242

Notes ro pages 26-31

./
Notes to Pages

103. Fenichel, "on Acting," 156, comparing the audience,s attitude toward ac, tors with their attitude toward whores. 104. Barish, Antitheatrical prejudice, 3. 105. Cole, Theatrical Evat, 69_73. 106. Edith Oliver, ,,Up from Stratford,,, The New yorher, 3'January I9g4, g3, I07' Bertolt Brecht, "A New Technique of Acting," trans. Eri.-c oentiey, Theatre Arts 33 (1919) : 38-40, esp. 38. 108. Cited in Redfield, Letters,l0l_2. 109. Little and Cantor, playmahers, 125. 110. Elias canetti, Crowds and power, rrans. carol stewarr (New york: vikin! Press, 1962), 50, 97 , 203. lll. Redfield, Letters, 6. I12. Brook, Empty Space,9.

3l-33

243

ditn: change and Continuity in the English and European Dramatic Tradition, Essays ln Honor oJEugeneM. waith, ed. A. R. Braunmuller andJ. c. Bulman (Newark, Del.: llniversity of Delaware press, 19g6), 91_101.

l. E.,r"rirer.,rants in merchants, households_like l)romio, servant to Antipholus of syracuse in The comedy o1 rnor:r-rrorned ,,a hcggar [and] her brat" (En. 1.1.35_36). 8. Wickham, Early English Stages,2:2:150, cited in Alvin B. Kernan, ,,Shake{x:arean comedy and Is courtry Audience," in comedy from Shahespeare to sherirbn: Methuen, f985), chap.
9. J. Leeds Barroll, "Drama and the court," in Barroll, et ar., Drama in Engrish, Salingar, Trailitions of Comedy,26l.

seventeenth-century England (Cambridge: cambridge university press, lggr), nnd A. L. Beier, Masterress Men: Thevigrancy problem inr.nglaid. rcao--l-i+o

l0g,

oon-

l:\-27;

Chapter Two
A MadWorld, My Masters (L6Ol_7 t1606l), ed. S*n. dish Henning (Lincoln: University of Nebraska press, 1965), 5.I.2g_30. 2' Recent distinctions between performance and drama suggest such a dbappearance.

.l

I. This chapter's title draws on sir Bounteous's description of players, uncertrhi lives in Thomas Middleton,

lt6trons.

10. scott McMillan describes the debilitating effect which the establishment the Queen's Men had- on the_ previously thiiving London companies. scott McMillan, "The eueenr Men and the London Theaire of 15g3," ii Erizabethan Iheatre X, l-17, esp. 5-13. I l. cook, Pririleged playgoers, 99-r05, argues for the continued importance of

13 E' K. chambers,

12. Bradbrook, Common player, lO.

The E-lizabethan stage (oxford: clarendon press, 1967),

3.
Press.,

of all existing evidence, A1d1w Carr,

tg:l), which argue that shakespeare's was a popular theater; Ann Jennarie cook, Th! Privileged Playgoers of shahespeare's Londoi, 1s76-i642 (princeton: princeton unlr versity Press, l98l), which challenges Harbage's thesis; and, for a reconsideritl!i
rrauc*ittui,elay"going

see Alfred Harbage, Shahespeare's Audience (New york: Columbia l94l) and shahespeare and. the Rivar Traditions (New york:

Unive*r{

I : 150, 2:305, 2:333; Bradbrook,

Commonpliyer,61.

sir Thomas lvIoie (r595):Middleton's Madworrd,'(r6ffi1 and Hengist, King of Kant;.or, The Mayor of eueenborough (16lg); and Rlchffd Brome's Antipoiles (1639). Alan so-"t""t, taik irererrted io ttt. srt.r..rpeai. rr*= ciation of America, 1990. see his related essay, iThe Lords president, Therr Aetrv{=_ 'rapea ties and companies: Evidence from stropshlre,', The Elizabethan ri*tr, given at the Tenth International conference on Elizabethan rt.rt.e rreld rt th University of Waterloo, Onrario, July l9g3 (port Credit, Ontario: n O, Uterny,
I

5' For a reconstruction of the event r." Am" Righter, shahespeare and the IE (1962; reprint, Harmondsworth: penguin Books, I967), 15. "f 6 ryly t!-r rggring companies' failures have b*een recounted by, among otherul ^, wickham, Earry English stages 1300-1660 (New york: columbia Unrvef: llrn1e sity Press, 1963), 2:r: 104-6. But recently theater historians rtr". .ilrr*gea tht traditional account. Alan somerset's- investigation of the records ,r,"*, ,r*tpraygr were welcomed about 94 percent of the tirn'e when they arrived ir, . io*i, ls $ry are welcomed in shakespeare's Taming of the shrew it:ss) ana Hamret' itrca= 1601); Anthony Munday's
t\"

bridge: Cambridge University press, l9g7). 4. Term used in Bradbrook, Commonplayer,24.

in

Shahespeare,s Lonilon (e,176*

14. "The Elizabethan common player wa, u 'r"rrrunt' in the eyes o[ the nobleman to whosecompany he belonged and of everyone erse."J. Dover wilson, ,ih" puritnrr.Attack on_ the stage," in The Cambridge History of Literature, -universiry ed. A. w. ward rrrrl A. R' w1ll9r' vol. 6, pt. 1. (cambridge: Lambridge pr.rr-igto), +:0. Mlny have elaborated on and reaffirmeJwilson,s assessmenr.

15. Bradbrook, Common player,

view of public Theatre Audiences," inJonson anil shahespeare, ed. ran lhnaldson^(Atlantic Highlands: Humanities press, f9g3), 74_gg, 7g_S3, o' "rp. lrr lvntc performances in Shakespeare s plays. Itl.,John Davies, "To Our English Terence, Mr. Will. Shake-speare,,,in The 5r r,rrgr of Folly (s.R. I6I0), cited in E. K. chambers, william Shahipeare: A Study rrl l;rrrt.s anilProblans (Oxford: Clarendon press, 1930),2:214. It) stephen Gosson, school of Abuse (London, 1579), cited in Bradbrook, comarrrl ftrnson's

16. Theseus's generosity here sounds oddly like Titania,s when she orders her tervilnts to "Tie up my lover's tongue, bring him silently,, (MND 3.f .194). I 7. Kernan discusses the inadequacies of real and siaged audiences, irivate and prrblic, in "shakespearean comedyj'91-101, and in Ahln

5I.

Kernan, "sirakespearet

988),

7'

93 - I I I (hereafter, Ellzabcthan Thcatrc X), see Michael MacDonard, Mystlcar Bedram: Madness, Anxtety, and Hcarrng

ri

erllrrotrk, Common 7 5, ll. Andrew Gurr, The s-hahcspcarean stage r5r4-1642 (cambrldge: cambridge l ittlverslty Press, 1970), l{1,
Br

l(). Munday is assume.d, though not proven, to be the author of this passage the seconil anil Third, Brast ol netraii from plaies, cited,in chambers, itizabe_ lh!'r .stdge, '1 :210. Bradbrook cites this and a number of similar r"*u.kr, fo, e.rrr1ilt from Phillip stubbes, who includes "*the crichd among his iut*ir,.,ior,r. player,
Irrrrrr

nrn lrluyer, Tl.

241

Notes to Pages 33-35

Shahespeare's F esttue Comeily : A Study of Dramatic Form and
(

Notes to Pages

35-36

245

22. C. L. Barber,

lts

1959; reprint, Cleveland and New York: Meridian Books, 1963); Robert Weimann, Shahespeare and the Popular Tradition in the Theater: Stud. ies in the Social Dimension of Dramatic Form and Function (Baltimore: Johns Hopkins University Press, I97B); Michael Bristol, Carniyal and Theater: plebeian Culture and the Structure of Authority in Renaissance England (New York: Methuen, 1985). See also Louis Montrose, "The Purpose of Playing: Reflections on a Shakespearean An. thropology," Helios, n.s., 7 (1980): 5l-71, and Steven Mullaney, The place oJ thl Stage: License, Play, and Power in Renaissance England, (Chicago: University of ChlRelation to Social Custom cago Press, l9B8).

McKerrow (Oxford: Basil Blackwell, 1966), l:215; Thomas Henvood names Knelll Bentley, Miles, Wilson, Crosse, and Lanam in An Apology for Actors, in"An ApolOg for Acnrs" (1612) by Thomas Heywood and "A Refutation of the Apology for AC, tors" (1615), W I. G., ed. Richard H. Perkinson (New York: Scholars' Facsimll! and Reprints, 1941), Erv; Dekker elsewhere places Bentley "among the poctt h
EIysium."

23. Gurr, Playgoing, II3. 24. Bradbrook, CommonPlayer, 105. 25. Gurr, Playgoing,6l-63; Jean Howard, "Crossdressing, the Theatre, and Gender Struggle in Early Modern England," Shahespeare euarterly 39 (l9BB)l 418-40. 26. Thomas Dekker, The Guls Horn-Boohe (1609) in The Non-Dramdtic Worht of Thomas Dehher, ed. Alexander B. Grosarr (London: Hazell, Watson and Vinefl r8B5),2:263. 27. Thomas Nashe names Tarlton, Alleyn, Knell, and Bentley in pierce pennlt lesse his Supplication to the Divell, in The Worhs of Thomas Nashe, ed. Ronald E,

on this

28. Not everyone was so sensirive to the actor's skill. WhenJohn Marston dn1! passage in Antonio's Revenge (I.5) he falls back into the more standtd

commentary on the player's hypocrisy, ignoring his acting ability. 29. Chambers, Elizabethan Stage, 4:239.

liams (London:Jonathan Cape, 1937), 170. 33. BenJonson, The Devil Is an Ass (1616), (2.8.63-92), cited in Bentlcy, ft!=
fession of Player,

30. Helrvood, Apolog for Actors, G,r. 31. Bentley, Profession of Player, 116. 32. Thomas Platter, Thomas Platter's Trayels in England 7599, trans. Clare Wlt*

Renaissance and. Reformation, ,,.r., II (i9g7): 163_73, esp. 171. finsson, wh-ose school of Abuse (1579) effectively initiated the debate, andwhose t'luyes confuted, in Five Ac.tions (15g2) populari'zed it, had written fi.y, r,i*r.u brlirre the debate, and wilriam Rankins iA'Mirrou, of Monsters, r:gzj ieni on to wrlte plays after his attack on players. Even a prolific ptal*rigtrt tite Ltirorry Mrrnday (second and. Third Blast, l5g0), who was praised by Francis Meres as "rutr best plotter" (1598)-and who may also have been an actor before he wrore thc pamphlet-contributed to the early debate. Munday may have undertaken the ittlnck on the stale as hack work, paid for by the London Corporation; but even rrr lrc showed remarkable agirity in drawrnj on the argum"rrt, of rrJ'*ppor"a lrlllnlncnts.

tiodly Player,"

40' one problem in interpreting the attacks on players is that many of them t'.me from within. The attacks in the r570s and r5g0s were nearly all written by rncn who were connected with the theater themselves. w".urr'orrty rf..ulut. ehout how Thomas Field's early sermons against players might have affected his run, Nathan Field, who later became one oithe periods moit famous actors and delenders of the theater; perhaps the father's pubiic speaking abirity-rike that of l,uurence olivier's minister father-had something to do with the son,s leaning. Ilsewhere the contradiction is more overt. John Lowin, himself one of the ,,princi_ poll Actors" in the first folio edition of shakespeare,s plays, wrote a littre piece rull".d Conclusions lJpon Dances (1607) under the pseudony,rn of I. L. Roscio (,J. L. the Player"), in which "he reveals himself u, pua of the [antitheatricar] puritan trricldle class. . . . Dance retains for him the puritan stigma atrached to any physical de tivity'that is overtly demonstrative, consciously alLring, nonprlf,uctirre.,, "nd Rlck Bowers, 'John Lowin's conclusions IJpon Dances: puritan conclusions of a

38' The Actors Remonstra-nce or complaint for the silencing of their profession anir hanishmeatfrom their severail play-Housis, in The Engrish ori^i ora iai, und,er the 'I'uilor anil stuart princes 1543-1664, ed. w. C. Haziitt, (London: witti'ngiam and Wilkins, 1869), 263. 39. Earle, Micro-Cosmography, 39.

in love vir 'em,, (4.5.30, 33_31). tn Cynthia,s Revels, 1ldt, , (lupid describes a "nymph of a mosr wandering and giddy disposiori . . - rh.,[ ,rrr, lrom gallant to gallant-.-. she loves a pulyer *ett, and'a lawyer infinitely,, .. (2.3.145-46,157), and Moria says, "I would t"ll yo' which madam lov'd a monsieur, which aplayer,which a page" (4.I.I32_33).
shee de players, be

115-16. 34. AMadWorld, My Masters (5.2.30-32). 35. Lording Barry, Rmn Alley; or, Meny Trichs (1607-8 t1608l) A Sclccl !!E lection of Old English Plays, 1th ed., ed. W. Carew Hazlitt (London: Reevet ld Turner,1875), I0:369. 36. Earle, Micro-Cosmography, 39-10. Compare R. M.'s claim that thc plnye* "chiefe Admirers are commonly young wanton Chamber-maids, who arc ro ttkt* with his posture and gay clothes they never come to be their own womcn tftsEi R. M., Micrologia: Characters, or Essayes, of Persons, Trailes, anil Placcs (L,ondgff
T. C., 1629), B,v.

today when we insist on rating movies to Pr'te('t impressionable audiences and criticize television for depictini too much
virilcrree, or even too much consumption of .lrurk lbod. 'l"he contagion o[ emotlon between siage aner gallery was precisely what the

i lrprrrlrcrs, Elizabethan Stage, l:192. 42 we make the same.assumption

iesters, plaiers, which may say and do what thJy lust, be it.,",re, so llerlrly and filthy? and yet suffred and heard with laughing and'clapping or rrurra"r."
letq., -scoffers,

{ L wilson, "puritan Attack," 42r-6r. The first dozen or so of chambers,s sellons from "attacks on the stage" are taken from texts composed before the establlrhnrcnt of permanent theaters had posed any pragmatic threat. william Alley in l165 complained about the theatrical riffraff who diew the ignorant c.o*Js: ,,iuglet

37. Also in B;artholomew Fair, Whlt the bawd promises, ,,dou shalt llve llk! I

4l

216

Notes to Page 36

Notes to Pages

36-40

247

antitheatricalists feared, and their criticism likened players and audience (both ere common, both constitute a rabble, etc.). The excited-and therefore contemptible-spectators are described in the same terms as the clown, the most contempt= ible actor, in Fennor's 1616 description of the multitude at the Fortune wh{t "screwed their scurry jaws and look'd awry," like Tarlton making faces on the stage or Kempe with his "scurvey faces." Fennors Descriptions (1616) Brr-rr, quoted ln Gurr, Playgoing, 45,230; Kempe's faces are mentioned in The Pilgrimdge to Parnatsus in The Three Parnassus Plays (1598-1601), ed. J. B. Leishman (London: lvot Nicholson and Watson, 1949),93-132, 129, line 667. '14. Barish, Antitheatrical Prejudice, 159-67; Michael O'Connell, "The ldoln= trous Eye: Iconoclasm, Antitheatricalism, and the Image of the Elizabethan "the. ater," English Literary History 52 (1985): 279-310; David Scott Kastan, "Maklng Majesty Subject: Shakespeare and the Spectacle of Rule," Shahespeare Quarterly 11 (1986): 461, citing Philip Stubbes, Anatomy ofAbuses (1583). 45. "Player is a great spender," see T. G[ainsford?], The Rich Cabinet Furnlshed withVarietie of Descriptions, in Hazlitt, English Drama and Stage, 23O. "He is on! seldome takes care for old Age; because ill Diet and Disorder, rogether with a Con= sumption or some worse disease have only chalked out his Catastrophe but to I Colon." R. M., Micrologia,B,r. "they . . . spend all they get," Donald Lupton, Londrn and the Countrey carbonailoed (London, 1632), cited in J. Dover Wilson, Shale= spedre'sLifeinEngland(f9f 1;reprint,Baltimore: Penguin, 1968),207. Concernlnl usury, see Jonson, Poetaster 3.1; and 270; and Henry Crosse, Vertues Commonwealth; or, The High-way to Honour, in Chambers, ,1 : 247. 46. In Barry, Ram Alley [608] the Drawer who waits on rhe players explnlnr that "it stands with policy / That one should be a notorious cuckold, / If it be but for the better keeping / The rest of his company rogether." In Hazlitt, Old Engh* Plays, 10 316 (,1.1). See also "Kempe's" jokes about an actor-cuckold in The Trayelt of Three English Brothers (1607). The (to us) overheated objections are famllhf in any discussion of stage history: plays were "fleshly and filthy" (1565), full of "wicked wordes, and blasphemye, impudent jesrures, doubtful slaunders, unchnrle songes" (I574)-and all this even before Gosson initiated the real flow of abure Cited in Chambers, Elizabethan Stage, 1. 47. AnthonyMunday, ASeconiland,ThirdBlastof Retraitt'romPlaies (lStl()), in Hazlitt, EnglishDrama and Stage, ll9. 48. Stubbes, Andtomy ofAbuse (i583), one ofthe examples cited in nearly every discussion of gender and the boy-actors; Samuel Harsnett, A Declaration ol li.gtc. gious Popish Impostures to with-draw the harts of her Majesties subjects (l.orrrhrn. James Roberts, 1603), 149. Gosson merely said that ir was a "lie" for men (and presumably boys) to wear women's clothes, a weak objection which both Gager End Heywood could answer easily by claiming that female impersonation was no lie because the players never pretended to tell the truth. But others expressctl srrrtal outrage and anxiety more explicitly. Prynne became mosr hysterical whcn rlrse tlh. ing the effect boys had on their audiences, transforming them to Priests o[ Velrrrc, clothing them in women's attire, and sending them homc to sclf-abusc. '19. Chambers, Elizabethan Stage , 1:256-57. 50. Chambers, Elizabethan Stage, 1:216.

)06-7.

I'rcss, 1970), argues for the importance of more pragmatic objections. 52. crosse, vertues common-wealth, cited in chambers, Elizabethan stage,247. 53. Thomas Beard, The Theatre of Gods Judgmenrs (London: edam fflip, tOfZ),
5,1. Chambers, Elizabethan Stage,

51. Russell Fraser, The war dgo,inst poetry (princeton: princeton University

r;urs Hate Stage Plays?"

l

55' Barish, Antitheatrical Prejudice,85, citing David Leverenz, "why Did puri-

4:IBi.

inTheLanguage ofpuritanFeeling: AnExplorationinLiterature, Psychologt, and Social History (New Brunswick: Rutgers University press,
e80).

62. william Ingram, "The cost of Touring," unpublished talk presented to the \lrakespeare Association of America, 1990. 61. Chambers, Elizabethan Stage, 4:256. 64. The phrase is taken from an epigram on Heywood in the anonymous Mu\itumDeliciae (1640; cited in Nungezer, see n. 86 below, l9I). when the epigram's r1x'lker advises He).wood to stop "groveling on the stage," he is more likely referring t, lleywood's activities as a writer than to his career as a player, which had ended lwcnty years earlier. But the metaphor is taken from an actor's experience on the rt^gc and, whatever the tenor, conveys quite explicitly the speaker! contempt for rrrr ilcting career and what it entails. 65. From
J t(). Theses

,rlrlc financial stability for at least some of their players. 60. Bentley, Profession of Player, 3t-32. 61. Bentley, Profession of player,5l, notes two such contracted limitations.

56. see my discussion of similar projections in today's theater in chapter l. 57. Answer of the corporation of London to the eueen's players' petition ( 1584), reprinted in Chambers, 4:300;Jonson, poetaster I.Z.II. 58. Chambers, Elizabethan SUge, I:381 n. I. 59. Munday may be scorning only the willingness ro acr for money_any 1111olln1-141trer than any actual success in collecting large amounts of money. Mrrrrday, second andThird,Blast, 152. By 1600, however, chamberlain's and Admir,rl's companies had virtually monopolized the London theaters and ensured reason-

course Martin was mudslinging, but the caricature wouldn't have been eflrrtivc without some basis in reality. Dekker, in The Rayens Almanache (L609), rlrclribes players "glad to play three houres for two pence." Dekker, Non-Dramatic llirrfts, 4: I9.1.

of

Martinianae (1589), cited in chambers, Elizabethan stage,

l:

l*'r;, I:lizabethan stage,4:231.lt

o6 Quoted by the anti-Martinist congratulating the eueen's men for undoing lvtarti'. London, 1589, cited in G. M. pinciss, "The eueen's Men, 15g3-1592," lln'utre Suwey 5l-52 (L970): 50-65, esp. 57. h7, Crosse, cited in Chambers, ElizabethanStage, l:217. rrti. Nashe, from the epistle prefixed to RobertGreene'sMenaphon, cited in chamis possible that Nashe is referring to playwrights

lr.r t', lrut he seems to distinguish those as a separate form of lowlife (the tragedian's lrlr(rt Alt-masters") latcr in thr: passagc. chambers, Elizabethan Stage, 4:2{5.

,"rtl it leltt't' kr Sir lirattt'is Wulsirrglrrrn irr l5tl7 cornplaining about

(r(). (itrqson, citccl in (llrlnrlx.r.s, llltzuhrlhan Stage, l:201. An anonymous soldier a relatcd offense:

L.

218
:Yt

Notes to pages 4l_43 Notes ro pages

liked_to admit. f See chapier 4.

jett in their silkes, / whear J]:i:i*""1-lTl3"^*t:" t:iT .iH: I:;:;'t::;;Hf *i,[Tgl'.:;';:,*;*T]l#'il' :"ii'H';,il'.*.'fi lilif ,T{:*:y."_*.iiliT.i."f ;#.,1":;::,:ff;"1i:l :,ffi fl
hve hundred pore Deoole

is a wofull sight to see

y:;;,::;;:,#,lill.,*;Jiuli"i;;'i;#i:ll#'iiT:,:yriyi;,IJ:!i, --r ; -lt, ""t::9",

them to ,,take heed ye srun nble not with stalking and.. a mere steward orr".u", h16,1 htclr observes *ui"",niii"r'"".1""1;::1T1tthat,,tho pr-,,^*^ _growne proud' ten pound a.play, a play, or no point comedy." comedv,, *ri'r"^ilri.,,;;*" Hict.;^*^-,:.- .-- , ,ttt Srowne so proud, The Plays i7 Marsion,.a. ul ir.*n wood (r.di.xrr,-r. lotn

''#:lffi

t3.*!.1-ri*t*u. t"ils

U::*:**.'J*",.','''ffi

Tff

"";*iil"Ti,il::

';,::',"frft:;,^;:tu.criticism'

p' cerasano,''The 'Business, of shareholding, the Fortune playhouses, trrancis Grace's and in Engrand: An Annual Gath_

g2' s'

43_45

249

wir.'.Medieva;;;";r;;';i" o*^o

^a *'i.*i-ii'la

J. t-."a, Barrou (New york: AMS

torv of Dramatic poetry Collier, His_ "irir'l",rfi^ y1r1 11re0),157:J.p i,isi-gtr.'ti"d in wilson, .puritan etiack,,, .(78791, 85. Benrley, professionof +3+. piayer,iro,

83. Cerasano,,,,Business, of Shareholding,,, 233.. 84. Fleay,s A Chronicte^Hir1"rt

irl.".

.rict'ionary "i;;;;,, and.of other persons Associated. with *ru!*f,ll#ry;f;..,,. n of Plays in Englind befure 1642 press,
_

1929),

206.

fr,r,""r'-c"r"lliunirr.rrity

,".trl;rliil'".#1ll;[llff
88. For the debate

J,^:]r;r;:;,ACompactDocumentarvLif e,reved

Mimesis, and the

Jardine, Stiil Harping n'tnr igr' Press; Barnes and Noble,. 1surr.", H".,r.rt", res{ 9_36, ;;il[. "f-shahespeaie Belsey, ,.Disrupting sexual ence: Meaning and Gender ,, ,t C"*.J,.'J,i,io otrurorr;;;;;;;;;;;;r, DifferDrakakis (London: Methuen, " ed. John
t'X'."t'1?i,i,l;

on Daughters: women.and lO*:*"'*" Drama

oi;;:;r.see,

e.g., Lisa

wirriam rngram, Busineslof

75' william Ingram,-"The Elizabethan stage player: In His Habit talk presented to the shak-espeare As He Associari"i-rr America, Igg5,

j#A
Lived,rl
1

r",:,ug: .1',rr" i,Ji

i;rr:'];;:bo'i

i:ll?;:T"

::";X*,:::,*'y",":l;ffi"'.'il"::?'."?'.#,i3; ;:ff i:lJi;I*:;il'.iii; ,T"lgil',F",1;*5;:3;_:i:**.3:ffi

ll;T'rrr:$:ionsHerbeitr","y,;ri";i;il#:"'ii#'ilXil,i'ri[?,1,i
(1983), 73-80. 80. Goldman, Actor,s Freeilom, 5g

i;:li':;:;:"['.tl;f

bad-that they leave othff perfectly good professions to join-it. stephen Goss on, prayes Confutid in Five tions' proving That thev are Ac. noi to u" t r7*ri ,rl""rhrurron common weale, n.d.. 6 April 1582, cited in s,R, Lhambers, itri"'iii"" r,zrr. 78. Greene's famous slur in Groarsworth ofTiit (I5g2),thought at shakespeare' contains to be almcd rnr pir*":i"rr"""""J #.."*-.,, chambers, to a plaver's merery "mech;.;ffi;;, Hrs in Francescos Fortunes. chem, 79.. Berry suggests that perhaps only the most su, troupes bought rp. ntices; in theither;;L, ricL' r.,,-i-^^- ::tttful.

origins,-with-t-vfi*i"J-*ii-' ,"ric, "#r#;;;il;: cosron by sneering tt ri'tr,.y either brought up to the professionS;;;bo rn

described the praversl

*r Lr Jrrv r 1992). 76. Bentley, profession rtoy rr,-S'Sl "1 t r ' rhe author of Hktriom^stk implies that workmen- turn player when ,,trad.o serve no rurnes," plavs of Marston,
Y

in Elizabethan Lonilon (Ithac-a:

pia|i;s;;;;;;;;;iiglof

ioriell U"rrlrrrru.r*ss,

MS 2. see ah. tryeduttprofessionatrhcatel

120-30r stephen cr""rrrt"t,, (itcrkeley: university

Fve.r see a

e. "

n"y e.

i;;; j1""

t-

a ro' u'g"'*'#'r"' t"v

f,

i"iiil."lllorosyny, ,;;;;:,",""o ,r,. e.,grirr, n..,u,:r;. stage,,,

g,r,io

John

ilA.i;.

Equally

89' when the boy actors come out she asks ,,sirrah, prettier child? how it b"huu"rls.ilii her husband, didst thou

#:ii.,.J li::# t#;;ill il il 1; Jri.i##:;;t on.,in shahespearean'Negotiations .r c"r,r"rri" pr"rrl#;:a*_93, esp. 688.

#:::h

"';;il;;'i.1,,.,p..

i.r

iiir,

"play boy" from the *o1un. "u.r'.u,.';: he prays, resl. Michael Shapiro, ..tay-u".y
Kenqtssance Drama

:illt:.r;;ilffi'THH"1t""*T* urania (r62tl rn

somerv's

;liffi'HJ,'-l;#Xi:i::I;;;i'1"ruil"';i;{7:;i;;n$;ffi l?:t: to the bov

in England, tisenl,

r:2^.

'ore

Cope atso canym.a," i, ,r,. ,"aucrion ro Marrowe,s Dido is :'f,Hjf#JiJ::l:.:Xy".ewiiir *""" who might "tor" una;p1ui";r;;;;,,*""run t.rrr. ioyl;il;" #;:l:.

isi_g;.,' 90. Chambers, Elizaietha.n_Si"ri i,ri'r*Jir,.Ju.kror, Cope, *Marlowe,s Dido nrrd the Titillating Chrldren,,, rrg,iirhLii"iriyi)ro,rron
, 4 (tg71),318;

il ;ffi'h'" ardor she might attract were she w"ifr;;;;", a ,Boy Actress ,,,, Meilieval and

;#iri:::,i;:r:'il.1l;":",:T,H;{;y:r;I

'?,.'l*i'"r

p*-

"j"rl# :il::tlilJt'"ii ,,ri,r,*.,.1i.*;;il'i,T"iffi

,,,

*l]

rhe rather i n Poetaster wholearns that his son wants

""'-*vtr," rs'tc (rouJ-J, in No'.Drcm Non'Dramattc l:100, 3f cited in R. A. Foz- - y;y,,r*^r,*,11g*1, auc Worhl, worht, some r',",*-""'eiirabethrn Psychology PsvchologyandActins.,,;:::"'"11'":l?^tl:l::t-t:.t: and Acting,,, ;''"y,

li:f; i'11;"lk

wlrrrle story

r boy actor who

turn' Jn marrying

;;;;;;

ii;r_T,::

craiirsl-ni;;il ilr, some men have wives as grand ri-riuilrilI# equipped simirarrf tJtie whr pteyed the ptayers'wr"*l boys boil""r";1.;;';'i"".. The pedant (schootmasters

n''c

I tttlt'wit

in

plavers'-that is. a..r._.a

dressed uj orirtug. Barthoromew Fatr

' il.ilff;

uoy-ur,l.,io"r"r t. The
a

ii:lHi:i.ilil:il.l:',.,T;;.3;illl*i
hdyfriend of one of the actbrs.
Devirls an Ass describes

250

Notes to Pages 45-48

Notes to Pages

.18-50

251

were as suspected of boy-love as were the boys' troupe masters) in Chapman's 66i1: tleman lJsher explains that the Page has been chosen to play a lady in the comlnl masque because of his beauty and "other hidden virtues." Another connoisseul !l boys, itr Chapman's May Doy, tries to buy a page, imagining how lovely he will loek
as a

it
&

Mariel st. clare Byrne, Malone society Reprins (oxford: oxford universiry press,

lu/]),33, Iine

1079.

&'

girl.
Plays of lohn Marston, 3 :260, 299
.

92. Histriomastix, 4.I and 6. l, in

# !a
A
i.
,,'.

l()8. wickham takes this as evidence that the former carpenter Burbage was =trrrilarly in charge of Shakespearean productions. wickham, Early English stages,

! ).t87.

! fealowe and liveth by noe other trade then playinge of staige plaies and InterleudJ'ti Testimony in Public Records Office, REQ 2126618. a 95. J. O. Halliwell, Introduction, Tarlton's Jests, and News Out of Purgatory, ed 'fl James Orchard Halliwell (London: The Shakespeare Society, 1844). See also Brld= g brook, Common Player, 162-77, for an assessment of Tarlton's career of "squal!f and greatness" (162), and Wiles, Shahespeare's Clown, Il-23, for a reassesstn!nt; 96. "Tarlton's City Jests" (no author identified), in Halliwell, Tarlton's Jesls, 11, 14. 97. Th. Bastard, cited in Halliwell, Tarlton'sJests, xxxiii. 98. Bentley, Profession of Player, ll2. 99. J. Cocke, "A Common Player," inJohn Stephens, Sdtyricdl Essayes ChatdF= ters and Others (1615); John Webster, "Of An Excellent Actor," in Sir Thomg Overbury, TheWife,6th edition (1615); Earle, Micro-Cosmography (1628); R' M,r Micrologia (1629). The first two are reprinted and the last two cited in Chambetr' Elizabethan Stage , 4:255-58. 100. Chambers, Elizabethan Stage, l'.351. 101. See examples cited in Chambers, Elizabethan Stage,2:551. 102. George Chapman, Bussy D'Ambois (ca. 1604), ed. RobertJ. Lordi (Lincoln:
University of Nebraska Press, 1964). Though not printed until the i641 Qr, th! epilogue may well have been written during Chapman's f 6f 0/f I revision of the plry for a production at Whitefriars. 103. Desiderius Erasmus, The Praise of Folly, trans. Clarence H. Miller (Ne* Haven and London: Yale University Press, 1979), 44. 104. Klein cites this passage, from Johannes Rhenanus's preface to a GermlR adaptation (1613) of Thomas Tomkis's Lingua (1604), as evidence that "the system of author-direction prevailed" on the sixteenth- and seventeenth-century Enghrh stage. David Klein, "Did Shakespeare Produce His Own Plays?" Modern l,r'ngudlt Review 57 (1962), 556-58. But the play which Rhenanus's comments introduce rvra a university play; the rest of Klein's direct evidence also comes from either univer5lty drama or boys'plays so its import for adult professionals is not clear' 105. Heywood , Apology for Actors, E'r. 106. Klein cites Shakespeare's Midsummer Night's Dream (1596), Anthony Mun' day's Death andDownfall of Robert, Earl of Huntington (1598), Middleton and Rorv' ley's Spanish Gypsy (1623), and Brome's Antipodes (1638). Klein, "Did Shakcsprnre
Produce," 558.

93. Bradbrook , Common Player,39-66. 94. Ingram, "Elizabethan Stage Player," MS, 6. Ingram also quotes Hickes's prft= ner in thelase, Peter Hunningborne, who "said of Savage that he was 'a verrie lewd

"Father and son relationships tended to be particularly emotive forJonEven in his comedies, he was rarely able to touch on paternal relations wlrlrout his writing beginning to vibrate." Anne Barton, Ben Jonson, Dramatist t( irrnbridge: Cambridge Universiry Press, 1984), 20. I ll. Cited in Chambers, Elizabethan Stage,4:193. I 12. Heywood, Apolog for Actors, B,r. l13. critics like Munday feared that acrors were "such kind of men in their rilrvcrsation as in their profession." Even in a moment of sympathy, Hippolyta in 5ltakcspeare's Dreamblurs character and actor, when she responds to Bottom's prolrrrrged suicide in "P1'ramus and Thisbe": "Beshrew my heart, but I pity the man" {[,lND 5.1.295). But is "the man'dying Pyramus or Bottom, whose bad acting has
irrntlc the men tease him? I 14. The boy who plays sly's wife in the Induction to Taming of the shrew inctlucted to use an onion (Shr. Ind.l2,l).
I f 5.

ll0. .rlr

ttri Queries,232, n.s.,31.2 (1987),237 -43, esp.242.

109. S. P. Cerasano, "Edward Alleyn's Early years: His Life and Family," Notes

is

arso

l'rq1l1.,n, England: Harvard University Press, I98.f), 98. see llrr' l-anguage of Gesture and Expression," 67-98.
I 16. See,

David Bevington, Action and Eloquence (cambridge, Massachusetts and his entire chapter on
e.g., John Gielgud, Stage Directions (New york: Random House,

luf' i), 26.

ll7.

xdc rnade

chambers, Elizabethan stage, 4:370; Flecknoe's often-cited observation in 166'1, years after Burbage had died, and may of course have been

irrllrrt'nced by Betterton or other actors then on stage. compare Mann, Elizabethan Flrryt'r', 201-2, on John Rainold's claim that the actors' repetition of pars might Fnl{r'ave the things in their mind," Th' Overthrow of Stage playes (1599). I lu. See chapter 1. For a recent review of differences between Elizabethanrr rrlrcan attitudes towards role-playing and ours, seeJoan Lord Hall, The Dynamics fl llulrPlayinginJacobean comedy (New york: St. Martin's press, l99l), and Edward llntns, character anil Being on the Pre-modern stage (London: Macmillan, 1990). I I 9. For a discussion of the relation between rhetorical theory and seventeenth, r'rrilr'y psychologies and medical tracts, seeJoseph R. Roach, "changeling proteus: ftlirrrrlic and Passions in the seventeenth cenrury," in The player's passion: Studies tt thr Science of Acting (Newark: university of Delaware press, l9g5), 23-57. Roach ! ilr5 (;ayton's anecdote about an actor who "so lively and corporally personated a r lrarrge ling, that he could never compose his Face to the figure it had, before he rilrrlFrro()k that part." Edmund Gayton, Pleasant Notes upon Don euixot (London: \1 1 lrrnt, 1654), 114-45, cited in Roach, player's passion, 4g-qg. See also
f

107. Anthony Munday, John a Kent and lohn a Cumber (1587-90 ll5U9l), etl

Itrrrrsworth, shahespeare and the sixteenth-century study of Language (Urbana: uni-

Jane

rrrrlty t)l lllinois

Press, 1984),

[t5-86

h.-

252

Notes to Pages 50-52

Notes ro pages

52-51

253

120. Prologue to I/Ir BeNot GoodtheDevills in It (1610-12), cited in George F, Re;molds, "Aims of a Popular Elizabethan Dramatist," in Elizabethan Sndiis ln Honor of Hardin Craig, ed. Maxwell Baldwin, W D. Briggs, Francis R. Johnson, and E. N. S. Thompson (Stanford: Stanford University press, l9.ll), t4g_52, erp,

I19-50.

121. see chapter 3 and the suggestions that Richard's supposed role-playing rl, lows him to manifest himself after all, though admittedly un urp"ct or nimsef w[lch he doesnt like to acknowledge. 122. Baldwin argues for his theory in T. w. Baldwin, The organization art Personnel of the Shahespearean compaLry (princeton: princeton university prc$, 1927). Eor an account of the ensuing debate about typecasting, see skiles Howrrdl "A Re-examination of Baldwins Theory of Acting Lines," Theatre survey 26 (Iggt); 1-20. Howard's reexamination of the actor lists leads him to question the exlste[EG of acting lines and to argue instead for the versatility of shakespearean actolft whether or not Baldwin's extreme version of the theory holds true, it is gencrrll| accepted that there were acting lines in some cases: for the comic r.to.r, for Si boys, and briefly for certain others likeJohn shank who played the ,,hungry knrvl,i Bgldey, ProJession of Player,206-33, esp.225. There was also a rine foitire phycrc cally distinctive thin actor, John sincler (or sincklo), the only actor except clowns who is specified by name in the speech-prefixes of shakespeare's playr, lison Gaw, "Actors' Names in Basic shakespearean Texts, with speiial Referencr Romeo andJuliet and Much Ado," pMLA qO (1925),530-50. 123. Munday, Seconil and Third Blast, ll8. 124. Heywood , Apolog for Actors, E3r. 125. Marcus Quintilian begins book 6 of his lnstitutio ordtorid, a discusslo[ techniques for generating emotion in perorations, with a personal anecdote tcl how he had embraced his dying son and had breathed in the "fleeting spirit" frott boy's lips. Citing Quintilian's passage, Roach suggests that,,,the dying son has tively as well as literally inspired, breathed spirit into, the father and rhetor, turnhas offered up his pathos to inspirit the'dreams' and'visions' of orators by ing their imaginative sympathies with his bereavement." Roach, player'spasslott-i 126. see Robert A. Fotherfill, "The perfect Image of Life: counterfeit Dcrtlt the Plays of Shakespeare and His Contemporaries," IJniversity of Toronto 52 (1982-83): 155-78; Reavley Gair, "Takeover at Blackfriars: eueen's Reveb

"self-fashioning." "puritanism, popery, and parade,,, in barish, Antitheatrical preju_ dlce,167-68, t5B, 183. 13l. Cited in Chambers, Elizabethan Stage, 4:257_5g. I 32. Chettle, Kinil-Hartes Dreame, aa ; Eirie, Micro-Cosmography, 39. 133. Davies, Microcosmos, I : g2; Redfield , Letters, 122. 134. Foakes, ,,player's passion,,, 73.
The,Belman of London (160g) in Dekker, , Non-Dramatic , -13: "Player's passion," ln Foakes, 74. Works, 3
:

rores of actor."J;;.;;;;;.,,Barish -." nrgues that "a doctrine of ostentation, like castigrione,s, can ,r,i_ mately become a doctrine of dissimulation,, ""ig. ""a it, of or, as stephen Greenblatt cals

r?9.. Cited-in Nungezer, Dictionary of Actors,7g. See also the use of the term ,,,, "lively," typical praise for good acting, tJdescribe Hermione,s statue, which really does come to life in Shakespeare,s Winter,s Tale.130' Jonas Barish cites the srarement from Northrop Frye, TheAnatomy of criti_ cism (Princeton: princeton university press, 1957), 5g, about the ,,themJof cynosure or centripetal gaze" in Renaissance literature in his discussion of the puritan "distrust of ourward splendor." Barish's poini i, tr,"t, .""" ,h;;;i-,iri,i,,ro.,,r,n has tended, generally, less indign,ation than [consciously deceptive] 1o .provoke mltnllr,.' a "frank delight in [splendor] chara-cterizes much of Renaissance culture,' with its."pervasive pleasure. .. in the rwin

l . Cited

136. Chambers, Elizabethan Stage, l:256. 137. Drayton, Idea, Sonnet 47, Worhs, ed. Hebel, 2.334. Citedin Gurr, play_ golng,215-16. 138' see chapter g where the influence of these two forms of dispray on Shake:peare is discussed in detail. 139. William Kempe, Kemps nine daies wonder (1600), B,r, cited in Gurr, play_ golng' 275' sirJohn Davies'-epigram 3 (1593?) about Rufus rhe courtier ar the theater (also cited in Gurr, pliyioing,

King's Men," in Elizabethan Theatre X, 49. I27. Cited in Chambers, Elizabethan Stage, l:23g-39. Nashe is pres though not certainly, referring to shakespeare's Henry vI. perhaps cassius's self-glorification in shakespeare's caesar implies a similar claim for the power drama to resurrect: having just killed caesar, cassius thinks forward otojhcttel to the way in which rhis moment will be replayed in the future: "How many I hence / Shall this our lofty scene be acted over, / rn states unborn, and aceenEl unknown!" (JC 3.1. I I 1- 13) 128. John Jones, Dedication to Adrasta: or, The Woman's Spleen and Love!
quest (1635), cited

in Bentley,

I642 (Princeton: Prihceton Unlversity press, l97l), 79-90.

profession of Dramattst

ln

shahespearel rirns I

r""r, known for crowd scenes in his own ti-"-i;;;t a crowd scene he contributed (-wac asked to contribute?) to the colraborative Sir Thomas More (1593_160r I I te5 l). In his dedicatory verse (not in the Second Folio) toJohn .. .11t: Fletcher,s The F utt hl ul shepheriless ( 1 608-9 t I60s l ), in The worhs of n iancis neaui""i' *i pn Fletcher, ed. Arnold Glover and A. R. Waller (Cambridge: Cambridge University Frera, 1906), 2:519, lines 33-34. 112' That the missiles did not entirely stop is suggested byJohn Tatham,s I6.f0 reference to the audience's "wonred .ur,6ru,linaing Tyre, or peare, / Against our rlif,lslncs, to allure us forth," cited ln Gurc, eiaytgitng, Z+e ,

feflFsessmenr of shakespeare's treatment of commoners. shakespeare muy

oej -ry ,"f", to ,fr. pr"r"r,." amphitheater stage 1as the1ierj"r", ,o ri, o-n the p.ilrate rtuge;. "il.if""o "" 140. See chapters 5 an$ g-' However sympathetic ',. St ut , u,y h*"been to lhe populace as individuals, his crowd r*"lr "rp.u." .r" ,rr more or ress derogatory, and he seems to disapprove as much of the crowd's fickleness (a theater audience,s failIttB) as ofis tendencv toward chaotic violence; see Annabel patterson, shahespeare antl the Popular voici (cambridge and orf";;, n"rit nt""t *"11, 1989) for a recent
the

i*.

Notes to Pages

254

Notes to Pages 54-56

56-58

255

actor Poggio in Chapmans Gentlc" 143. See also, e.g., the narcissistic amateur
manlJsher (2'f .3i3). on Stage"' h The Theatrical 144. Jonathan Haynes, "The Elizabethan Audience Cambridge University (Cambridge: Space: Themes in Drama, ed' James Redmond 139' note also See Press, i9B7), 59-67,esp' 59' carrying on a kind of parallel 145. or even, like the author of the following, so' so called to my paine' / Ycleped atd see a Play' / play: "Love's Labour t"" f

Whichltoheartomysmallioydidstay,/Givingattendancetomyforwarddame,'' (

""tt

lover 1598)' Robert Tofte, Alba the monthes'minde oJ a melancholy to the Shakespeare Associl' presenied talk unpublishei Murphy, 146. Gerard tion of America,1987 . Higher Edu.cation',25 Aprtl I47. Tony Church, interview in The Chronicle of of the teeming audience he sees at 1990, A6. Compare the Epilogues description and Marston; 1605): "Stay sir, I pet' the end of EastwardHo"tn^lp*un, Jonson,

gua (1607),where Communis Sensus tells the audience: "Leave jesting; you'lle put the Fresh Actor / out of countenance" (3.6). Klein, Dramatists as Critics, 229- See also, e.g., Sarpego in Chapman's Gentleman usher IL602l, who is so ashamed when he forges his lines that he hides his lace (Usher 2.1.203). 158. Any player, says Greene, being out of his part at his first entrance, is "faine to have the booke to speake what he should performe." Robert Greene, Gteens Groatsworth of Wit, rn The Life and Complete Worhs in Prose and Verse of Robert Greene, ed. Alexander B. Grosart, The Huth Library (London: Hazell, Watson, and Viney, l88l-83), 12: l16-17. 159. T. G., Rich Cabinet, in Hazlitt, EnglishDramaandStage,23O.

to veiw ceive the multitude u," guth"'i 'ogtih"t be not stucke with People, and the Houses, oithe see, if the streets and ,ni rr""i, pageant!" Plays oJ John the solemne day of the windowes fild with kd;;;,

our comming out at the Countu'

Marston,3"I7l.
l'18. Olivier,
sophical Library, Plays, lI:514

""

Confessions of an Actor'

48'
The Heir (1620) '

l4g.CitedinDavidK.rein,ElizabethanDramatistsasCritics(NewYork:Phllo' Old Engllsh

and the Loathdd Srug","

! r -,, ^u^^.-,^^rir., coo ..r l50,onJonsonsmistrustofvisualspectacleandalltheatricality,see.Jonson 132--11'

i"
Bu' ish, Antitieatrical Prqudice' t-:Z-S+'^3sq

(I.I).

1963),2i 'Thomas May'

in Hazlitt'

GurrdiscussesJonsoninAndrewGurr,..HearersandBeholdersinShakespearenn
Drama," Essays in Theatre 3 (1984):

Worthen' Idea of the Actor' 22' 151. Gosson, Schoote of ebuse, B'r' cited in 4:223'254' ElizabethanStage' 152. Cited in Chambeis, its implied insult to the audienr:e epilogue]with ;iis Sh"pit;;; 153. Michael "iools"' as an-example ol' lhe word' last in the unmentioned but ,h;;"Jy po"ilt" (ihll= audience. Michael shapiro, their boy actors,characteristicaliy fffiiuuu-"-of (Nerv Plays Their Time and

30-45'

dren of the Revels: Thr;;;';;Panes,9f Jlahespedre's 45' York: Columbia University Press, 1977)' in the Paul's play Liberallty md 15'1. Bradbroot .it"'-'"*u*pies: frodigality' sweetmcu t3 lH riith'lbuttetcups-perhaps p r odigality ( I 60 I ), rho*"., the'audience Prophety Cobbler,s in Robert Wi|soris this form,,; Ceres casts comfits to the audience sJr9we1firew1tth1, opened rose 19 (1589-93 t15901); at the iheatre (1584) "a huge who scrambled for thc prlrer " white bread, pears and apples on the spectators'

Bradbrook, CommonPlaYer,29T n' l' in Hazlitt' old English I'lrrvt, 155. Wilt Beguiledtisdo-rooo I1602;pro.l-4),

160. Antony Hammond, ed., Introductiot, Richard III, Arden Shakespeare (New York and London: Methuen, 1981), f13. 161. See Michail M. Bakhtin, Rabelais and His World, trans. Helene Iswolsky ((.ambridge: M.I.T. Press, 1968), and Bristol, Carnival and Theater, for the "carnivirlesque," and Willard Farnham, The Shahespearean Grotesque: Its Genesis and l ransformation (Oxford: Clarendon Press, I97I), and Neil Rhodes, Elizabethan Grolr'.sque (London and Boston: Routledge and Kegan Paul, l9B0), for the "grotesque." 162. Kempe was said to be "Vice-gerent generall" to Tarlton, and one of Tarlton's l('sts tells of his adopting Armin (Nungezer, Dictionary of Actors,216, 15-16). I lrese anecdotes have been taken by some to indicate that Tarlton actually trained ,tl officially named Kempe and Armin as successors, and this may be so. But the rtory about Armin in particular fits a generic pattern described by Ernst Kris, a "nryth of origin'in which a young artist is rescued from oblivion by an artist who ,rtltrpts him. Ernst Kris, "The Image of the Artist," in Psychoanalytic Explorations in Arl (New York: International Universities Press, 1952),61-86. Such myths serve lnr)re to indicate that a figure was unusually charismatic than that the incident really lr;rppened. Thomas Fuller's story about Tarlton himself being discovered in a field "lrccping his father's swine" and brought to court because of.his"happy unhappy arrswers" is probably closer to the story of Superman's birth than to the truth about lirllton (Halliwe\l, Tarlton's Jests, ix). Among the early clowns, Robert Wilson, Tarlton, and Armin were writers, and Tarlton and Kempe were independent performers; tlrc authors of The StagePlayers Complaint (1641) were the clown actors Andrew l(r'ync and Tirnothy Reed. On the clown actor William Rowley's collaborations, see Itlrrtley, Profession of Drdmdtist, 215-20 for the speculation that Robert Armin, !nrlr('r than writing the entire Two Maids of More-clache (f607-8 [1608]), which i: ;rttributed to him, merely added the clown's part, see J. A. B. Somerset, "Shakeelriu'('rsGreatStageof Fools, 1599-160T,"inMirroruptoShahespeare:Essaysin I tunor of G. R. Hibbdrd, ed. J. C. Gray (Toronto: University of Toronto Press, 1984)' l'l 76. Of the four players whose representative careers Bradbrook examines in her llttr ol the CommonPlayer, wo and possibly a third are clowns; the clown is a major lor rrs ol studies-like Barber's and Weimann's-of the importance of popular theirl{'r iil tlre Renaissance. Itr i. Willrclrn Creizenach, The English Drama in the Age of Shahespeare (New

9:221.

16. Klcin's valuablc collcttiolt ol llrtrreget G. A. wilkes (oxford: if"r."a"", lgtil), rrtr.cnth-ccntuly plays, contrrirts lllstlY about actors, takcn from sixtccnth- ancl scve tttrivct'sily plrry I tit tllc'l'lt.tttas'lirrnkis's irr t',g., referenccs to similar pr',.:n,rrn.,t,,,

156. Worhs of Thomas Nashe, 3 :236' Plays rlf lJen frrnson' ed 157. Ben Jonson, Cyntniaf Revels' in The Complete

\i,rk: Ilirskcll llousc, 1964), lti4;

l{rlrrtrrl
,Song

C.harlcs Rcad Baskerville, The ElizabethanJigand

Druma (1929; rcprirtt, Ncw York: l)over, 1965), 95. l(r4. l.arutce rccrlitcts a tt'allirl stette lot tts ill Slrakcspcare's Two Gntlemen oJ

256
i60l

Notes to Pages 58-60 cites scenes in sir Thomas More (1593-

Notes to Pages

60-62

257

verona (1590-98 t1593l); creizenach also

t15951) and, The Birth of Merlin (1597-1621 116081). Creizenach, Age of Shahespeare, 299-300.
165. See also the Earl of Salisbury's letter referring to Tarlton's calling someone "a plaine clowne." Cited in Halliwell, Tarlton's Jests, xxxii' 166. Adams, however, was the man whom Tarlton's mother accused of duping her out of seven hundred pounds in Tarlton's will, a claim seemingly substantiated by Tarlton's letter asking Walsingham to protect her from Adams. (Nungezer, Dic' tionary of Actors, 352.) Jo*ot may have been joking ironica\ about Adam's off. attack on Tarlton rather than about his stage routines. stage *167. Gotrot , The confuation of Playes (1582), cited in chambers, Elizabethan Tarl' Stage 1:2l4;Tarlton is "q-uoted" in Metamorphosis of Ajax, cited in Halliwell, tOe. ftre title page attributes the play to "R.W.," assumed to be Robert Wilson, Cf. alsoJ. Payne Collier, introduction to Hazlitt, OldEnglishPlays,6:12-13' 169. Hazlitt, Old English Play s, 6 :327, 328. 170. Though the jests in Tarlton's own posthumously published jest book havc been taken to indicatl his style-e.g., by Wiles, Shahespeare's Clown, 12, l4*thelr aggressive humor resembles that in all jest book stories. They may therefore be ll iiJicative of the genre as of his actual life. But they do suggest the myth that peopfu associated with him as well as with the role he took on. I7l. Cited in Halliwell, Tarlton's Jests, xxxi172. Halliwell , Tarlton's Jests, 13, 14. see also the excellent account of the ag. gression in the exchange in Wiles, Shahespeare's Clown, 14. I73. Robert wilson's hungry clown strumbo is similarly insulting. "what," hi says to the audience he had liti s""n several scenes earlier, "Have you all escapCd hanging?" (Locrine, 1.2.21-22). There are fewer anecdotes about Kempe, but dtlc of tf," Snuk"rpearean roles which we know he played, Dogberry in Much AdO, b based on Derick's clown scenes in the Famous Victories of Henry \4 which starfed Tarlton as Derick. I have not seen the connection between Tarlton's role fnd Kempe's mentioned, but a comparison of the lines in the two plays reveals thl
ton'sJests,

xxxi.

soothings":

utopian equality with the appreciative audience, eradicating all manner of ,,differ_ ence"; weimann, popular Tradition,lg6-gg. But Bristol's natltrtinian anuiyri, that the clowns articurated greater rejection of traditional r,i..u..t y; srir'tf,1, "rgu", ca^i_ val andTheater, 140-50. Annaber patierson has recently suggested that shakespeare uses his clowns to represent a sophisticated, self-aware, populist movement; patterson, Popularvoice,32-51. But wires sees shakespeare rurning away from populism when he and Kempe split and shakespeare started writing rtir .r"; ;iol to. ,t. more elitist Armin. 176' See weimann, popular Tradition, on the public theater, Shapiro, Chirdren of the Revels, on how the "playfur" flattery and abuse in coterie theaters estabrished a tie between performer and audience, and chapter 6. I77. ln Leishmann, parnassus plays, 135_36 (pro.I_4, 14_16). Other prologues provide occasion for similar observations. Marston,s urbane prologue to The (Queen's Fawn Revels, ca. 1604), for exampre, parodies the genre u.rilir,,rur"
For we do know that this most fair filled room Is loaden with most Attic judgments, ablest spirits, Then whom there are ,rorr. ,*r" exact, full, ioor,g, Yet none more soft, benign in censoring. I know there,s not one ass in all this presence, Not one calumnious rascal, or base villain Of emptiest merit, that would tax and slander If innocency herself should write, not one we know,t. O you are all the very breath of phoebus.

,
'

similarity of Dogberry's role-including his asshood-to Derick's:

Derich: First, thou sayst true; I am an honest fellow-and a proper handsome fellow too! Now, Gadshill, knowest thou me? Cutter: I know thee for an ass. Derich: And I know thee for a taking fellow upon Gad's Hill in Kent'

in

'i of Havy V" ed. Peter Cobin and Douglas Sedge (Manchester: Manchester UnIVCF ,iry rr"rs, l99I), 154 (2.2.45-61). tlis alsoiossible, of course, that our text !f
r

The Famous Victories of Henry the Fifth Containing the Honoutable Battle of Aglncottf* The oldcastle controversy: "sir John oldcastle," Part 1 and "The Famous vlctoflea

FamousVictories was affected by Much Ado.

174. CitedinJoelSchecter,Durov'sPig,Clouns,Politics,andTheatre(NewYOfki
Theatre Communications Group, 1985), 15. I75. For Weimann the clown amicably unified the protester with thosc ln c!nr mand: the clowns' popular routines travestied the authorities, whtle establllhl4S

Flrtys,

Hazlitt, Old Englishpkl,s, ll:g9. Other Epilogues .f*, ,f,., It some.point they stopped speaking for their author and bJgan -rjJi, speaking in their own right The epilogue to Barry's Ram Ailey begins by sayini that th" u,rit o, t .r" ruhtnits his play for the audience's.yudgmeni, ani th"n go., Jn,,,And for o,rrs"r.,r", Ithe plaversl we do desire,/you'll bre-athe on us thatilowing fi;;,1;;*ir.t r., tlnle we may obtain / Like favors which some others gain"; Hazlitt, 6u" nngrish

sheated you";

Cited as an example of ironic praise in Shapiro, Children of the Revels, 14. 178. william Rankins, Mirrour of Moniters, ed. ArthuiFreeman (New york and ,,Vitrioiic" l.ondon: Garland, I973), E,. is the editor,s term. 179' Middleton, Madworld (5.r.55-57). see arso Histriomasrix (l.r) and the rxcerpts from T. G., Rich Cabinet, in Hazlitt, English Drama anil Stage. The Epilogue's starus was of course ui-rbigrro.rr; speakinflines . 180 set down lor him, he could not have been as spontaneously sincere as he pretended to be. But he clearly spoke more for the author (in some o, for himself than any other "ur"r; ehnracter in the plav, and he distinguished himself i."'" ;;; ;];;*"ii'*J" tr r," tetnained partially in characrer. Staines comes forwara ut tte ena of John cook", (ireene's Tu Quoque; or, The City Gailant (16l r), for example, to disting"uish b"t*".r, what he has done to the other characters and what he has therebi aorr"-to tt" rudience: "That I have cheated tlroysh the play, 'ris true: / But yet I hope I have not

' l8l,

l0:380.

Of course prospero may merely be asklng the audience to pray for him, as

Notes to Page 61-67

wellastoapplaud,andwhenheremindsthemthatthevtoo..wouldpardond t:ti1.*j^'^'i::1;'":t"::..
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,r," .-rigi"al divine source or indulgence il,'"lil'[T1;,";u'l#'in", *"."

romcrimes,h".aohu'ffi

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