''Papers'' 57)<br />
[NB. Foakes has “J have occasion to be absent” ''after'' “about the plot of the Indies” (Foakes 295)].<br />
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== Theatrical Provenance ==<br />
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No performance dates recorded. From Rowley’s letter to Henslowe it appears that 5 sheets of the play had been written by 04 April 1601, but Henslowe was still paying for properties 9 months later on 21 of January 1601/2.<br />
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== Probable Genre(s) ==<br />
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History (Harbage), Foreign History (? See "Possible narrative and dramatic sources or analogues" below), travel (?)<br />
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== Possible Narrative and Dramatic Sources and Analogues ==<br />
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In 1596, Thomas Nicholls (or Nicholas) republished ''The Pleasant Historie of the Conquest of the West India'' (his 1578 translation of Lopez de Gomara’s Spanish text), which details Hernando Cortez’s conquest of Mexico and the Aztec empire. The Stationer’s Register entry for this text gives it precisely the same title as the lost play (''SR'' 7v):<br />
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:'''28 Januarij [1596]'''<br />
:Thomas Creede/<br />
:To paie vj<sup>d</sup> in the<br />
:Pound to th[e]<br />
:Use of the poore /<br />
<br />
:Entred for his Copie vnder the wardens handes./ a booke intituled ''The Conquest of the West Indies'' by ''HERNANDO COURTIS'' / and another booke intituled. ''The treasure for Englishmen'' . xij<sup>d</sup><br />
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There is an overarching narrative (Cortez’s conquest) in Nicholl’s text, even though the action is often interrupted by the provision of cosmographic details (“The Market place of Mexico” [196]; “The Gardens of Mutezuma” [187]). A dramatist developing this text for the stage would find in Cortez a viable, larger-than-life lead role redolent of Tamburlaine or Henry V. Nicholls’ translation includes such readily-adaptable passages as the orations that Cortez made to his soldiers (24-25, 135), stirring motivational speeches in the vein of Henry V’s orations in Shakespeare’s 1599 play. The Mexican King, Mutezuma, also has orations preserved, such as the one in which he explains (with a tragic irony apt for the theatre) that although he and his people initially perceived Cortez as a threat (the Spaniards’ “iesture and grimme beardes did terrifie” the Mexicans), they people were no longer concerned by the Spaniards’ arrival: “But now I do see & know that you are mortal me[n]” (172). <br />
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===Synopsis===<br />
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After numerous battles, Cortez and his men arrive at the Mexican capitol, where they are lavished with gifts and attention according to Mexican custom. Cortez grows concerned about being outnumbered, should the Mexican King, Mutezuma, turn on them. Letters from Pedro Hircio report that the Indian lord Qualpopoca has slain 9 Spaniards. Cortez resolves to apprehend Mutezuma. Whilst plotting in his lodgings, Cortez chances upon a recently walled-up door which, after forcing, reveals the treasury of Mutezuma (an opportune moment to utilise the discovery space of the stage?) (209). Cortez demands an audience with Mutezuma, and insists the Mexican King reside in Cortez’s lodgings under house arrest until Qualpopoca arrives to explain the murder of 9 Spaniards. Mutezuma consents and is carried upon men’s shoulders, on a rich seat, to Cortez’s lodgings.<br />
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(POSSIBLE SUBPLOT (220-21): Pedro Hircio is left in charge in Vera Crux when Cortez leaves that town, and charged with the task of procuring the place called Almeria for the Spanish. Hircio asks the Indians to submit to Spanish rule, and Qualpopoca, Lord of Nahutlan (now Almeria) claims he cannot meet to discuss Hircio’s request unless Hircio provide an armed guard for security; Hircio sends 4 men, 2 of whom are killed by Indians. The surviving 2 return to Vera Crux where Hircio, believing Qualpopoca responsible, retaliates with significantly more men. In the ensuing skirmish, Qualpopoca’s men kill a further 7 Spaniards. Qualpopoca’s town is eventually sacked, and the prisoners blame Mexico (Mutezuma) for commanding Qualpopoca to slay the Spaniards. Hircio writes this news to Cortez in Chololla, and Cortez uses the letters to apprehend Mutezuma. END SUBPLOT)<br />
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At length, Qualpopoca arrives and admits having slain the 9 Spaniards (219). For his alleged complicity in the murders, Mutezuma is placed in irons by Cortez (an analogue to the debased Bajazeth in ''Tamburlaine''?) (222). Qualpopoca and his men are condemned to death at Cortez’s insistence, and are burned alive in the market place (220). Mutezuma’s nephew, Cacamazin (or Cacama) gathers a great army to “redeeme his uncle out of captiuitie, and expulse the Straungers [Spanish], or else kill and eate them” (227). To avoid war, Mutezuma arranges for Cacama to be taken prisoner and brought to Mexico (229). Invoking the belief that their true king (or his descendant) would once again return from foreign lands to rule Mexico, Mutezuma yields himself to the King of Spain in a parliamentary speech (230-33).<br />
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Mutezuma eventually asks Cortez to leave their country; Cortez (surprisingly) agrees, requesting time to build ships from scratch (whilst he plots how to stay). 8 days after Cortez’s men venture into the woods in search of timber, 15 Spanish ships arrive. Cortez worries that it may be his enemy James Velasques (Governor of Cuba) rather than a fleet from Spain (it is, in fact, a new expedition led by Pamphilo de Narvaes, sent on Velasques’s order). Pamphilo de Narvaes turns the Indians against Cortez, claiming Cortez is a rebel who was in Mexico against the King of Spain’s will. Before negotiations commence, Cortez hears word that Narvaes intends to apprehend or kill him at the meeting, and makes a speech to his men (250) to rally them in anticipation of preventing Narvaes’s entry to Mexico. En route to talks with Narvaes, Cortez meets his old friend Andres de Duero, who bears the message that Cortez must surrender his conquests to Velasques (via Narvaes) or be regarded as an “enemie and Rebell” (253). Cortez’s men besiege Narvaes, put out one of his eyes with a pike, and apprehend him (255). In treating Narvaes’s men kindly, Cortez wins their favour and they join his ranks in returning to Mexico City (257).<br />
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Meanwhile, the Indians have revolted in Mexico; a reaction against the massacre of Indians (by Pedro de Alvarado) whilst they were celebrating a holy festival in their temple (261). The Spanish lodgings are besieged (264-65). Cortez persuades Mutezuma to address the mob from the roof of the house, and a stray stone hits his temple and kills him (266). In the ensuing battle (271), Cortez sustains a knee-injury, and it is given out that he has been slain (to the dismay of his men and the joy of the Indians) (273). The Spaniards running low on provisions and in poor health eventually decide to leave Mexico (274). A Spaniard named Botello, skilled in necromancy, declared that they would escape successfully if they departed at a “certaine houre appointed” (275), and at that time the men carried out their planned evacuation, carrying a makeshift bridge of timber to help cross the city’s moats. Before departing, Cortez called John de Guzman (his chamberlain) to open the treasure hall and distribute the riches. “[T]hey tooke as much golde and other riches, as they might possibly carry, but it cost them deare, for at their going out of the Citie, with the waight of their heauie burthens, they could neither fight, nor yet make haste on their way, vpon which occasion, the Indians caught many of them, and drew them by the heeles to the slaughter-house of Sacrifice, where they were slaine and eaten” (276). A great many Spaniards are killed and much treasure lost.<br />
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Cortez subsequently returns to Mexico to besiege the city (320) with assistance from other provinces and towns. During the siege Spaniards are seized and sacrificed in public, Cortez sustains a leg injury, and thousands of Indians are killed (335), but Mexico City finally succumbs to Spanish rule.<br />
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===(Possible) Dramatis Personae===<br />
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::Hernando Cortez, ''Spanish conquistador''<br />
::Pedro Hircio, ''left in charge of Vera Crux by Cortez''<br />
::Andres de Duero, ''Cortez’s friend and financier of the voyage''<br />
::Pedro de Alvarado, ''left in charge of Mexico in Cortez’s absence; responsible for the temple massacre that caused the insurrection''<br />
::Botello, ''a Spaniard skilled in necromancy''<br />
::John de Guzman, ''Chamberlain to Cortez''<br />
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::James Velasques, ''Governor of Cuba and enemy of Cortez''<br />
::Pamphilo de Narvaes, ''Lieutenant sent by Velasques to apprehend Cortez''<br />
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::Mutezuma, ''King of Mexico City''<br />
::Qualpopoca, ''Lord of Nahutlan (Almeria)''<br />
::Cacamazin, ''King (Lord) of Tezcuco, nephew to Mutezuma''<br />
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::Other Spaniards<br />
::Other Indians<br />
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i.e. approx. 5-6 main speaking parts (Cortez, Pedro Hircio, Mutezuma, Qualpopoca, Pamphilo de Narvaes, James Velasques[?]) and 4 minor speaking parts (Andres de Duero, Pedro de Alvarado, Botello, Cacamazin) = c.10 actors plus extras.<br />
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== References to the Play ==<br />
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Wilhelm Creizenach implies that ''The Conquest of the West Indies'' may have been the subject of a reference in one of William Crashaw’s sermons:<br />
<blockquote> In a sermon preached by William Crashaw before the start of an expedition for the plantation of Virginia (1610), mention is made of the fact that the plantation has been ridiculed on the stage; the reason being, as Crashaw maintains, that no players or other idle persons are tolerated among the settlers. (Creizenach 183n) </blockquote><br />
The case for ''The Conquest of the West Indies'' as subject is hardly strong; equally viable contenders include [[New World's Tragedy, The | ''The New World’s Tragedy'']] (1595, lost) or more obviously, such satirical plays as ''Eastward Ho!'' (1605), with its mockery of Virginian voyages.<br />
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== Critical Commentary ==<br />
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In the context of Sir John Harington’s list of quartos (see Furnivall), Wilhelm Creizenach assumed that the lost play “dealt with Raleigh’s expeditions to Guayana and Virginia”:<br />
<blockquote>At the end of the list of contents of vol. i. of Harington’s collection of quartos … occur the following words: ‘Note y<sup>t</sup> Guiana ys sorted w<sup>th</sup> Virginia and Maundev.’ This is probably an allusion to plays now lost which dealt with Raleigh’s expeditions to Guayana and Virginia, and which the collector ‘sorted with’ the dramas dealing with the adventures of the traveller Maundeville. Perhaps the ‘playe of the weaste enges’ (West Indies), mentioned several times by Henslowe in 1601, belonged to this category. (Creizenach 183n) </blockquote><br />
Harington’s comments are ambiguous: his statement “Note y<sup>t</sup> Guiana ys sorted w<sup>th</sup> Virginia and Maundev” does appear at the end of a list of plays (Furnivall 382), but his subsequent entry, “Guiana. mandevil & Virginia.” appears in a miscellaneous list of “Loose books” (e.g. “Alminacks”, “m<sup>r</sup> Toste. booke of survey”) and clothing (“3 pairs of stockings of m<sup>r</sup> Johns”) (Furnivall 383), which suggests that neither “Guiana”, “mandevil” or “Virginia” are plays at all.<br />
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In his critical edition of another Haughton play, ''Englishmen for my money'', Albert Croll Baugh acknowledges Creizenach but instead connects ''The Conquest of the West Indies'' with Nicholls’s ''Conquest of the West India'', failing to comment further, beyond posing the possible influence of Nicholls’s text on the play:<br />
<blockquote>It would not be surprising … if it were connected with a tract published first in 1578 and again in 1596, and having the title “The Pleasant Historic of the Conquest of the Weast India, now called new Spayne, Atchieued by the worthy Prince Hernando Cortes Marques of the valley of Huaxacat, most delectable to Reade : Translated out of the Spanish tongue, by T. N. [Thomas Nicholas]”. However, this may be, nothing further or more definite is known of the play. (82) </blockquote><br />
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At least two critics, Wright and Ramsaram, have entertained the supposition that the play’s subject matter was English by nature. Wright notes that “[w]hether ''The Conquest of the West Indies'' (1601), a lost play by Day, Haughton, and Smith, recounted the adventures of English buccaneers, we have no way of knowing” (634). J. A. Ramsaram conjectures that “[t]he lost plays—[[The New World's Tragedy | ''New World’s Tragedy'']], 1595, and ''The Conquest of the West Indies'', 1601, must surely have given a prominent place to Drake’s adventures” (99).<br />
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== For What It's Worth ==<br />
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“Thomas A Nicholls” was one of the inhabitants of Finsbury who (along with the likes of Anthony Marlowe; Kit’s Crayford relative and the London agent of the Muscovy Company) signed an address to the Privy Council (c. January 1600) petitioning that the new playhouse lately erected there be permitted to remain (''Henslowe's Papers'' MS.I.28; Greg, ''Papers'' 50-51). If there were reason to believe “Thomas A Nicholls” = the Thomas Nicholls who translated ''The Pleasant Historie of the Conquest of the West India'', it may be relevant that he had an active interest in the theatre at approximately the time that ''The Conquest of the West Indies'' was being written.<br />
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== Keywords ==<br />
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New World [[category:New World]], Mexico [[category:Mexico]], Indians [[category:Indians]], colony [[category:colony]], conqueror [[category:conqueror]], history [[category:history]], Spanish [[category:Spanish]], Cortez [[category:Cortez]], travel [[category:travel]]<br />
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== Works Cited ==<br />
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Arber, Edward (ed). ''A Transcript of the Registers of the Company of Stationers of London, 1554-1640 A.D. Volume III. — Text. Entries of Books to 11 July 1620. Entries of Freemen to 31 December 1640. Succession of Master Printers in London 1586 – 1636.'' Privately Printed, London: 1 July 1876. Print.<br />
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Baugh, Albert Croll (ed). William Haughton. ''Englishmen for my money''. U of Pennsylvania P, 1917. Print. [http://www.archive.org/stream/williamhaughtons00haugrich/williamhaughtons00haugrich_djvu.txt (archive.org)]<br />
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Creizenach, Wilhelm. ''The English Drama in the Age of Shakespeare'' [Translated from ''Geschichte des neueren Dramas'']. NY: Haskell House, 1964. Print.<br />
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Foakes, R. A. (ed). ''Henslowe's Diary''. 2nd edn. Cambridge: CUP, 2002. Print.<br />
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Furnivall, F. J. “Sir John Harington’s Shakspeare Quartos.” ''Notes & Queries'' s-7 IX (May 1890): 382-83. Print.<br />
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Nicholls, Thomas (trans). ''The Pleasant Historie of the Conquest of the West India, now called new Spaine''. 1578, rpt. 1596. Print. (EEBO).<br />
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Ramsaram, J. A. “Sir Francis Drake in Contemporary Verse.” ''Notes & Queries'' 202 (1957): 99-101. Print.<br />
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Wright, Louis B. Middle-class culture in Elizabethan England. London: Methuen, 1964 reprint.<br />
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Site created and maintained by David McInnis, University of Melbourne; updated, 26 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Auspices_Old&diff=248
Auspices Old
2009-10-13T06:08:12Z
<p>Mcinnisd: </p>
<hr />
<div>'''Browse by Auspices:''' <br />
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[[Auspices|Auspices 1]] | [[Auspices 2]] | [[Auspices 3]] | [[Auspices 4]] <br />
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[[Galiaso]]<br>[[II Godfrey of Boulogne]]<br>[[Grecian Comedy]] <br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[I Hannibal and Hermes]]<br>[[Hannibal and Scipio]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry V]]<br>[[II Henry Richmond]]<br>[[I Hercules]]<br>[[II Hercules]]<br>[[Hester and Ahasuerus]]<br>[[Hot Anger Soon Cold]]<br>[[Humorous Earl of Gloucester, with His Conquest of Portugal, The]]<br>[[Italian Tragedy, The]]<br>[[Jepthah]]<br>[[Joan as Good as My Lady]]<br>[[John a Kent and John a Cumber]]<br>[[Joshua]]<br>[[Judas]]<br>[[Julian the Apostate]]<br>[[Jurgurtha (King of Numidia)]]<br>[[Life of Cardinal Wolsey, The]]<br>[[I The London Florentine]]<br>[[II The London Florentine]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love Parts Friendship]]<br>[[Love Prevented]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Madman’s Morris, The]]<br>[[Mahomet]]<br>[[Malcolm, King of Scots]]<br>[[Martin Swart, his Life and Death]]<br>[[Merchant of Emden, The]]<br>[[Miller, The]]<br>[[Mother Redcap]]<br>[[Mulmutius Dunwallow]]<br>[[Nebuchadnezzar]]<br>[[New World’s Tragedy, The]]<br>[[Orestes’ Furies]]<br>[[Orphans’ Tragedy, The]]<br>[[Osric]]<br>[[Owen Tudor]]<br>[[Page of Plymouth]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Pastoral Tragedy, A]]<br>[[Phaeton]]<br>[[Philip of Spain]]<br>[[Philipo and Hippolito]]<br>[[Phocasse (Focas)]]<br>[[Pierce of Exton]]<br>[[Pierce of Winchester]]<br>[[Pope Joan]]<br>[[Poor Man’s Paradise, The]]<br>[[Pythagoras]]<br>[[Randall, Earl of Chester (Chester’s Tragedy)]]<br>[[Richard Crookback]]<br>[[Rising of Cardinal Wolsey, The]]<br>[[Robert II, King of Scots (The Scot’s Tragedy)]]<br>[[Robin Hood’s Pennyworths]] <br />
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[[Scogan and Skelton]]<br>[[Sebastian, King of Portugal]]<br>[[Seleo and Olympio (Seleo and Hengenyo)]]<br>[[Set at Maw, The]]<br>[[Set at Tennis, The]]<br>[[I The Seven Days of the Week]]<br>[[II The Seven Days of the Week]]<br>[[Seven Wise Masters, The]]<br>[[Siege of Dunkirk, with Alleyn the Pirate, The]]<br>[[Siege of London, The]]<br>[[Singer’s Voluntary]]<br>[[Sir John Mandeville]]<br>[[II Sir John Oldcastle]]<br>[[I Six Clothiers of the West]]<br>[[II Six Clothiers of the West]]<br>[[Six Yeomen of the West, The]]<br>[[Spanish Fig, The]]<br>[[Spensers, The]]<br>[[Stepmother’s Tragedy, The]]<br>[[Strange News out of Poland]]<br>[[Sturgflatery|Sturgflatery (Stark Flattery? Strange Flattery?)]]<br>[[I Tamar Cham]] <br>[[II Tamar Cham]] <br>[[Tasso’s Melancholy]]<br>[[That Will Be Shall Be]]<br>[[Tinker of Totness, The]]<br>[[Toy to Please Chaste Ladies, A]]<br>[[Triangle (or Triplicity) of Cuckolds, The]]<br>[[Thomas Merry (Beech’s Tragedy)]]<br>[[Time’s Triumph and Fortus]]<br>[[‘Tis No Deceit to Deceive the Deceiver]]<br>[[Tobias]]<br>[[II Tom Dough]]<br>[[Too Good to Be True]]<br>[[Tristram de Lyons]]<br>[[Troilus and Cressida]]<br>[[Troy]]<br>[[Troy’s Revenge, with the Tragedy of Polyphemus]]<br>[[Truth’s Supplication to Candlelight]]<br>[[Turkish Mahomet and Hiren the Fair Greek]]<br>[[II The Two Angry Women of Abington]]<br>[[Two Merry Women of Abington]]<br>[[Uther Pendragon]]<br>[[Valentine and Orson]]<br>[[Vayvode]]<br>[[Venetian Comedy, The]]<br>[[Vortigern]]<br>[[War without Blows and Love without Suit (or Strife)]]<br>[[Warlamchester]]<br>[[Welshman, The]]<br>[[Widow’s Charm, The]]<br>[[William Cartwright]]<br>[[William Longsword (William Longbeard)]]<br>[[Wise Man of West Chester, The]]<br>[[Witch of Islington, The]]<br>[[Woman Hard to Please, A]]<br>[[Woman’s Tragedy, The]]<br>[[Wonder of a Woman, The]]<br>[[Wooing of Death, The]]<br>[[World Runs Well on Wheels, or All Fools but the Fool]]<br>[[II Worse Afeared Than Hurt (II Hannibal and Hermes)]]<br>[[Zenobia|Zenobia<br>]] <br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Dramatists_(old)&diff=196
Dramatists (old)
2009-10-13T06:07:07Z
<p>Mcinnisd: </p>
<hr />
<div>'''Browse by Dramatist:''' <br />
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[[Dramatists|Dramatists 1]] | [[Dramatists 2]] | [[Dramatists 3]] | [[Dramatists 4]] <br />
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<br />
{| width="900" cellspacing="1" cellpadding="1" align="left" border="0"<br />
|-<br />
! scope="col" style="text-align: left;" | Anon.<br> <br />
! scope="col" style="text-align: left;" | Anon. (cont'd)<br> <br />
! scope="col" style="text-align: left;" | Anon. (cont'd)<br><br />
|-<br />
| <br />
[[Abraham and Lot]]<br>[[Absalom]]<br>[[Abuses]]<br>[[Aeneas and Dido]]<br>[[Agamemnon and Ulysses]]<br>[[Ajax Flagellifer]]<br>[[Alice and Alexis]]<br>[[Alice Pierce]]<br>[[Almanac, The]]<br>[[Amazons]] <br>[[Angel King]]<br>[[Antic Play and a Comedy]]<br>[[Antony and Vallia]] <br>[[Ariodante and Genevora]]<br>[[Astiages]]<br>[[Author’s plot, the scene Macedonia]]<br>[[Baptism of Prince Henry, The]]<br>[[Barnado and Fiammetta]]<br>[[Baxter’s Tragedy (Barkstead’s Tragedy)]]<br>[[Beauty and Housewifery]]<br>[[Belinus, Brennus]]<br>[[Bendo (or Byndo) and Richardo]]<br>[[Berowne (also Burone, & Biron)]]<br>[[Black Joan]]<br>[[Black Lady]]<br>[[Bonos Nochios]]<br>[[Brandimer]] <br>[[Branhowlte (Brunhild)]]<br>[[Bridegroom and Madman]] <br>[[Brougham Castle Entertainment]]<br>[[Buck is a Thief]]<br>[[Buckingham]] <br>[[Buckingham’s Mask]]<br>[[Burbon (i.e. Bourbon?)]]<br>[[Caesar and Pompey]] <br>[[I Caesar and Pompey]]<br>[[II Caesar and Pompey]]<br>[[Calistus]] <br>[[Capture of Stuhlweissenburg, The]]<br>[[Celestina]]<br>[[Chinon of England]]<br>[[Chirke Castle, Entertainment at]]<br>[[Christ’s Passion]]<br>[[City, The]]<br>[[II City Shuffler]]<br>[[Clorys and Orgasto]]<br>[[Cloth Breeches and Velvet Hose]]<br>[[Cobbler of Queenheath, The]]<br>[[Constantine]]<br>[[Cosmo]]<br>[[Crack Me This Nut]]<br>[[Cupid and Psyche]]<br>[[Cupid’s Festival]]<br>[[Cutlack]]<br>[[De Humfredo Aulico Confessionem Repudiante]]<br>[[Dead Man’s Fortune, The]]<br>[[Delight]]<br>[[Dido]]<br>[[Diocletian]] <br>[[Don Horatio]] <br>[[Dramatic fragment in verse]]<br>[[Dumb Bawd of Venice]]<br>[[Duns Furens]]<br>[[Dutch Painter, and the French Brawl]]<br>[[Earl of Hereford, The]]<br>[[Edinburgh Entertainmen]]t<br>[[England’s First Happiness, or The Life of St. Austin]]<br> <br />
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[[Fair Maid of Italy, The]]<br>[[Fair Maid of London, The]]<br>[[Fair Star of Antwerp]]<br>[[False Friend]] <br>[[Felix and Philomena]]<br>[[Ferrar, A History of]]<br>[[Fig for a Spaniard, A]]<br>[[Five Plays in One]]<br>[[Focas]]<br>[[Forces of Hercules, The]]<br>[[Fortunatus, Part 1]]<br>[[II Fortune’s Tennis]]<br>[[Four Seasons]]<br>[[Four Sons of Fabius (Fabii)]]<br>[[Fragment of a play, 17th cent.]]<br>[[Fragment of a play]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Francis]]<br>[[Friar Spendleton]]<br>[[Galiaso]]<br>[[Game of Cards]]<br>[[Garlic]]<br>[[General, The]]<br>[[George Scanderbeg]]<br>[[Give a Man Luck and Throw Him into the Sea]]<br>[[II Godfrey of Boulogne]]<br>[[God Speed the Plough]]<br>[[Govell’s Mask]]<br>[[Gowry]]<br>[[Gramercy Wit]]<br>[[Grecian Comedy]]<br>[[Guelphs and Ghibbelines]]<br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Heliogabalus]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry the Una]]<br>[[Henry V]]<br>[[I Hercules]]<br>[[II Hercules]]<br>[[Hester and Ahasuerus]]<br>[[Hippolytus]]<br>[[Hocus-Pocus]]<br>[[Honour in the End]]<br>[[House is Haunted]]<br>[[Hugh Aston’s Mask]]<br>[[Huon of Bordeaux]]<br>[[Invisible Knight]]<br>[[Irish Gentleman, The]]<br>[[Irish Rebellion]]<br>[[Jealous Comedy, The]]<br>[[Jerusalem]]<br>[[Jesuits Comedy]]<br>[[John of Gaunt]]<br>[[Judith]]<br>[[Julian the Apostate]]<br>[[King Ebrauk with All His Sons]]<br>[[King Lud]]<br>[[Knights of India and China, A Mask of the]]<br>[[Knot of Fools, The]]<br>[[Ladies and Boys, A Mask of]]<br> <br />
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[[Lady Amity]]<br>[[Like unto Like]]<br>[[Locus, Corpus, Motus, etc.]]<br>[[London against the Three Ladies]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Look to the Lady]]<br>[[Lost Muse, The]]<br>[[Love and Self-Love (The Essex Entertainment)]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love’s Aftergame, or The Proxy]]<br>[[Lucretia]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Mad Priest of the Sun, The]]<br>[[Mahomet]]<br>[[Man in the Moon Drinks Claret]]<br>[[Marquis d’Ancre]]<br>[[Martin Swart, his Life and Death]]<br>[[Meleager, Publii Ovidii Nasonis]]<br>[[Merchant of Emden, The]]<br>[[Middle Temple Mask]]<br> [[Miller, The]]<br>[[Moore’s Masque]]<br>[[Muly Molloco]]<br>[[Nebuchadnezzar]]<br> [[New World's Tragedy, The]]<br>[[Nine Passions, A Mask of the]]<br>[[Ninus and Semiramis]] <br>[[Noble Grandchild]]<br>[[Octavia]]<br>[[Osmond, the great Turk]]<br>[[Osric]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Parracide]]<br>[[Parroiall (Pareil?) of Princes]]<br>[[Peaceable King, or Lord Mendall]] <br>[[Philipo and Hippolito]]<br>[[Philip of Spain]]<br>[[Phocasse (Focas)]]<br>[[Phyllida and Corin]]<br>[[Plantation of Virginia|Plantation of Virginia, The]]<br>[[Play of Plays and Pastimes]]<br>[[Pompey]]<br>[[Pontius Pilate]]<br>[[Pope, Cardinals, Friars]]<br>[[Pope Joan]]<br>[[Portio and Demorantes]]<br>[[Prince Henry’s Welcome to Winchester]]<br>[[Projector Lately Dead]]<br>[[Proud Maid’s Tragedy]]<br>[[Pythagoras]]<br>[[Queen Henrietta’s Mask]]<br>[[Queen’s Welcome at Theobalds, The]]<br>[[Ranger’s Comedy, The]]<br>[[Raymond Duke of Lyons]]<br>[[Richard II]]<br>[[Richard the Confessor]]<br>[[Richard Whittington]]<br>[[Ring, The]]<br>[[Robin Goodfellow]]<br>[[Robinhood and Little John]]<br>[[Roderick]]<br>[[Royal Widow of England, A]]<br>[[Bellendon|Rufus I with Life &amp; Death of Belyn Dun]]<br>[[Running (or Traveling) Mask]]<br> <br />
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<br></div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=New_World%27s_Tragedy&diff=328
New World's Tragedy
2009-10-13T06:06:19Z
<p>Mcinnisd: moved New World's Tragedy to New World's Tragedy, The</p>
<hr />
<div>#REDIRECT [[New World's Tragedy, The]]</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=New_World%27s_Tragedy,_The&diff=304
New World's Tragedy, The
2009-10-13T06:06:19Z
<p>Mcinnisd: moved New World's Tragedy to New World's Tragedy, The</p>
<hr />
<div>Anon. (1595) <br />
<br />
<br> <br />
<br />
== Historical Records ==<br />
<br />
''Henslowe’s Diary'' <br />
<br />
{| border="0" class="wikitable"<br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| F.13 (Greg I.25): <br />
| <br />
| <br />
| <br />
| ye 17 of septmb[r] 1595 ne . . <br />
| R[d] at the worldes tragedy . . . . . . <br />
| iij<sup>ll</sup> v<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 25 of septmb[r] 1595 <br />
| R[d] at the worldes tragedy . . . . . . <br />
| xxxviij<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 7 of octob[r] 1595 <br />
| R[d] at the worldes tragedy . . . . . . <br />
| xxxj<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 22 of octob[r] 1595 <br />
| R[d] at the new worldes tragedy . . . <br />
| xxxiijj<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 3 of novemb[r] 1595 <br />
| R[d] at the new worldes tragedy . . . <br />
| xxix<sup>s</sup><br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| F.14 (Greg I.27): <br />
| <br />
| <br />
| <br />
| ye 27 of novemb[r] 1595 <br />
| R[d] at the newes wordles tragedy . . <br />
| xviij<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 12 of desemb[r] 1595 <br />
| R[d] at the new worldes tragedy . . . <br />
| xxxj<sup>s</sup> vj<sup>d</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 22 of desemb[r] 1595 <br />
| R[d] at the newe worldes tragedie . . <br />
| xx<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 8 of Jenewary 1595 <br />
| R[d] at new worldes tragedie . . . . . <br />
| xviij<sup>s</sup><br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| F.14v (Greg I.28): <br />
| <br />
| <br />
| <br />
| ye 25 of Jenewary 1595------------ <br />
| R[d] at the new worldes tragedy . . . <br />
| xiiij<sup>s</sup><br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| F.15v (Greg I.30): <br />
| <br />
| <br />
| <br />
| ye 27 of aprell 1596 <br />
| R[d] at new worldes tragedy . . . . . <br />
| xxixs<br />
|}<br />
<br />
<br> <br />
<br />
== Theatrical Provenance ==<br />
<br />
Played as a new play at the Rose on 17 September 1595 by the Admiral’s. <br />
<br />
<br> <br />
<br />
== Probable Genre(s) ==<br />
<br />
Tragedy (Harbage) <br />
<br />
<br> <br />
<br />
== Possible Narrative and Dramatic Sources or Analogues ==<br />
<br />
None known. <br />
<br />
<br> <br />
<br />
== References to the Play ==<br />
<br />
None known. <br />
<br />
<br> <br />
<br />
== Critical Commentary ==<br />
<br />
Cawley suggestively notes that “[t]he Drake-Hawkins expedition of 1595 suffered every kind of bad luck” (both men died during this fateful voyage to the West Indies) and that a “non-extant play, ''New World’s Tragedy'' … was acted at the Rose in that year” (289). But Drake did not die until early 1596, so it is unclear what aspects of this expedition the play might have dramatised by 17 September 1595. <br />
<br />
<br> Ramsaram assumes that “[t]he lost plays—''New World’s Tragedy'', 1595, and [[Conquest of the West Indies, The | ''The Conquest of the West Indies'']], 1601, must surely have given a prominent place to Drake’s adventures” (99). Ramsaram offers no evidence to support this speculation, and indeed the example of Drake’s immortalisation in verse that Ramsaram does produce seems to contradict this inference of a lead role in lost plays. Ramsaram cites a verse panegyric by Oxford scholar Charles Fitz-Geffrey (''Sir Francis Drake. His Honorable Life’s Commendation … 1596'') which “[i]n addition to addressing Spenser, Daniel and Drayton by name … had sought to interest the dramatists of his day” in the adventures of Drake (101). But Fitz-Geffrey’s very offer to the “quaint tragedians of our time” of “a modern subject for your wits” (qtd. in Ramsaram 101) surely ought to imply that Drake’s adventures had ''not'' yet been dramatised by 1596. <br />
<br />
<br> Parr speculates that ''The New World’s Tragedy'' was “perhaps inspired by the lost colony on Roanoke Island in Virginia or by the much-trumpeted atrocities of the Spanish further south” (3). <br />
<br />
<br> <br />
<br />
== For What It’s Worth ==<br />
<br />
(Information Needed) <br />
<br />
<br> <br />
<br />
== Keywords ==<br />
<br />
New World [[category:New World]], colony [[category:colony]], Drake [[category:Drake]], Hawkins [[category:Hawkins]], travel [[category:travel]]. <br />
<br />
<br> <br />
<br />
== Works Cited ==<br />
<br />
Cawley, Robert Ralston. ''The Voyagers and Elizabethan Drama''. Boston: MLA, 1938. Print. <br />
<br />
Parr, Anthony (ed). Introduction. ''Three Renaissance Travel Plays''. Manchester: Manchester UP, c1995; rpt. 1999. Print. The Revels Plays Companion Library. <br />
<br />
Ramsaram, J. A. “Sir Francis Drake in Contemporary Verse.” ''Notes & Queries'' 202 (1957): 99-101. Print. <br />
<br />
<br> <br />
<br />
Site created and maintained by David McInnis, University of Melbourne; updated, 04 September 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Plantation_of_Virginia,_The&diff=314
Plantation of Virginia, The
2009-10-13T06:05:11Z
<p>Mcinnisd: Created entry for Plantation of Virginia, The</p>
<hr />
<div>Anon. (1623) <br />
<br />
<br> <br />
<br />
== Historical Records ==<br />
<br />
Two versions of the licensing of this play (by the Master of the Revels, Sir Henry Herbert) exist: <br />
<br />
<br> 1623, August. “For the Company at the Curtain; A Tragedy of ''the Plantation of Virginia; the profaneness to be left out'', otherwise not tolerated.” <br />
<br />
:(Herbert 24) (Fleay adds that this was “The last entry for the Curtain, which was finally closed before the next entry [in Herbert’s list],” 301).<br />
<br />
<br> 1623, Aug. “August [1623] A Tragedy of the Plantation of Virginia, the [propheness left out] contayninge 16 sheets &amp; one May be acted [els not for the] companye at the Curtune Founde fault with the length of this playe &amp; [commanded a] reformation in all their other playes.” <br />
<br />
:(Folger Shakespeare Library, Scrap-books of J. O. Halliwell-Phillipps, ''Fortune'', p.85; qtd. in Bentley V.1396)<br />
<br />
<br> <br />
<br />
== Theatrical Provenance ==<br />
<br />
Played at The Curtain (Herbert 24), by Prince’s (Harbage). Bentley, however, sees greater complexity in the issue: <br />
<blockquote>It is not clear what company was acting at the Curtain in August 1623. (See above, i. 205-9). Prince Charles’s (I) company had recently been there, but they appear to have moved to the Red Bull by this date and left the Curtain to tomes troupe that was not one of the regular London companies. (Ibid.) Such a troupe could have been one of those which normally played in the provinces but which was trying a London season. (V.1396). </blockquote> <br />
Bentley further adds that “by 19 August 1623 they [Prince Charles’s men] were at the Red Bull, where the Master of the Revels, on that date, relicensed to them an old play called ''The Peaceable King or the Lord Mendall''” (VI.137). Who, then, performed ''The Plantation of Virginia'' is uncertain. Writes Bentley: <br />
<blockquote>At the Curtain the Prince’s men were succeeded by an unknown troupe, not one of the regular London companies—Prince’s Lady Elizabeth’s, King’s, Palsgrave’s, and possibly the dying Revels company. What this company was is unknown, but one would guess that it was some provincial troupe trying to gain a foothold in London. For them the Master of the Revels licensed another lost play with a title even more titillating—at least for Americans. (VI.137)</blockquote> <br />
<br />
<br />
<br />
== Probable Genre(s) ==<br />
<br />
Tragedy (Harbage); History (?); Foreign History (?). <br />
<br />
<br />
<br />
== Possible Narrative and Dramatic Sources or Analogues ==<br />
<br />
It is difficult to believe that a play of this name, appearing in 1623, could have taken for its subject matter anything other than the 1622 massacre of settlers by Indians in Virginia, which was one of the most historically significant events in England’s New World colonial endeavours and became a turning point in how the natives were treated by the English. <br />
<br />
<br> Alden T. Vaughan gives a good historical overview of the 1622 massacre (see esp. pp75-76), and Ransome gives a recent and concise summary of events: <br />
<blockquote>Provoked by the recent expansion of the rapidly growing numbers of the English, encouraged by their new chief, the warlike Opechancanough, and exasperated by the colonists’ murder of the warrior-priest Nemettanow, the Powhatans in March 1622 attacked the dispersed settlements of the colonists, successfully clearing the English from the upper reaches of the James. Some three hundred of the colonists, roughly a quarter of the English-speaking population, were killed… (370)</blockquote> <br />
Ransome notes that “[i]n late April the council at Jamestown sent news of the attack to London,” and cites Kingsbury (III.612) for the historical text: <br />
<blockquote>they have massacred in all parts above three hundred men women and Children, and have, since nott only spoyled and slaine Divers of our Cattell, and some more of our People, and burnte most of the Howses we have forsaken, but have alsoe enforced us to quitt many of our Plantacions, and to unite more neerely together in fewer places the better for to Strengthen and Defende our selve against them. (Kingsbury’s transcript is available at the [http://memory.loc.gov/ammem/collections/jefferson_papers/vc03.html Library of Congress] on pp.611ff). </blockquote> <br />
If this lost play were about the 1622 massacre of settlers by Indians in Jamestown, then the following texts may be of significance: <br />
<br />
*Christopher Brooke. “A Poem on the Late Massacre in Virginia, with particular mention of those men of note that suffered in the disaster….” London, 1622. STC (2nd ed.) 3830.5.Brooke’s poem concentrates on the depraved nature of the Indians: they are ‘the very dregs, garbage, and spawne of Earth’ and he calls for their complete annihilation.” (Jowitt 202) <br />
<br />
*Edward Waterhouse. ''A Declaration of the State of the Colony in Virginia''. 1622. STC (2nd ed.) 25104. (EEBO) <br />
<br />
*“Mourning Virginia” (anon., ballad, lost --- see "[[#For What It's Worth | For What It's Worth]]" below)<br />
<br />
<br />
<br />
== References to the Play ==<br />
<br />
<br />
Could this be the play that Captain John Smith refers to when he says “they have acted my fatall Tragedies upon the Stage” (''True Travels'' A2<sup>r-v</sup>)? (See [[Hungarian Lion, The#References to the play | ''The Hungarian Lion'']]). In his ''New Englands Trials'' (1622) he makes mention of the massacre: <br />
::An abstract of Letters sent from the Collony<br />
::in New England, July 16. 1622.<br />
:Since the newes of the massacre in Virginia, though the Indians [end 431] continue their wonted friendship, yet are we more wary of them then before; for their hands hath bin || embruded in much English blood, onely by too much confidence, but not by force.<br />
:Here I must intreate a little your favours to digresse. They did not kill the English because they were Christians, but for their weapons and commodities, that were rare novelties; but now they feare we may beate them out of their dens, which Lions and Tygers would not admit but by force. <br />
::(C1v-C2r Smith, 431-432 Barbour)<br />
<br />
<br />
<br />
== Critical Commentary ==<br />
<br />
Bentley acknowledges that “[n]othing of the tragedy is known” but adds that “the title is highly suggestive, especially to those interested in colonial American history, for a play devoted largely to the American colonies would be unique at this time” (V.1396). Referring to the second version of Sir Henry Herbet’s licence (which “comes from an independent transcript of his office-book in a nineteenth-century hand … perhaps that of Craven Ord”), Bentley states: <br />
<blockquote>This transcript adds the information about the length of the play and Herbert’s objection to it. Herbert seems to mean that the reformation he demanded in the rest of the company’s plays was in their length, but a reformation of profaneness would be a more usual request, especially if the company were a provincial one with an unfamiliar repertory. (V.1396) </blockquote><br />
<br />
Bentley elsewhere observes that “[n]o other Jacobean or Caroline play devoted largely to the American colonies is known, and it may be thought suggestive that this one was licensed for the lowly Curtain, that it was too long, and that it contained too much ‘prophaneness’” (VI.137). <br />
<br />
<br />
Wright claims “we may be sure that ''A Tragedy of the Plantation of Virginia'', licensed for performance at the Curtain in 1623 on condition that the profaneness be left out, attracted a throng of Londoners who had a personal interest in this undertaking. And we may also be reasonably certain that the authorities did not permit the actors to censure the management of that colonial project.” (634). <br />
<br />
<br />
Parr believes ''The Plantation of Virginia'' was “presumably about the massacre of colonists by the Indians in 1622” (5), but does not elaborate. <br />
<br />
<br />
McInnis, in the context of Behn’s ''Widow Ranter'' as the earliest extant play set in colonial America, notes that “[t]he English camps would presumably have been portrayed in an embryonic state in the lost play of 1623, ''The Plantation of Virginia'', which probably dramatised the Indians’ massacre of 347 English in dispersed settlements on 22 March 1622.” <br />
<br />
<br />
Jowitt offers the most sustained contemplation of the lost play’s probable subject matter whilst discussing the first performance of Fletcher and Massinger’s ''The Sea Voyage'' at a time when “relations between indigenous Americans and British colonists were becoming increasingly hostile”: <br />
<blockquote>Though Company instructions of 24 July 1621 had encouraged colonists to cement friendly relations with native Americans by allowing them into their settlements, the expanding number of English colonists, their needs for land and food, and their murder of the warrior-priest Nemettanow all meant relations were worsening. The conflict culminated in the massacre of approximately 347 Jamestown colonists by a confederation of tribes marshalled by chief Opechancanough on the morning of 22 March 1622, and as a result all policies of cultural accommodation were ended. According to Edward Waterhouses’s 1622 ''A Declaration of the State of the Colony in Virginia'' this ‘divellish murder’ was achieved through ‘treacherous dissimulation’ on the part of the native Americans. In April 1622 the council at Jamestown sent word of the murder of ‘above three hundred men women and Children’ and the news arrived in London in July. … It was not until 1623 that a play, ''A Tragedy of the Plantation of Virginia'' (now lost), was performed at the Curtain (censored so that the ‘prophaness [was] left out’) which focused on the massacre. Direct responses to the calamity can be found earlier in John Donne’s sermon preached to members and friends of the Virginia Company on 13 November 1622, his friend Christopher Brooke’s ‘A Poem on the Late Massacre in Virginia’, and the Virginia council replied to the Jamestown council on 1 August declaring that ‘replanting … is of absolute necessitie’.” (Jowitt 201-202)</blockquote> <br />
<br />
<br />
<br />
== For What It's Worth ==<br />
<br />
Stanley Johnson (131n) observed that “[t]he earliest allusion in England to the massacre is the entry in the Stationers’ Register on 10 July of a (non-extant) ballad called ''Mourning Virginia''.” Firth confidently declares, “It certainly celebrated the attack of the Indians on the colony in that year, when 347 of the colonists perished” (28). <br />
<br />
<br />
John Donne’s “Sermon preached to the Honourable Company of the Virginian Plantation, [13 November] 1622” was a response to the massacre. “Donne’s sermon, though less explicitly blood-thirsty, is concerned with an English evangelical mandate to spread the word of God among heathen peoples that simultaneously argues for native American dispossession under the Roman Law argument known as ''res nullius''.” (Jowitt 202) <br />
<br />
<br />
<br />
== Keywords ==<br />
<br />
Jamestown [[category:Jamestown]], Virginia [[category:Virginia]], massacre [[category:massacre]], Indians [[category:Indians]], New World [[category:New World]], plantation [[category:plantation]], colony [[category:colony]], Captain John Smith [[category:Captain John Smith]], travel [[category:travel]]<br />
<br />
<br />
<br />
== Works Cited ==<br />
<br />
<br />
Barbour, Philip L., ed. ''The Complete Works of Captain John Smith''. 3 vols. Chapel Hill: University of North Carolina Press, 1986. Print.<br />
<br />
Brooke, Christopher. “A Poem on the Late Massacre in Virginia, with particular mention of those men of note that suffered in the disaster….” London, 1622. Print. STC (2nd ed.) 3830.5 (See also ''Virginia Magazine of History and Biography'' 72.3 (July 1964): 285, for Robert Johnson’s edition of Brooke’s poem) <br />
<br />
Donne, John. [http://www.archive.org/stream/donnessermonssel00donn#page/50/mode/2up “Sermon preached to the Honourable Company of the Virginian Plantation, (13 November) 1622.”] <br />
<br />
Firth, C. H. “The Ballad History of the Reign of James I.” ''Transactions of the Royal Historical Society'' 3rd series, 5 (1911): 21-61. Print. [http://www.jstor.org/stable/3678360 JSTOR] <br />
<br />
Fleay, F. G. ''A Chronicle History of the London Stage'', 1559-1642. NY: Burt Franklin, 1890. Print. <br />
<br />
Johnson, Stanley. “John Donne and the Virginia Company.” ''ELH'' 14.2 (1947): 127-38. Print. [http://www.jstor.org/stable/2871650 JSTOR] <br />
<br />
Jowitt, Claire. ''Voyage Drama and Gender Politics, 1589-1642: Real and Imagined Worlds''. Manchester: Manchester UP, 2003. Print. <br />
<br />
Kingsbury, Susan M. (ed). ''The Records of the Virginia Company of London''. 4 vols. Washington DC, 1906-35. Print. [http://memory.loc.gov/ammem/collections/jefferson_papers/mtjser8.html Library of Congress] (scroll down to “Records of the Virginia Company - Published Edition”) <br />
<br />
McInnis, David. “Virginian Culture and Experimental Genre in Aphra Behn’s ''The Widow Ranter''.” ''Early Modern Women Testing Ideas''. Ed. Jo Wallwork and Paul Salzman. Aldershot: Ashgate, forthcoming. Print. <br />
<br />
Parr, Anthony (ed). Introduction. ''Three Renaissance Travel Plays''. Manchester: Manchester UP, c1995; rpt. 1999. Print. The Revels Plays Companion Library. <br />
<br />
Ransome, David R. "Village Tensions in Early Virginia: Sex, Land, and the Status at the Neck of Land in the 1620s." ''The Historical Journal'' 43.2 (2000): 365-381. [http://www.jstor.org/stable/3021033 JSTOR] <br />
<br />
Smith, John. ''A description of New England: or The obseruations, and discoueries, of Captain Iohn Smith (admirall of that country) in the north of America, in the year of our Lord 1614''. London, 1616. Print. (EEBO)<br />
<br />
Smith, John. ''The True Travels, Adventures, and Observations of Captaine Iohn Smith, In Europe, Asia, Affrica, and America, from Anno Domini 1593. to 1629''. London, 1630. Print. (EEBO)<br />
<br />
Vaughan, Alden T. “ ‘Expulsion of the Salvages’: English Policy and the Virginia Massacre of 1622.” ''William and Mary Quarterly'' 3rd series, 35.1 (1978): 57-84. [http://www.jstor.org/stable/1922571 JSTOR]<br />
<br />
Waterhouse, Edward. ''A Declaration of the State of the Colony in Virginia''. 1622. STC (2nd ed.) 25104. (EEBO). Also available via the [http://memory.loc.gov/cgi-bin/ampage?collId=mtj8&amp;fileName=mtj8pagevc03.db&amp;recNum=572 Library of Congress (Thomas Jefferson Papers)]. <br />
<br />
Wright, Louis B. ''Middle-class culture in Elizabethan England''. London: Methuen, 1964 reprint. Print. <br />
<br />
<br />
<br />
Site created and maintained by David McInnis; updated, 31 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=New_World%27s_Tragedy,_The&diff=303
New World's Tragedy, The
2009-10-13T06:00:22Z
<p>Mcinnisd: Created entry for New World's Tragedy</p>
<hr />
<div>Anon. (1595) <br />
<br />
<br> <br />
<br />
== Historical Records ==<br />
<br />
''Henslowe’s Diary'' <br />
<br />
{| border="0" class="wikitable"<br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| F.13 (Greg I.25): <br />
| <br />
| <br />
| <br />
| ye 17 of septmb[r] 1595 ne . . <br />
| R[d] at the worldes tragedy . . . . . . <br />
| iij<sup>ll</sup> v<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 25 of septmb[r] 1595 <br />
| R[d] at the worldes tragedy . . . . . . <br />
| xxxviij<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 7 of octob[r] 1595 <br />
| R[d] at the worldes tragedy . . . . . . <br />
| xxxj<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 22 of octob[r] 1595 <br />
| R[d] at the new worldes tragedy . . . <br />
| xxxiijj<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 3 of novemb[r] 1595 <br />
| R[d] at the new worldes tragedy . . . <br />
| xxix<sup>s</sup><br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| F.14 (Greg I.27): <br />
| <br />
| <br />
| <br />
| ye 27 of novemb[r] 1595 <br />
| R[d] at the newes wordles tragedy . . <br />
| xviij<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 12 of desemb[r] 1595 <br />
| R[d] at the new worldes tragedy . . . <br />
| xxxj<sup>s</sup> vj<sup>d</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 22 of desemb[r] 1595 <br />
| R[d] at the newe worldes tragedie . . <br />
| xx<sup>s</sup><br />
|-<br />
| <br />
| <br />
| <br />
| <br />
| ye 8 of Jenewary 1595 <br />
| R[d] at new worldes tragedie . . . . . <br />
| xviij<sup>s</sup><br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| F.14v (Greg I.28): <br />
| <br />
| <br />
| <br />
| ye 25 of Jenewary 1595------------ <br />
| R[d] at the new worldes tragedy . . . <br />
| xiiij<sup>s</sup><br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| <br />
|-<br />
| F.15v (Greg I.30): <br />
| <br />
| <br />
| <br />
| ye 27 of aprell 1596 <br />
| R[d] at new worldes tragedy . . . . . <br />
| xxixs<br />
|}<br />
<br />
<br> <br />
<br />
== Theatrical Provenance ==<br />
<br />
Played as a new play at the Rose on 17 September 1595 by the Admiral’s. <br />
<br />
<br> <br />
<br />
== Probable Genre(s) ==<br />
<br />
Tragedy (Harbage) <br />
<br />
<br> <br />
<br />
== Possible Narrative and Dramatic Sources or Analogues ==<br />
<br />
None known. <br />
<br />
<br> <br />
<br />
== References to the Play ==<br />
<br />
None known. <br />
<br />
<br> <br />
<br />
== Critical Commentary ==<br />
<br />
Cawley suggestively notes that “[t]he Drake-Hawkins expedition of 1595 suffered every kind of bad luck” (both men died during this fateful voyage to the West Indies) and that a “non-extant play, ''New World’s Tragedy'' … was acted at the Rose in that year” (289). But Drake did not die until early 1596, so it is unclear what aspects of this expedition the play might have dramatised by 17 September 1595. <br />
<br />
<br> Ramsaram assumes that “[t]he lost plays—''New World’s Tragedy'', 1595, and [[Conquest of the West Indies, The | ''The Conquest of the West Indies'']], 1601, must surely have given a prominent place to Drake’s adventures” (99). Ramsaram offers no evidence to support this speculation, and indeed the example of Drake’s immortalisation in verse that Ramsaram does produce seems to contradict this inference of a lead role in lost plays. Ramsaram cites a verse panegyric by Oxford scholar Charles Fitz-Geffrey (''Sir Francis Drake. His Honorable Life’s Commendation … 1596'') which “[i]n addition to addressing Spenser, Daniel and Drayton by name … had sought to interest the dramatists of his day” in the adventures of Drake (101). But Fitz-Geffrey’s very offer to the “quaint tragedians of our time” of “a modern subject for your wits” (qtd. in Ramsaram 101) surely ought to imply that Drake’s adventures had ''not'' yet been dramatised by 1596. <br />
<br />
<br> Parr speculates that ''The New World’s Tragedy'' was “perhaps inspired by the lost colony on Roanoke Island in Virginia or by the much-trumpeted atrocities of the Spanish further south” (3). <br />
<br />
<br> <br />
<br />
== For What It’s Worth ==<br />
<br />
(Information Needed) <br />
<br />
<br> <br />
<br />
== Keywords ==<br />
<br />
New World [[category:New World]], colony [[category:colony]], Drake [[category:Drake]], Hawkins [[category:Hawkins]], travel [[category:travel]]. <br />
<br />
<br> <br />
<br />
== Works Cited ==<br />
<br />
Cawley, Robert Ralston. ''The Voyagers and Elizabethan Drama''. Boston: MLA, 1938. Print. <br />
<br />
Parr, Anthony (ed). Introduction. ''Three Renaissance Travel Plays''. Manchester: Manchester UP, c1995; rpt. 1999. Print. The Revels Plays Companion Library. <br />
<br />
Ramsaram, J. A. “Sir Francis Drake in Contemporary Verse.” ''Notes & Queries'' 202 (1957): 99-101. Print. <br />
<br />
<br> <br />
<br />
Site created and maintained by David McInnis, University of Melbourne; updated, 04 September 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Conquest_of_the_West_Indies,_The&diff=284
Conquest of the West Indies, The
2009-10-13T05:45:34Z
<p>Mcinnisd: Created entry for Conquest of the West Indies</p>
<hr />
<div>John Day, William Haughton, and Wentworth Smith (1601)<br />
<br />
<br />
<br />
== Historical Records ==<br />
<br />
<br />
On Samuel Rowley’s authorisation, Henslowe (on behalf of the Admiral’s Men) paid amounts totalling £6. 15 to Day, Haughton and Smith for this play between 04 April and 01 Sept 1601, and an additional £15. 5. 9 for properties including suits, stockings and copper lace (NB. Greg II.217 gives £14. 7. 9).<br />
<br />
===Payments to Playwrights (''Henslowe's Diary'')===<br />
<br />
:Lent vnto John daye & w<sup>m</sup> hawghton the 4 of<br />
:ap<sup>r</sup>ell 1601 in earnest of playe called the conqueste<br />
:of the weste enges at the apoyntment of<br />
:Samvell Rowlye the some of . . . . . . xxxx<sup>s</sup> <br />
:(F.86, Greg I.135)<br />
<br />
<br />
:Lent vnto m<sup>r</sup> smyth & m<sup>r</sup> hawghton the xj<br />
:of ap<sup>r</sup>ell 1601 in earnest of a Boocke called the<br />
:conquest of the west enges at the apoyntment<br />
:of samwell Rowly the some of . . . . . . xx<sup>s</sup> <br />
:(F.86, Greg I.135)<br />
<br />
<br />
:lent w<sup>m</sup> Haughton in earneste of the<br />
:playe called the conquest of the west enges<br />
:the 2 of maye 1601 the some of . . . . . . v<sup>s</sup> <br />
:(F.86<sup>v</sup>, Greg I.136)<br />
<br />
<br />
:Lent vnto John daye the 21 of maye 1601<br />
:in earnest of a Boocke called the ^<sup>[vj yemen of the]</sup> weste<br />
:<sup>enges</sup>[enges] the some of . . . . . . xx<sup>s</sup><br />
:at the a poyntment of Samwell Rowley <br />
:(F.87, Greg I.137)<br />
<br />
<br />
:Lent vnto Samwell Rowley the 5 of<br />
:agust 1601 to lend in pte of payment vnto<br />
:John daye & w<sup>m</sup> hawghton of a Boocke<br />
:called the weaste enges some of . . . . . . x<sup>s</sup> <br />
:(F.92, Greg I.145)<br />
<br />
<br />
:Lent vnto w<sup>m</sup> hawghton & John daye<br />
:the 11 of aguste 1601 in pt of payment<br />
:of the playe called the west enges some of xx<sup>s</sup> <br />
:(F.92<sup>v</sup>, Greg I.146)<br />
<br />
<br />
:Lent vnto John daye the 26 of agust 1601<br />
:in pt of payment of a Boocke called the<br />
:weast enges the some of . . . . . . x<sup>s</sup> <br />
:(F.93, Greg I.147)<br />
<br />
<br />
:Lent vnto the company the 1 of septmbr to<br />
:Lend John daye in pt of payment of<br />
:a Boocke called the weaste enges some of . . x<sup>s</sup> <br />
:(F.93, Greg I.147)<br />
<br />
<br />
===Payments for Properties (''Henslowe's Diary'')===<br />
<br />
:Lent vnto my sonne & wm Jube the<br />
:31 of Septmbr 1601 to bye divers thinges &<br />
:sewttes & stockenes for the playe of the weaste<br />
:enges the some of . . . . . . x<sup>ll</sup> x<sup>s</sup> <br />
:pd more vnto the lace man for cope lace some . iij<sup>s</sup> ix<sup>d</sup><br />
:pd mor for cope lace for this playe . . . . . . vij<sup>s</sup> <br />
:(F.94, Greg I.149)<br />
<br />
<br />
:pd the tayllers bille Radford & w<sup>m</sup> whites bell<br />
:at the apoyntment of Robart shawe & Jube the<br />
:10 of octobr 1601 for the playe of the weaste enges<br />
:the some of . . . . . . lvij<sup>s</sup> <br />
:(F.94, Greg I.149)<br />
<br />
<br />
:pd the 21 of Janewary [1601/2] for xij oz of lace<br />
:for Jndies . . x<sup>s</sup> & pd to spencer for twiste<br />
:ij<sup>s</sup> vj<sup>d</sup> pd for ij tiers . . x<sup>s</sup> & pd for v oz<br />
:& lacynge ye sleues <sup>^. . vs vjd</sup> to E Alleyn the some of xxviij<sup>s</sup> <br />
:(F.104, Greg I.164)<br />
<br />
<br />
===''Henslowe’s Papers''===<br />
<br />
<br />
ARTICLE 32.<br />
[Samuel Rowley to Philip Henslowe, 4 April 1601. Autograph. See ''Diary'', 86 18. Printed, Malone, xxi. P. 391; ''Alleyn Papers'', p. 23.]<br />
<br />
:M<sup>r</sup> hinchloe J haue harde fyue sheets of a playe of the Conqueste of the<br />
:Jndes & J dow not doute but Jt wyll be a verye good playe therefore J praye <br />
:ye delyuer them fortye shyllynges Jn earneste of Jt & take the papers Jnto yo<sup>r</sup><br />
:one hands & on easter eue thaye promise to make an ende of all the reste.<br />
::Samuell<br />
::Rowlye<br />
<br />
:[note in Henslowe’s hand:]<br />
:lent the 4 of ap<sup>r</sup>ell<br />
:1601—xxxx<sup>s</sup><br />
<br />
(''Henslowe's Papers'' MS. I. 32; Greg, ''Papers'' 56)<br />
<br />
<br />
ARTICLE 35.<br />
[Samuel Rowley to Philip Henslowe, 4 June 1601 (?). Autograph, with note and copy of verses in the hand of John Day. The payment mentioned in Art. 34 was the full and final one for the ''Six Yeomen''; the present letter must therefore be earlier. The ‘rest due’ would probably mean due up to date for papers delivered, possibly the first three acts. It implies, however, that it was not the first payment, 20 May. The next on 4 June, for £2, is entered as paid to Day, but it may have been at his appointment, and this may have been his share only, for two days later there is a payment to Haughton of 15''s''. See ''Diary'' '''87''' and '''87<sup>v</sup>'''. . . . Printed, Malone, xxi. p. 392 (without the verses); ''Alleyn Papers'', p. 23; Warner, p. 23.]<br />
<br />
:M<sup>r</sup> henchloe J praye ye delyver the Reste of the Monye to John daye & wyll<br />
:Hawton dew to them of the syx yemen of the weste<br />
::Samuell<br />
::Rowlye<br />
<br />
:[note in Day’s hand:]<br />
:J have occasion to be absent about the plott of the Jndyes therfre pray delyver<br />
:it to will hamton sadler<br />
::by me John Daye<br />
<br />
(''Henslowe's Papers'' MS. I. 35; Greg, ''Papers'' 57)<br />
[NB. Foakes has “J have occasion to be absent” ''after'' “about the plot of the Indies” (Foakes 295)].<br />
<br />
<br />
<br />
== Theatrical Provenance ==<br />
<br />
<br />
No performance dates recorded. From Rowley’s letter to Henslowe it appears that 5 sheets of the play had been written by 04 April 1601, but Henslowe was still paying for properties 9 months later on 21 of January 1601/2.<br />
<br />
<br />
<br />
== Probable Genre(s) ==<br />
<br />
<br />
History (Harbage), Foreign History (? See "Possible narrative and dramatic sources or analogues" below), travel (?)<br />
<br />
<br />
== Possible Narrative and Dramatic Sources and Analogues ==<br />
<br />
In 1596, Thomas Nicholls (or Nicholas) republished ''The Pleasant Historie of the Conquest of the West India'' (his 1578 translation of Lopez de Gomara’s Spanish text), which details Hernando Cortez’s conquest of Mexico and the Aztec empire. The Stationer’s Register entry for this text gives it precisely the same title as the lost play (''SR'' 7v):<br />
<br />
:'''28 Januarij [1596]'''<br />
:Thomas Creede/<br />
:To paie vj<sup>d</sup> in the<br />
:Pound to th[e]<br />
:Use of the poore /<br />
<br />
:Entred for his Copie vnder the wardens handes./ a booke intituled ''The Conquest of the West Indies'' by ''HERNANDO COURTIS'' / and another booke intituled. ''The treasure for Englishmen'' . xij<sup>d</sup><br />
<br />
There is an overarching narrative (Cortez’s conquest) in Nicholl’s text, even though the action is often interrupted by the provision of cosmographic details (“The Market place of Mexico” [196]; “The Gardens of Mutezuma” [187]). A dramatist developing this text for the stage would find in Cortez a viable, larger-than-life lead role redolent of Tamburlaine or Henry V. Nicholls’ translation includes such readily-adaptable passages as the orations that Cortez made to his soldiers (24-25, 135), stirring motivational speeches in the vein of Henry V’s orations in Shakespeare’s 1599 play. The Mexican King, Mutezuma, also has orations preserved, such as the one in which he explains (with a tragic irony apt for the theatre) that although he and his people initially perceived Cortez as a threat (the Spaniards’ “iesture and grimme beardes did terrifie” the Mexicans), they people were no longer concerned by the Spaniards’ arrival: “But now I do see & know that you are mortal me[n]” (172). <br />
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===Synopsis===<br />
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After numerous battles, Cortez and his men arrive at the Mexican capitol, where they are lavished with gifts and attention according to Mexican custom. Cortez grows concerned about being outnumbered, should the Mexican King, Mutezuma, turn on them. Letters from Pedro Hircio report that the Indian lord Qualpopoca has slain 9 Spaniards. Cortez resolves to apprehend Mutezuma. Whilst plotting in his lodgings, Cortez chances upon a recently walled-up door which, after forcing, reveals the treasury of Mutezuma (an opportune moment to utilise the discovery space of the stage?) (209). Cortez demands an audience with Mutezuma, and insists the Mexican King reside in Cortez’s lodgings under house arrest until Qualpopoca arrives to explain the murder of 9 Spaniards. Mutezuma consents and is carried upon men’s shoulders, on a rich seat, to Cortez’s lodgings.<br />
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(POSSIBLE SUBPLOT (220-21): Pedro Hircio is left in charge in Vera Crux when Cortez leaves that town, and charged with the task of procuring the place called Almeria for the Spanish. Hircio asks the Indians to submit to Spanish rule, and Qualpopoca, Lord of Nahutlan (now Almeria) claims he cannot meet to discuss Hircio’s request unless Hircio provide an armed guard for security; Hircio sends 4 men, 2 of whom are killed by Indians. The surviving 2 return to Vera Crux where Hircio, believing Qualpopoca responsible, retaliates with significantly more men. In the ensuing skirmish, Qualpopoca’s men kill a further 7 Spaniards. Qualpopoca’s town is eventually sacked, and the prisoners blame Mexico (Mutezuma) for commanding Qualpopoca to slay the Spaniards. Hircio writes this news to Cortez in Chololla, and Cortez uses the letters to apprehend Mutezuma. END SUBPLOT)<br />
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At length, Qualpopoca arrives and admits having slain the 9 Spaniards (219). For his alleged complicity in the murders, Mutezuma is placed in irons by Cortez (an analogue to the debased Bajazeth in ''Tamburlaine''?) (222). Qualpopoca and his men are condemned to death at Cortez’s insistence, and are burned alive in the market place (220). Mutezuma’s nephew, Cacamazin (or Cacama) gathers a great army to “redeeme his uncle out of captiuitie, and expulse the Straungers [Spanish], or else kill and eate them” (227). To avoid war, Mutezuma arranges for Cacama to be taken prisoner and brought to Mexico (229). Invoking the belief that their true king (or his descendant) would once again return from foreign lands to rule Mexico, Mutezuma yields himself to the King of Spain in a parliamentary speech (230-33).<br />
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Mutezuma eventually asks Cortez to leave their country; Cortez (surprisingly) agrees, requesting time to build ships from scratch (whilst he plots how to stay). 8 days after Cortez’s men venture into the woods in search of timber, 15 Spanish ships arrive. Cortez worries that it may be his enemy James Velasques (Governor of Cuba) rather than a fleet from Spain (it is, in fact, a new expedition led by Pamphilo de Narvaes, sent on Velasques’s order). Pamphilo de Narvaes turns the Indians against Cortez, claiming Cortez is a rebel who was in Mexico against the King of Spain’s will. Before negotiations commence, Cortez hears word that Narvaes intends to apprehend or kill him at the meeting, and makes a speech to his men (250) to rally them in anticipation of preventing Narvaes’s entry to Mexico. En route to talks with Narvaes, Cortez meets his old friend Andres de Duero, who bears the message that Cortez must surrender his conquests to Velasques (via Narvaes) or be regarded as an “enemie and Rebell” (253). Cortez’s men besiege Narvaes, put out one of his eyes with a pike, and apprehend him (255). In treating Narvaes’s men kindly, Cortez wins their favour and they join his ranks in returning to Mexico City (257).<br />
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Meanwhile, the Indians have revolted in Mexico; a reaction against the massacre of Indians (by Pedro de Alvarado) whilst they were celebrating a holy festival in their temple (261). The Spanish lodgings are besieged (264-65). Cortez persuades Mutezuma to address the mob from the roof of the house, and a stray stone hits his temple and kills him (266). In the ensuing battle (271), Cortez sustains a knee-injury, and it is given out that he has been slain (to the dismay of his men and the joy of the Indians) (273). The Spaniards running low on provisions and in poor health eventually decide to leave Mexico (274). A Spaniard named Botello, skilled in necromancy, declared that they would escape successfully if they departed at a “certaine houre appointed” (275), and at that time the men carried out their planned evacuation, carrying a makeshift bridge of timber to help cross the city’s moats. Before departing, Cortez called John de Guzman (his chamberlain) to open the treasure hall and distribute the riches. “[T]hey tooke as much golde and other riches, as they might possibly carry, but it cost them deare, for at their going out of the Citie, with the waight of their heauie burthens, they could neither fight, nor yet make haste on their way, vpon which occasion, the Indians caught many of them, and drew them by the heeles to the slaughter-house of Sacrifice, where they were slaine and eaten” (276). A great many Spaniards are killed and much treasure lost.<br />
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Cortez subsequently returns to Mexico to besiege the city (320) with assistance from other provinces and towns. During the siege Spaniards are seized and sacrificed in public, Cortez sustains a leg injury, and thousands of Indians are killed (335), but Mexico City finally succumbs to Spanish rule.<br />
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===(Possible) Dramatis Personae===<br />
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::Hernando Cortez, ''Spanish conquistador''<br />
::Pedro Hircio, ''left in charge of Vera Crux by Cortez''<br />
::Andres de Duero, ''Cortez’s friend and financier of the voyage''<br />
::Pedro de Alvarado, ''left in charge of Mexico in Cortez’s absence; responsible for the temple massacre that caused the insurrection''<br />
::Botello, ''a Spaniard skilled in necromancy''<br />
::John de Guzman, ''Chamberlain to Cortez''<br />
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::James Velasques, ''Governor of Cuba and enemy of Cortez''<br />
::Pamphilo de Narvaes, ''Lieutenant sent by Velasques to apprehend Cortez''<br />
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::Mutezuma, ''King of Mexico City''<br />
::Qualpopoca, ''Lord of Nahutlan (Almeria)''<br />
::Cacamazin, ''King (Lord) of Tezcuco, nephew to Mutezuma''<br />
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::Other Spaniards<br />
::Other Indians<br />
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i.e. approx. 5-6 main speaking parts (Cortez, Pedro Hircio, Mutezuma, Qualpopoca, Pamphilo de Narvaes, James Velasques[?]) and 4 minor speaking parts (Andres de Duero, Pedro de Alvarado, Botello, Cacamazin) = c.10 actors plus extras.<br />
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== References to the Play ==<br />
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Wilhelm Creizenach implies that ''The Conquest of the West Indies'' may have been the subject of a reference in one of William Crashaw’s sermons:<br />
<blockquote> In a sermon preached by William Crashaw before the start of an expedition for the plantation of Virginia (1610), mention is made of the fact that the plantation has been ridiculed on the stage; the reason being, as Crashaw maintains, that no players or other idle persons are tolerated among the settlers. (Creizenach 183n) </blockquote><br />
The case for ''The Conquest of the West Indies'' as subject is hardly strong; equally viable contenders include [[New World's Tragedy | ''The New World’s Tragedy'']] (1595, lost) or more obviously, such satirical plays as ''Eastward Ho!'' (1605), with its mockery of Virginian voyages.<br />
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== Critical Commentary ==<br />
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In the context of Sir John Harington’s list of quartos (see Furnivall), Wilhelm Creizenach assumed that the lost play “dealt with Raleigh’s expeditions to Guayana and Virginia”:<br />
<blockquote>At the end of the list of contents of vol. i. of Harington’s collection of quartos … occur the following words: ‘Note y<sup>t</sup> Guiana ys sorted w<sup>th</sup> Virginia and Maundev.’ This is probably an allusion to plays now lost which dealt with Raleigh’s expeditions to Guayana and Virginia, and which the collector ‘sorted with’ the dramas dealing with the adventures of the traveller Maundeville. Perhaps the ‘playe of the weaste enges’ (West Indies), mentioned several times by Henslowe in 1601, belonged to this category. (Creizenach 183n) </blockquote><br />
Harington’s comments are ambiguous: his statement “Note y<sup>t</sup> Guiana ys sorted w<sup>th</sup> Virginia and Maundev” does appear at the end of a list of plays (Furnivall 382), but his subsequent entry, “Guiana. mandevil & Virginia.” appears in a miscellaneous list of “Loose books” (e.g. “Alminacks”, “m<sup>r</sup> Toste. booke of survey”) and clothing (“3 pairs of stockings of m<sup>r</sup> Johns”) (Furnivall 383), which suggests that neither “Guiana”, “mandevil” or “Virginia” are plays at all.<br />
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In his critical edition of another Haughton play, ''Englishmen for my money'', Albert Croll Baugh acknowledges Creizenach but instead connects ''The Conquest of the West Indies'' with Nicholls’s ''Conquest of the West India'', failing to comment further, beyond posing the possible influence of Nicholls’s text on the play:<br />
<blockquote>It would not be surprising … if it were connected with a tract published first in 1578 and again in 1596, and having the title “The Pleasant Historic of the Conquest of the Weast India, now called new Spayne, Atchieued by the worthy Prince Hernando Cortes Marques of the valley of Huaxacat, most delectable to Reade : Translated out of the Spanish tongue, by T. N. [Thomas Nicholas]”. However, this may be, nothing further or more definite is known of the play. (82) </blockquote><br />
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At least two critics, Wright and Ramsaram, have entertained the supposition that the play’s subject matter was English by nature. Wright notes that “[w]hether ''The Conquest of the West Indies'' (1601), a lost play by Day, Haughton, and Smith, recounted the adventures of English buccaneers, we have no way of knowing” (634). J. A. Ramsaram conjectures that “[t]he lost plays—[[The New World's Tragedy | ''New World’s Tragedy'']], 1595, and ''The Conquest of the West Indies'', 1601, must surely have given a prominent place to Drake’s adventures” (99).<br />
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== For What It's Worth ==<br />
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“Thomas A Nicholls” was one of the inhabitants of Finsbury who (along with the likes of Anthony Marlowe; Kit’s Crayford relative and the London agent of the Muscovy Company) signed an address to the Privy Council (c. January 1600) petitioning that the new playhouse lately erected there be permitted to remain (''Henslowe's Papers'' MS.I.28; Greg, ''Papers'' 50-51). If there were reason to believe “Thomas A Nicholls” = the Thomas Nicholls who translated ''The Pleasant Historie of the Conquest of the West India'', it may be relevant that he had an active interest in the theatre at approximately the time that ''The Conquest of the West Indies'' was being written.<br />
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== Keywords ==<br />
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New World [[category:New World]], Mexico [[category:Mexico]], Indians [[category:Indians]], colony [[category:colony]], conqueror [[category:conqueror]], history [[category:history]], Spanish [[category:Spanish]], Cortez [[category:Cortez]], travel [[category:travel]]<br />
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== Works Cited ==<br />
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Arber, Edward (ed). ''A Transcript of the Registers of the Company of Stationers of London, 1554-1640 A.D. Volume III. — Text. Entries of Books to 11 July 1620. Entries of Freemen to 31 December 1640. Succession of Master Printers in London 1586 – 1636.'' Privately Printed, London: 1 July 1876. Print.<br />
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Baugh, Albert Croll (ed). William Haughton. ''Englishmen for my money''. U of Pennsylvania P, 1917. Print. [http://www.archive.org/stream/williamhaughtons00haugrich/williamhaughtons00haugrich_djvu.txt (archive.org)]<br />
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Creizenach, Wilhelm. ''The English Drama in the Age of Shakespeare'' [Translated from ''Geschichte des neueren Dramas'']. NY: Haskell House, 1964. Print.<br />
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Foakes, R. A. (ed). ''Henslowe's Diary''. 2nd edn. Cambridge: CUP, 2002. Print.<br />
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Furnivall, F. J. “Sir John Harington’s Shakspeare Quartos.” ''Notes & Queries'' s-7 IX (May 1890): 382-83. Print.<br />
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Nicholls, Thomas (trans). ''The Pleasant Historie of the Conquest of the West India, now called new Spaine''. 1578, rpt. 1596. Print. (EEBO).<br />
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Ramsaram, J. A. “Sir Francis Drake in Contemporary Verse.” ''Notes & Queries'' 202 (1957): 99-101. Print.<br />
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Wright, Louis B. Middle-class culture in Elizabethan England. London: Methuen, 1964 reprint.<br />
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Site created and maintained by David McInnis, University of Melbourne; updated, 26 August 2009.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Fortunatus,_Part_1&diff=263
Fortunatus, Part 1
2009-10-13T05:39:29Z
<p>Mcinnisd: Created entry for Fortunatus, Part 1</p>
<hr />
<div>Anon. (1590?)<br />
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== Historical Records ==<br />
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=== Henslowe’s Diary ===<br />
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{| cellspacing="1" cellpadding="1" align="left" border="0" style="width: 650px; height: 75px;"<br />
|-<br />
| F.14v (Greg I.28):<br> <br />
| y<sup>e</sup> 3 of febreary 1595<br> <br />
| R[d] at the 1 p of forteunatus . . . . . .<br> <br />
| iij<sup>ll</sup><br><br />
|-<br />
| <br> <br />
| y<sup>e</sup> 10 of febreary 1595<br> <br />
| R[d] at fortunatus . . . . . .<br> <br />
| xxxx<sup>s</sup><br><br />
|-<br />
| <br> <br />
| y<sup>e</sup> 20 of febreary 1595<br> <br />
| R[d] at ffortunatus . . . . . .<br> <br />
| xxij<sup>s</sup><br><br />
|-<br />
| <br> <br />
| <br> <br />
| <br> <br />
| <br><br />
|-<br />
| F.15v (Greg I.30):<br> <br />
| y<sup>e</sup> 14 of aprell 1596<br> <br />
| R[d] at fortunatus . . . . . .<br> <br />
| xviij<sup>s</sup><br><br />
|-<br />
| <br> <br />
| y<sup>e</sup> 11 of maye 159[5]6<br> <br />
| R[d] at fortunatus . . . . . .<br> <br />
| xviij<sup>s</sup><br><br />
|-<br />
| <br> <br />
| y<sup>e</sup> 24 of maye 1596<br> <br />
| R[d] at ffortunatus . . . . . .<br> <br />
| xiiij<sup>s</sup><br><br />
|}<br />
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=== Henslowe Papers ===<br />
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''Henslowe Papers'', under the heading “''The Enventary tacken of all the properties for my'' Lord Admeralles men'', the'' 10 ''of Marche 1598''” (Greg, ''Papers'' 116-18): <br />
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:''Item'', ij fanes of feathers; Belendon stable; j tree of gowlden apelles; Tantelouse tre; jx eyorn targates. <br />
::[Greg’s note (''Papers'' 117): “The tree of golden apples was for I ''Fortunatus''”]<br />
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:''Item'', iij Imperial crownes; j playne crowne. <br />
::[Greg’s note (''Papers'' 118): “Possibly as Fleay suggests for I ''Fortunatus''”]<br />
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== Theatrical Provenance ==<br />
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6 performances of ''I Fortunatus'' as an old play (it was not marked ‘ne’) by the Admiral’s men, the earliest recorded of which occurred on 3 Feb 1595/6. There is no evidence of a second part having been written or performed, despite Henslowe’s designation of this play as “the 1 p of forteunatus.” <br />
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<br> NB. In 1599, Henslowe paid Dekker £6 in full payment for “a booke cald the hole history of ffortunatus” (= Dekker’s ''Old Fortunatus''). Henslowe proceeded to pay an additional 20s the very next day (“the 31 of novmbr”) for alterations. £10 were subsequently spent on properties for the play and another 40s paid to Dekker “for the eande of fortewnatus for the corte”. In the absence of a text for the lost ''I Fortunatus'' played in the 1595/6 it is not possible to establish if Dekker’s play was a revision of the earlier ''Fortunatus'' (as most critics tend to assume, without evidence) rather than a wholly independent play on the same subject. <br />
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== Probable Genre(s) ==<br />
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Romantic Comedy (Harbage); travel; Eastern; wonders; “romantic ‘journeying’ play” (Parr) <br />
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== Possible Narrative and Dramatic Sources or Analogues ==<br />
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As Albert Feuillerat notes, “The history of Fortunatus was published for the first time in Augsburg in 1509” in the German ''Volksbuch'', “the source of the legend”: <br />
<blockquote>This Volksbuch falls naturally into two parts. The first part treats of Fortunatus’ life: his youth, his travels after Fortune presented him with an inexhaustible purse which assured him of sensational success wherever he went, his return to his native Cyprus, his marriage, his departure in search of new adventures, his stay with the sultan of Turkey from whom he stole the magic cap which enabled its possessor to obtain all he wished, his final return to Cyprus, and his death. The second part was devoted to the adventures of Andolosia, one of Fortunatus’ sons: his intrigue with an English princess, the loss of the purse and of the magic cap, his stratagem to recover them, and finally the assassination of Andolosia and of his brother Ampedo. The 1596 play must have contained only the life of Fortunatus; thus Dekker’s task was to abbreviate this subject and in the space thus gained to introduce the lives of Andolosia and of his brother Ampedo. This is no doubt what Dekker had done when he submitted his manuscript to the company on November 30. (Feuillerat 18).</blockquote> <br />
Herford discusses the legend and its influence in his ''Literary Relations of England and Germany'' (esp.204-05), available at [http://www.archive.org/stream/studiesinliterar00herf#page/204/mode/2up archive.org]. <br />
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== References to the Play ==<br />
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In a commendatory verse to Coryate’s ''The Odcombian banquet'' (1611), a writer identified as Joannes Iackson recalls and celebrates Fortunatus’s fabulous abilities: <br />
<blockquote>Can it Be possible for A naturall man To trauell nimbler then ''Tom Coryate'' can? No: though You should tie to his horne-peec’d Shoes, wings fether’d more then ''Mercury'' did vse. Perchance hee borrowed ''Fortunatus'' Hat, for wings since ''Bladuds'' time Were out of date. (sig. N)</blockquote> <br />
There is no reason to assume the reference is specifically to the play or even Dekker’s redaction; the Fortunatus legend may simply have become widely known by this stage. <br />
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== Critical Commentary ==<br />
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Few critics consider the lost ''I Fortunatus'' without also considering Dekker’s ''Old Fortunatus'', in part because for many critics the stationers' register entry for Dekker’s play apparently “suggests that the 1599 play was a revision of the 1596 one” (Chambers III.291). Here is the stationers' register entry for 20 Feb., 1600: <br />
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:‘A commedie called old Fortunatus in his newe lyuerie.’ ''William Aspley'' <br />
::(Arber III.156)<br />
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Fleay (I.125) claims that scenes 1-6 of Dekker’s play represent the earlier, lost ''Fortunatus'' play, and believes “[t]he date of writing the first part is fixed as 1590 by Sc.1, in which Fortunatus speaks ‘no language but An Almond for Parrot and Crack me this Nut’,” adding that the “allusions to Lyly and his imitators are too minute and numerous to be worked out here.” Greg also maintains that [t]he original play, which is of uncertain authorship, was presumably written about 1590” but adds: <br />
<blockquote>[t]he large receipts from the first performance [in Henslowe’s Diary, 1595/6], and the fact of its being particularly designated 'the first part,' show that it was not a mere revival. It had doubtless been revised for the occasion, and a second part had been planned. This, however, was for some reason delayed and in the confusion following on the inhibition of July 1597 the project was for the time abandoned. (II.179)</blockquote> <br />
Critics agree that the £6 paid to Dekker for his “hole history of ffortunatus” (''Henslowe's Diary'' F.65<sup>v</sup> / Greg I.114) was on par with the fee paid for an entirely new play, yet Greg is typical in adopting the hypothesis that ''Old Fortunatus'' was a mere revision. Greg believes that Dekker “had most likely already had charge of the earlier revision,” and hence “was entrusted with the recasting of the whole” in 1599. He does not explain why Dekker’s conjectured authorship of the original play should be assumed. <br />
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<br> Criticism of Dekker’s play turns on ascertaining which portions of ''Old Fortunatus'' represent the old play and which portions are Dekker’s additions. Greg, working on the assumption that ''Old Fortunatus'' still contains remnants of the earlier play, declared that: <br />
<blockquote>Fleay is, no doubt, right in thinking that scs. i-vi (ll. 1-1314) represent the original play, and scs. vii-xii (ll. 1315-2846) the additional part mentioned in sc. vi (see ll. 1253-4: ' See, heres a Storie of all his trauels; this booke shall come out with a new Addition: He treade after my Fathers steps' &amp;c., which must belong to the revision of 1596). But the earlier portion was largely rewritten and shows many traces of Dekker's hand. (II.179).</blockquote> <br />
Greg and Fleay’s argument here seems to rest on the assumption of a metatheatrical allusion in the line “this booke shall come out with a new Addition.” Such an allusion is not implausible, but the sentence is equally (if not more) intelligible as a simple pronouncement by the sons that they will continue travelling as their father had done, recording their adventures along the way. <br />
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<br> Chambers (III.291) assumes that “[p]robably Dekker boiled the old two parts down into one play” and agrees with Fleay and Greg that “the juncture may … come about l.1315.” On the authorship of the lost play, Chambers speculates as follows: <br />
<blockquote>Dekker may or may not have been the original author of the two-part play; probably he was not, if Fleay is right in assigning it to c. 1590 on the strength of the allusions to the Marprelate controversy left in the 1600 text, e.g. l.59. I should not wonder if Greene, who called his son Fortunatus, were the original author. (III.291).</blockquote> <br />
Halstead also speculates that Dekker tried to adapt the old romance ''Fortunatus'' for the public stage (rather than compose his own play independently), but realised it would not suit changed tastes; hence Henslowe instead tried to capitalise on the imminent Christmas season at court and the opportunity to entertain the Queen, and paid Dekker to revise the play for court performance (adding the prologue, the vice/virtue subplot, and the epilogue, to his own recent redaction of the Fortunatus legend). <br />
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<br> As noted above, Feuillerat believes “[t]he 1596 play must have contained only the life of Fortunatus” and that Dekker tasked himself with reducing its subject matter (NB. this need not imply revising the play; only the source) so as to fit the sons’ story into the space of a single play (''Old Fortunatus'') (Feuillerat 18). <br />
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== For What It’s Worth ==<br />
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If the earlier, lost play did not include the sons’ story (Feuillerat) or the virtue/vice subplot (Halstead), how should the “tree of gowlden apelles” from Henslowe’s inventory be accounted for? In Dekker’s play, the tree of golden apples appears in I.iii as part of the Fortune/Vertue/Vice subplot, and at IV.i in the context of the sons’ story. The existence of a “tree of gowlden apelles” in the 1598 properties list suggests (if it were indeed from the lost Fortunatus play) that the episodes in Dekker’s play corresponded to scenes in the earlier text. <br />
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== Keywords ==<br />
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Cyprus, Babylon, England, Travel, Lady Fortune, Wishing Hat, Dekker, Volksbuch, wonders. <br />
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== Works Cited ==<br />
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Bowers, Fredson (ed.). Dekker, Thomas. ''Old Fortunatus. The Dramatic Works of Thomas Dekker''. Vol. 1. Cambridge: Cambridge UP, 1970. 105-206. Print. <br />
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Coryate, Thomas. ''The Odcombian banquet''. 1611. Print. <br />
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Fleay, F. G. ''A Biographical Chronicle of the English Drama, 1559-1642''. London: Reeves and Turner, 1891. Print. [http://www.archive.org/details/biographicalchro01flea Archive.org]<br />
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Halstead, W. L. “Note on Dekker’s ''Old Fortunatus''.” ''Modern Language Notes'' 54. 5 (1939): 351-352. Print. [http://www.jstor.org/stable/2912352 JSTOR] <br />
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Herford, C. H. ''Studies in the literary relations of England and Germany in the sixteenth century''. Cambridge: CUP, 1886. Print. [http://www.archive.org/details/studiesinliterar00herf Archive.org] <br />
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Feuillerat, Albert. ''The composition of Shakespeare’s Plays: Authorship, Chronology''. New Haven: Yale UP, 1953. Print. [http://books.google.com.au/books?id=uBBRaNchxWUC&pg=PA18&dq=Fortunatus+:+Ein+Volksbuch+Aus+Dem+Jahre+1509 Google books] <br />
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Parr, Anthony (ed). Introduction. ''Three Renaissance Travel Plays''. Manchester: Manchester UP, c1995; rpt. 1999. Print. The Revels Plays Companion Library. <br />
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Site created and maintained by David McInnis, University of Melbourne; updated, 26 August 2009. <br />
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[[Category:Cyprus]] [[Category:Babylon]] [[Category:Travel]] [[Category:Lady_Fortune]] [[Category:Volksbuch]] [[Category:Wonders]]</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Auspices_Old&diff=247
Auspices Old
2009-10-13T05:32:26Z
<p>Mcinnisd: Created Auspices (1) with tables</p>
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<div>'''Browse by Auspices:''' <br />
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[[Auspices|Auspices 1]] | [[Auspices 2]] | [[Auspices 3]] | [[Auspices 4]] <br />
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! style="text-align: left;" scope="col" | Admiral’s<br> <br />
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[[Agamemnon]]<br>[[Alexander and Lodowick]]<br>[[Alice Pierce]]<br>[[All Is Not Gold That Glisters]]<br>[[Antony and Vallia]]<br>[[Arcadian Virgin]]<br>[[Arthur, King of England]]<br>[[As Merry as May Be]]<br>[[Barnado and Fiammetta]]<br>[[Bear a Brain, or Better Late Than Never]]<br>[[Bendo (or Byndo) and Richardo]]<br>[[I Black Batman of the North]]<br>[[II Black Batman of the North]]<br>[[Black Joan]]<br>[[II The Blind Beggar of Bednal Green (Tom Strowd)]]<br>[[III The Blind Beggar of Bednal Green (Tom Strowd)]]<br>[[Boss of Billingsgate, The]]<br>[[Brandimer]]<br>[[Branhowlte (Brunhild)]]<br>[[Bristow Tragedy]]<br>[[Burbon (i.e. Bourbon?)]]<br>[[I Caesar and Pompey]]<br>[[II Caesar and Pompey]]<br>[[Caesar’s Fall]]<br>[[Catiline’s Conspiracy (Catiline)]]<br>[[Chance Medley]]<br>[[Chinon of England]]<br>[[I, II, & III The Civil Wars of France]]<br>[[Clorys and Orgasto]]<br>[[Cobbler of Queenheath, The]]<br>[[Connan, Prince of Cornwall]]<br>[[I The Conquest of Brute]]<br>[[II The Conquest of Brute]]<br>[[Conquest of Spain by John a Gaunt, The]]<br>[[Conquest of the West Indies, The]]<br>[[Constantine]]<br>[[Cosmo]]<br>[[Cox of Collumpton]]<br>[[Crack Me This Nut]]<br>[[Cupid and Psyche (The Golden Ass)]]<br>[[Cutlack]]<br>[[Damon and Pithias]]<br>[[Danish Tragedy]] <br>[[Dido]]<br>[[Diocletian]]<br>[[Disguises, or Love in Disguise, a Petticoat Voyage]]<br>[[Don Horatio]]<br>[[I & II Earl Godwin and His Three Sons]]<br>[[Earl of Hereford, The]]<br>[[English Fugitives, The]]<br>[[I Fair Constance of Rome]]<br>[[II Fair Constance of Rome]]<br>[[Famous Wars of Henry I and the Prince of Wales (The Welshman’s Prize)]]<br>[[Felmelanco]]<br>[[Ferrex and Porrex]]<br>[[First Introduction of the Civil Wars of France, The]]<br>[[Five Plays in One]]<br>[[Fortunatus, Part 1]]<br>[[Fortune’s Tennis]]<br>[[II Fortune’s Tennis]]<br>[[Fount(ain) of New Fashions, The]]<br>[[Four Kings, The]]<br>[[Four Sons of Aymon, The]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Rush and the Proud Woman of Antwerp]]<br>[[Friar Spendleton]]<br>[[Funeral of Richard Coeur de Lion, The]]<br> <br />
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[[Galiaso]]<br>[[II Godfrey of Boulogne]]<br>[[Grecian Comedy]] <br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[I Hannibal and Hermes]]<br>[[Hannibal and Scipio]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry V]]<br>[[II Henry Richmond]]<br>[[I Hercules]]<br>[[II Hercules]]<br>[[Hester and Ahasuerus]]<br>[[Hot Anger Soon Cold]]<br>[[Humorous Earl of Gloucester, with His Conquest of Portugal, The]]<br>[[Italian Tragedy, The]]<br>[[Jepthah]]<br>[[Joan as Good as My Lady]]<br>[[John a Kent and John a Cumber]]<br>[[Joshua]]<br>[[Judas]]<br>[[Julian the Apostate]]<br>[[Jurgurtha (King of Numidia)]]<br>[[Life of Cardinal Wolsey, The]]<br>[[I The London Florentine]]<br>[[II The London Florentine]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love Parts Friendship]]<br>[[Love Prevented]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Madman’s Morris, The]]<br>[[Mahomet]]<br>[[Malcolm, King of Scots]]<br>[[Martin Swart, his Life and Death]]<br>[[Merchant of Emden, The]]<br>[[Miller, The]]<br>[[Mother Redcap]]<br>[[Mulmutius Dunwallow]]<br>[[Nebuchadnezzar]]<br>[[New World's Tragedy | New World’s Tragedy, The]]<br>[[Orestes’ Furies]]<br>[[Orphans’ Tragedy, The]]<br>[[Osric]]<br>[[Owen Tudor]]<br>[[Page of Plymouth]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Pastoral Tragedy, A]]<br>[[Phaeton]]<br>[[Philip of Spain]]<br>[[Philipo and Hippolito]]<br>[[Phocasse (Focas)]]<br>[[Pierce of Exton]]<br>[[Pierce of Winchester]]<br>[[Pope Joan]]<br>[[Poor Man’s Paradise, The]]<br>[[Pythagoras]]<br>[[Randall, Earl of Chester (Chester’s Tragedy)]]<br>[[Richard Crookback]]<br>[[Rising of Cardinal Wolsey, The]]<br>[[Robert II, King of Scots (The Scot’s Tragedy)]]<br>[[Robin Hood’s Pennyworths]] <br />
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[[Scogan and Skelton]]<br>[[Sebastian, King of Portugal]]<br>[[Seleo and Olympio (Seleo and Hengenyo)]]<br>[[Set at Maw, The]]<br>[[Set at Tennis, The]]<br>[[I The Seven Days of the Week]]<br>[[II The Seven Days of the Week]]<br>[[Seven Wise Masters, The]]<br>[[Siege of Dunkirk, with Alleyn the Pirate, The]]<br>[[Siege of London, The]]<br>[[Singer’s Voluntary]]<br>[[Sir John Mandeville]]<br>[[II Sir John Oldcastle]]<br>[[I Six Clothiers of the West]]<br>[[II Six Clothiers of the West]]<br>[[Six Yeomen of the West, The]]<br>[[Spanish Fig, The]]<br>[[Spensers, The]]<br>[[Stepmother’s Tragedy, The]]<br>[[Strange News out of Poland]]<br>[[Sturgflatery|Sturgflatery (Stark Flattery? Strange Flattery?)]]<br>[[I Tamar Cham]] <br>[[II Tamar Cham]] <br>[[Tasso’s Melancholy]]<br>[[That Will Be Shall Be]]<br>[[Tinker of Totness, The]]<br>[[Toy to Please Chaste Ladies, A]]<br>[[Triangle (or Triplicity) of Cuckolds, The]]<br>[[Thomas Merry (Beech’s Tragedy)]]<br>[[Time’s Triumph and Fortus]]<br>[[‘Tis No Deceit to Deceive the Deceiver]]<br>[[Tobias]]<br>[[II Tom Dough]]<br>[[Too Good to Be True]]<br>[[Tristram de Lyons]]<br>[[Troilus and Cressida]]<br>[[Troy]]<br>[[Troy’s Revenge, with the Tragedy of Polyphemus]]<br>[[Truth’s Supplication to Candlelight]]<br>[[Turkish Mahomet and Hiren the Fair Greek]]<br>[[II The Two Angry Women of Abington]]<br>[[Two Merry Women of Abington]]<br>[[Uther Pendragon]]<br>[[Valentine and Orson]]<br>[[Vayvode]]<br>[[Venetian Comedy, The]]<br>[[Vortigern]]<br>[[War without Blows and Love without Suit (or Strife)]]<br>[[Warlamchester]]<br>[[Welshman, The]]<br>[[Widow’s Charm, The]]<br>[[William Cartwright]]<br>[[William Longsword (William Longbeard)]]<br>[[Wise Man of West Chester, The]]<br>[[Witch of Islington, The]]<br>[[Woman Hard to Please, A]]<br>[[Woman’s Tragedy, The]]<br>[[Wonder of a Woman, The]]<br>[[Wooing of Death, The]]<br>[[World Runs Well on Wheels, or All Fools but the Fool]]<br>[[II Worse Afeared Than Hurt (II Hannibal and Hermes)]]<br>[[Zenobia|Zenobia<br>]] <br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Dramatists_(old)&diff=195
Dramatists (old)
2009-10-13T05:27:12Z
<p>Mcinnisd: Created Dramatists (1) with tables</p>
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<div>'''Browse by Dramatist:''' <br />
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[[Dramatists|Dramatists 1]] | [[Dramatists 2]] | [[Dramatists 3]] | [[Dramatists 4]] <br />
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{| width="900" cellspacing="1" cellpadding="1" align="left" border="0"<br />
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! scope="col" style="text-align: left;" | Anon.<br> <br />
! scope="col" style="text-align: left;" | Anon. (cont'd)<br> <br />
! scope="col" style="text-align: left;" | Anon. (cont'd)<br><br />
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[[Abraham and Lot]]<br>[[Absalom]]<br>[[Abuses]]<br>[[Aeneas and Dido]]<br>[[Agamemnon and Ulysses]]<br>[[Ajax Flagellifer]]<br>[[Alice and Alexis]]<br>[[Alice Pierce]]<br>[[Almanac, The]]<br>[[Amazons]] <br>[[Angel King]]<br>[[Antic Play and a Comedy]]<br>[[Antony and Vallia]] <br>[[Ariodante and Genevora]]<br>[[Astiages]]<br>[[Author’s plot, the scene Macedonia]]<br>[[Baptism of Prince Henry, The]]<br>[[Barnado and Fiammetta]]<br>[[Baxter’s Tragedy (Barkstead’s Tragedy)]]<br>[[Beauty and Housewifery]]<br>[[Belinus, Brennus]]<br>[[Bendo (or Byndo) and Richardo]]<br>[[Berowne (also Burone, & Biron)]]<br>[[Black Joan]]<br>[[Black Lady]]<br>[[Bonos Nochios]]<br>[[Brandimer]] <br>[[Branhowlte (Brunhild)]]<br>[[Bridegroom and Madman]] <br>[[Brougham Castle Entertainment]]<br>[[Buck is a Thief]]<br>[[Buckingham]] <br>[[Buckingham’s Mask]]<br>[[Burbon (i.e. Bourbon?)]]<br>[[Caesar and Pompey]] <br>[[I Caesar and Pompey]]<br>[[II Caesar and Pompey]]<br>[[Calistus]] <br>[[Capture of Stuhlweissenburg, The]]<br>[[Celestina]]<br>[[Chinon of England]]<br>[[Chirke Castle, Entertainment at]]<br>[[Christ’s Passion]]<br>[[City, The]]<br>[[II City Shuffler]]<br>[[Clorys and Orgasto]]<br>[[Cloth Breeches and Velvet Hose]]<br>[[Cobbler of Queenheath, The]]<br>[[Constantine]]<br>[[Cosmo]]<br>[[Crack Me This Nut]]<br>[[Cupid and Psyche]]<br>[[Cupid’s Festival]]<br>[[Cutlack]]<br>[[De Humfredo Aulico Confessionem Repudiante]]<br>[[Dead Man’s Fortune, The]]<br>[[Delight]]<br>[[Dido]]<br>[[Diocletian]] <br>[[Don Horatio]] <br>[[Dramatic fragment in verse]]<br>[[Dumb Bawd of Venice]]<br>[[Duns Furens]]<br>[[Dutch Painter, and the French Brawl]]<br>[[Earl of Hereford, The]]<br>[[Edinburgh Entertainmen]]t<br>[[England’s First Happiness, or The Life of St. Austin]]<br> <br />
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[[Fair Maid of Italy, The]]<br>[[Fair Maid of London, The]]<br>[[Fair Star of Antwerp]]<br>[[False Friend]] <br>[[Felix and Philomena]]<br>[[Ferrar, A History of]]<br>[[Fig for a Spaniard, A]]<br>[[Five Plays in One]]<br>[[Focas]]<br>[[Forces of Hercules, The]]<br>[[Fortunatus, Part 1]]<br>[[II Fortune’s Tennis]]<br>[[Four Seasons]]<br>[[Four Sons of Fabius (Fabii)]]<br>[[Fragment of a play, 17th cent.]]<br>[[Fragment of a play]]<br>[[Frederick and Basilea]]<br>[[French Doctor]]<br>[[French Comedy, The]]<br>[[Friar Fox and Gillian of Brentford]]<br>[[Friar Francis]]<br>[[Friar Spendleton]]<br>[[Galiaso]]<br>[[Game of Cards]]<br>[[Garlic]]<br>[[General, The]]<br>[[George Scanderbeg]]<br>[[Give a Man Luck and Throw Him into the Sea]]<br>[[II Godfrey of Boulogne]]<br>[[God Speed the Plough]]<br>[[Govell’s Mask]]<br>[[Gowry]]<br>[[Gramercy Wit]]<br>[[Grecian Comedy]]<br>[[Guelphs and Ghibbelines]]<br>[[Guido]]<br>[[Hamlet (or Ur-Hamlet)]]<br>[[Hardicanute (Canute)]]<br>[[Harry of Cornwall]]<br>[[Heliogabalus]]<br>[[Hengist]]<br>[[Henry I]]<br>[[Henry the Una]]<br>[[Henry V]]<br>[[I Hercules]]<br>[[II Hercules]]<br>[[Hester and Ahasuerus]]<br>[[Hippolytus]]<br>[[Hocus-Pocus]]<br>[[Honour in the End]]<br>[[House is Haunted]]<br>[[Hugh Aston’s Mask]]<br>[[Huon of Bordeaux]]<br>[[Invisible Knight]]<br>[[Irish Gentleman, The]]<br>[[Irish Rebellion]]<br>[[Jealous Comedy, The]]<br>[[Jerusalem]]<br>[[Jesuits Comedy]]<br>[[John of Gaunt]]<br>[[Judith]]<br>[[Julian the Apostate]]<br>[[King Ebrauk with All His Sons]]<br>[[King Lud]]<br>[[Knights of India and China, A Mask of the]]<br>[[Knot of Fools, The]]<br>[[Ladies and Boys, A Mask of]]<br> <br />
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[[Lady Amity]]<br>[[Like unto Like]]<br>[[Locus, Corpus, Motus, etc.]]<br>[[London against the Three Ladies]]<br>[[Long Meg of Westminster]]<br>[[Longshanks]]<br>[[Look to the Lady]]<br>[[Lost Muse, The]]<br>[[Love and Self-Love (The Essex Entertainment)]]<br>[[Love of an English Lady, The]]<br>[[Love of a Grecian Lady]] <br>[[Love’s Aftergame, or The Proxy]]<br>[[Lucretia]]<br>[[Machiavel]]<br>[[Mack, The]]<br>[[Mad Priest of the Sun, The]]<br>[[Mahomet]]<br>[[Man in the Moon Drinks Claret]]<br>[[Marquis d’Ancre]]<br>[[Martin Swart, his Life and Death]]<br>[[Meleager, Publii Ovidii Nasonis]]<br>[[Merchant of Emden, The]]<br>[[Middle Temple Mask]]<br> [[Miller, The]]<br>[[Moore’s Masque]]<br>[[Muly Molloco]]<br>[[Nebuchadnezzar]]<br> [[New World's Tragedy|New World's Tragedy, The]]<br>[[Nine Passions, A Mask of the]]<br>[[Ninus and Semiramis]] <br>[[Noble Grandchild]]<br>[[Octavia]]<br>[[Osmond, the great Turk]]<br>[[Osric]]<br>[[Palamon and Arcite]]<br>[[Paradox]]<br>[[Parracide]]<br>[[Parroiall (Pareil?) of Princes]]<br>[[Peaceable King, or Lord Mendall]] <br>[[Philipo and Hippolito]]<br>[[Philip of Spain]]<br>[[Phocasse (Focas)]]<br>[[Phyllida and Corin]]<br>[[Plantation of Virginia|Plantation of Virginia, The]]<br>[[Play of Plays and Pastimes]]<br>[[Pompey]]<br>[[Pontius Pilate]]<br>[[Pope, Cardinals, Friars]]<br>[[Pope Joan]]<br>[[Portio and Demorantes]]<br>[[Prince Henry’s Welcome to Winchester]]<br>[[Projector Lately Dead]]<br>[[Proud Maid’s Tragedy]]<br>[[Pythagoras]]<br>[[Queen Henrietta’s Mask]]<br>[[Queen’s Welcome at Theobalds, The]]<br>[[Ranger’s Comedy, The]]<br>[[Raymond Duke of Lyons]]<br>[[Richard II]]<br>[[Richard the Confessor]]<br>[[Richard Whittington]]<br>[[Ring, The]]<br>[[Robin Goodfellow]]<br>[[Robinhood and Little John]]<br>[[Roderick]]<br>[[Royal Widow of England, A]]<br>[[Bellendon|Rufus I with Life &amp; Death of Belyn Dun]]<br>[[Running (or Traveling) Mask]]<br> <br />
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Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Main_Page&diff=3
Main Page
2009-10-13T05:24:39Z
<p>Mcinnisd: Main page text</p>
<hr />
<div><!-- Lost Plays Database Introduction --><br />
{| id="mp-upper" style="margin:0; background:none;"<br />
| class="MainPageBG" style="width:75%; border:1px solid #960018; background:#837050; vertical-align:top; color:#EEE8AA;" |<br />
{| id="mp-left" style="width:100%; vertical-align:top; background:#FAFAD2"<br />
! style="padding:2px" | <h2 id="mp-tfa-h2" style="margin:3px; background:#837050; font-size:120%; font-weight:normal; border:1px solid #837050; text-align:left; color:#F1E788; padding:0.2em 0.4em;">Lost Plays Database: Introduction</h2><br />
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| style="color:#000;" | <div id="mp-tfa" style="padding:2px 5px"><br />
<br />
The ''Lost Plays Database'' is a wiki-style forum for scholars to share information about lost plays in England, 1580-1642. Its purpose is to add lost plays to scholarly discussions of early modern theatrical activity.<br />
<br />
<br />
The editors believe that lost plays are a potential source of significant information on playwrights, playing companies, venues in London and the provinces, repertory studies, and audiences. The database provides a web-accessible, web-editable site for data on these plays concerning theatrical provenance, sources, genre, and authorship.<br />
<br />
<br />
Users of the ''Lost Plays Database'' will find information drawn from the following, as applicable:<br />
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• Stationers’ Register<br />
<br />
• Henslowe's Diary<br />
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• Legal records<br />
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• Narrative and dramatic sources <br />
<br />
• Scholarly commentary<br />
<br />
• Online databases and digital archives<br />
<br />
<br />
Unlike many public wikis, the ''Lost Plays Database'' is not open to public editing: for quality control, potential contributors must apply to the editors for contributing privileges (see [[HowtoContribute|How to Contribute]]).<br />
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<div style="text-align: center;">All content © ''Lost Plays Database'', 2009.</div><br />
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{| id="mp-upper" style="margin:0; background:none;"<br />
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{| id="mp-right" style="width:100%; vertical-align:top; background:#ffffff;"<br />
! style="padding:2px" | <h2 id="mp-tfa-h2" style="margin:3px; background:#C8B560; font-size:120%; font-weight:bold; border:1px solid #C8B560; text-align:left; color:#000; padding:0.2em 0.4em;">Demo Links</h2><br />
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| style="color:#000;" | <div id="mp-tfa" style="padding:2px 5px"><br />
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* [[God Speed the Plough]]<br />
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* [[The Blind Eats Many a Fly]]<br />
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* [[A Bad Beginning Makes a Good End]] <br />
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* [[Bellendon]]<br />
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*[[The Knot of Fools]]<br />
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*[[New World's Tragedy|The New World's Tragedy]]<br />
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*[[The Hungarian Lion]]<br />
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*[[Conquest of the West Indies|The Conquest of the West Indies]]<br />
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*[[Plantation of Virginia|The Plantation of Virginia]]<br />
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*[[A Stately Tragedy of the Great Cham]]<br />
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*[[The Tanner of Denmark]]<br />
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*[[Saint Christopher]]<br />
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*[[Fortunatus, Part 1]]<br />
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*[[Titus and Vespasian]]<br />
</div></div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=How_to_Contribute&diff=182
How to Contribute
2009-10-13T05:20:55Z
<p>Mcinnisd: Created page for How to Contribute</p>
<hr />
<div>Unlike many public wikis, the ''Lost Plays Database'' is not open to public editing: for quality control, potential contributors must apply to the editors for contributing privileges. This is a '''2-step process'''.<br> <br />
<br />
<br> <br />
<br />
1) To '''express an interest''' in contributing, follow the link in the top right corner to <u>log in / create account</u>. You will be prompted to: <br />
<br />
*enter your name, email address (preferably institutional, where appropriate), and a password <br />
*accept the terms and conditions of contributing to the ''Lost Plays Database'' <br />
*provide a brief bio including relevant academic publications. This information will assist the editors in deciding whether or not an applicant is suitable, and will also become the bio-data publicly displayed on the wiki under the contributor's user name (assuming the applicant is granted contributing privileges).<br />
<br />
<br> <br />
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2) You will then be sent an automatically generated '''email '''containing a link which must be clicked to verify your contact information. The editors will use this email address to contact you regarding the status of your application. <br />
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<br> <br />
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Any questions should be directed to the [[AboutUs|editors]] at: lost-plays_at_unimelb.edu.au</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=KeywordLists&diff=181
KeywordLists
2009-10-13T05:18:03Z
<p>Mcinnisd: Redirected Keyword List to Categories page</p>
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<div>#REDIRECT [[Special:Categories]]</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=About_Us&diff=164
About Us
2009-10-13T05:09:09Z
<p>Mcinnisd: Created page for About Us</p>
<hr />
<div>'''Co-ordinating editors:'''<br />
<br />
:'''Roslyn L. Knutson''', Professor Emerita of English at the University of Arkansas at Little Rock, is the author of ''The Repertory of Shakespeare’s Company, 1594-1613'' (University of Arkansas Press, 1991) and ''Playing Companies and Commerce in Shakespeare’s Time'' (Cambridge University Press, 2001). Her essays have appeared in publications including ''Shakespeare Quarterly'', ''English Literary Renaissance'', ''Shakespeare Survey'', and ''Medieval and Renaissance Drama in England''.<br />
<br />
:'''David McInnis''' is a PhD candidate and sessional lecturer in the English program at the University of Melbourne. His work has been published in such journals as ''Parergon'', ''Notes & Queries'', ''Ariel'' and ''Early Modern Literary Studies'', and he has recently edited a special issue of ''EMLS'' on the theme ‘Embodying Shakespeare’. Together with Jessica Wilkinson and Eric Parisot, he is currently editing a book on ‘Refashioning Myth’ for Cambridge Scholars Press.<br />
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'''Advisory Board:'''<br />
:TBA<br />
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'''Contact:'''<br />
:lost-plays_at_unimelb.edu.au<br />
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<br />
'''Host:'''<br />
<br />
:The ''Lost Plays Database'' is hosted by the [http://www.arts.unimelb.edu.au Faculty of Arts] at the University of Melbourne, Australia.<br />
<br />
<br />
'''Wiki design:'''<br />
<br />
:Timothy Chong, Kar-Yee Wong, Tony Hui, Susan Wang, Dilanjan Abeysiriwardena, Thomas Chong,<br />
:Department of Information Systems, University of Melbourne.</div>
Mcinnisd
https://lostplays.folger.edu/_mw/index.php?title=Works_Cited&diff=108
Works Cited
2009-10-13T01:57:36Z
<p>Mcinnisd: Created page for Works Cited</p>
<hr />
<div>The following list of frequently cited authorities is mainly intended to assist in minimising the amount of bibliographic material required in individual entries in the database. Where a text from this list is cited in an entry, only the abbreviation will be entered; the full bibliographic details are listed here. The ''Works Cited'' at the end of individual entries contains only those texts which are cited in the entry but do not appear in this masterlist of staple texts. We make no claims to bibliographical completeness with the following list, and are willing to consider further inclusions of high-use items as recommended by database users.<br />
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{| class="wikitable" border="1"<br />
|-<br />
! width="150"|Abbreviation<br />
! Text<br />
|-<br />
|-valign="top"<br />
| Arber<br />
| ''A transcript of the registers of the Company of Stationers of London, 1554-1640 A.D.'' 5 vols. Ed. Edward Arber. London, 1875-94. (Reprinted, Gloucester, Mass., Peter Smith, 1967). Print.<br />
|-<br />
| Bentley<br />
| Bentley, G. E. ''The Jacobean and Caroline Stage.'' 7 vols. Oxford: OUP, 1956. Print.<br />
|-<br />
| Chambers<br />
| Chambers, E. K. ''The Elizabethan Stage.'' 4 vols. Oxford: OUP, 1923, rpt. 1974. Print.<br />
|-<br />
| Greg I<br />
| Greg, Walter W., ed. ''Henslowe’s Diary, Part I. Text''. London: A. H. Bullen, 1904. Print and Web. [http://www.archive.org/stream/henslowesdiary00unkngoog (archive.org)] (Citation by folio and page number).<br />
|-<br />
| Greg II<br />
| Greg, Walter W., ed.'' Henslowe’s Diary, Part II. Commentary''. London: A. H. Bullen, 1908. Print and Web. [http://www.archive.org/stream/henslowesdiary02hensuoft#page/n19/mode/2up (archive.org)]<br />
|-<br />
| Greg, ''BEPD''<br />
| Greg, Walter W. ''A Bibliography of the English Printed Drama.'' 4 vols. London: Bibliographical Society, 1970.<br />
|-<br />
| Greg, ''Papers'' <br />
| Greg, Walter W., ed. ''Henslowe Papers, Being Documents Supplementary to Henslowe’s Diary''. London: A. H. Bullen, 1907. Print and Web. [http://www.archive.org/stream/henslowepapersbe00hensuoft#page/n7/mode/2up (archive.org)]<br />
|-<br />
|-valign="top"<br />
| Herbert<br />
| Herbert, Henry. ''The dramatic records of Sir Henry Herbert, master of the Revels, 1623-1673''. Ed. Joseph Quincy Adams. New Haven: Yale UP, 1917. Print and Web. [http://www.archive.org/details/dramaticrecordso00greaiala (archive.org)]<br />
|-<br />
| Harbage<br />
| Harbage, Alfred. ''Annals of English Drama, 975-1700''. Philadelphia: U of Pennsylvania P, 1940. Print.<br />
|}<br />
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This list created and maintained by Roslyn L. Knutson and David McInnis; last updated 31 August 2009.</div>
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