Index [assets.cambridge.org]assets.cambridge.org/97805216/50403/index/9780521650403_index.pdfIndex Thepage numbers in italic indicate illustrations. Abbots of Misrule 75, 76, 84, 118,

Index

The page numbers in italic indicate illustrations.

Abbots of Misrule 75, 76, 84, 118, 120Abell, William (London alderman) 150Aberdeen 74, 75–6, 80, 85, 118, 123Abergavenny, Lord ( fl. 1575) 147Abingdon, Oxon 187, , 192Abraham and Isaac (Brome history play) 57absolutism, royal 381, 401–5academic and educational drama 123–6

see also school plays and under Inns ofCourt; universities

acoustics, Roman theatre 14acrobats 10, 16, 24, 70actors 144–52

acting styles and casting 151; see also underArmin, Robert; Kemp, Will

attraction of career 229–30, 244–5alterations to scripts 162–3, 430in commercial theatre 229–34in court masques 384finances 145, 147, 148, 229–34, 273, 350masterless 146, 147–8patronage see under professional troupesperson and persona 172, 410, 412, 414and playwrights 159–60, 162–3; actor-

playwrights 158, 232, 341prologue players’ nerves 149second occupations 144–5, 204–5solo performances 147–8as spies and messengers 204, 211, 245status, professional and social 140, 145–6,

155, 382, 459training 145, 148–9, 176versatility 151see also actresses; audience (actors’

interaction); boy actor; clowns;doubling; fools; hired men;

improvisation; knaves; parts system;professional troupes; sharers

Actors’ Remonstrance (1644) 447, 464actresses 439–40, 476Adam (Anglo-Norman vernacular play) 45–6Adam, The Fall of (medieval play) 61Adams, John (clown) 410admission, cost of 189–90, 314, 324, 325, 335–8advertising see publicityaerial scenes 392

see also flying devicesAgricola, Cn. Julius 6, 11Alabaster, William; Roxana 303Alban, St 19Albigenses 47Alcazar, battle of 256Alencon, Francois Hercule de Valois, duc d’

251, 260ales 62, 65, 121, 182

Book of Sports permits 185church fund-raising 184–5and community spirit 185Hampshire king ales 183–5Whitsuntide 182, 183, 185

Alexander II of Scotland 70Alexander III of Scotland 72–3Alexander, Sir William; Monarchicke Tragedies

76Alfred the Great, King of West Saxons 25aliens, resident 246, 260, 360

and Dutch Church libel 246, 262riots against 261, 364

All Souls’ Day 208allegory

disguisings 216Henry VII’s court entertainments 219

495

www.cambridge.org© in this web service Cambridge University Press

Cambridge University Press978-0-521-65040-3 - The Cambridge History of British Theatre: Origins to 1660: Volume 1Edited by Jane Milling and Peter ThomsonIndexMore information

http://www.cambridge.org/9780521650403

http://www.cambridge.org


Index

allegory (cont.)Lord Mayor’s pageant 386masques 384, 385–6mock tournaments 386morality plays 54, 57Scots royal entries 72

Allen, Giles (owner of Theatre) 316Alleyn, Edward

acting style 151and Dekker 361finances 145and Fortune 274, 277and Henslowe 312and Hope playhouse 322and Isle of Dogs affair 315and Lord Admiral’s Men 142, 147, 159papers at Dulwich College 165, 321part for Orlando Furioso 164playbooks owned by 159, 163in Titus Andronicus 147, 196, 304,

Alton, Hants; summer revels 185Amalarius, Bishop of Metz 31, 32amateur plays by Caroline courtiers 144, 156,

447–8amateur theatricals see school plays and under

households; Inns of Court; universitiesAmericas 254–5, 257, 403amphitheatres

Roman 10, 11, 17, 19, 23sixteenth-century London 298–323, 329,

451–3; natural acting style in 318; see alsoBoar’s Head; Curtain; Fortune; Globe;Hope; Red Bull; Red Lion; Rose; Swan;Theatre

Anglia deformata and Anglia restituta(academic plays) 134

Anglo-Norman dramaAdam 45–6Le Seinte Resureccion 46

Anglo-Saxon period 24–6animals

baiting 185, 243, 301, 322–3trained 229see also beast fights, Roman

Anne Boleyn, Queen of England 220Anne of Denmark, Queen of Great Britain

and Children of the Queen’s Revels 144,326, 370

Daniel as Master of Revels 144, 326, 370, 402and A Game at Chess 435and king 144, 366, 367, 370, 377masques 144, 220, 377, 387, 401–2patronage 144, 220

Anthonisz, Cornelius Antonine wall 7, Antwerp, sack of 258, 260apocryphal plays, Reformation 96–7apprentices

actors 145, 148–9, 176Scots 73, 83unruliness 244, 261; Edinburgh riot (1561)

83; London Shrove Tuesday riots 163,169, 329–30

Arabic translations of classical texts 44arbours, stage 310, architecture, stage 72, 95, 299

see also arbours; sceneryArden of Faversham (anon.) 253Armada, Great 251–2, 258, 259Armin, Robert 273, 417–20

fools in plays by 417–18goldsmith by trade 145with Lord Chandos’s Men 417, 418physical appearance 417player-playwright 341Shakespeare’s casting of 418–20, 422–3and Tarlton 417versatility 417–18worksFoole uppon Fooles 273–4The History of the Two Maids of Moreclacke

417–18, 419, 420, 421A Nest of Ninnies 417The Valiant Welshman 417

Army plot (1641) 445, 450Arnewaye, John, Mayor of Chester 179Arnulf of Orleans 44Arthur, Prince 212, 214, 216, 217Arthur, Thomas (apprentice actor) 145Ashburton, Devon 118, Ashton, Thomas 109–10, 123asides 172Aspley, William 353Aubrey, John 162audience

actors’ interaction with 166–71, 177; clowns172, 410, 412, 414; fools 172, 418–20;regulation of 177

development of knowing 175–6, 446identified with crowd in play 320internal to play 161, 170, 173, 308–9, 318–19,

335; see also chorus figures and underJonson, Ben

involvement in disguisings 216in households 166–8Jonson’s demands on 288, 294

496






Index

for mystery cycles 52playwrights’ relationship with 171, 232,

233–4writing to please 231, 361 (see also under

Shakespeare, William)Shirley and 361social composition: Elizabethan and

Jacobean 171, 278–9, 280, 325, 329;Caroline 443, 446, 447–8, 449, 452, 453–4

spectatorship as theme in drama 175in tiring house gallery 300, , 314–15Webster describes as a circumference of

ears 335women in 221, 243see also seating; stage-sitters

Augustine of Canterbury, St 24Augustine of Hippo, St 20authority

reinforcement through drama 61, 62, 194theatre as threat to 364–5, 408–9, 436, 458usurpation of corrupt political 103–4, 115

authorship, acknowledgement of 155–6, 353,361

Shirley and 361, 362Auto de los Reyes Magos (Old Castilian play) 46Ayr; Robin Hood play 76, 118

Babington plot 247, 251Babio (medieval play) 44Babylon as symbol of Rome 94–5, , 107Bacon, Francis, 1st Baron Verulam and

Viscount St AlbansAdvertisement Touching the Controversies

247–8Masque of Flowers 402‘Of Masques and Triumphs’ 383

Baines, Richard 262balconies, tiring house

Globe 316, 317, 318indoor venues 323, 324, 330Rose 303, 308, 309spectators in 300, , 314–15Swan 314–15

Baldock, Herts; Roman theatrical mask 18Baldwin, William, on Ireland 133Bale, John 88, 90–4

as actor 94allocation of parts 94, 107biblical plays 89, 90–4, 104, 219court influence on works 142and Cromwell 90, 91, 94, 96, 131, 219height 94at Kilkenny 93, 131

staging of plays 91, 93–5, 111worksGod’s Promises 93–4, 131, 219John Baptist’s Preaching 93–4, 107, 131, 219King Johan 91, 94, 104, 135, 219, 258The Passion of Christ 91, 93, 110, 131The Temptation of Our Lord 93, 94, 131, 219Three Laws 91, 94, 101, 132, 219; at Kilkenny

93, 131The Vocacyon of Johan Bale 131

Ballet Comique de la Reine (1581) 387Bancroft, Richard, Canon of Westminster 247Bankes, William (actor) 149banquets 207, 209, 214

onstage 309–10Banwell, Somerset; ‘hoggling’ 121barbarian invasions, late Roman 20, 23Barbary ambassador at court 256bards, Anglo-Saxon 24Barking Abbey 39Barnstaple, Devon 121–2Bassano family of musicians 221Bath, Avon 187, , 192Bath, Lord; minstrels 122Baxter, Richard, of King’s Men 460bear-baiting 185, 243Beard, Thomas; Theatre of God’s Judgment 464bearwards 211–12beast fights, Roman 16, 19, 23Beaufort, Margaret, Countess of Richmond

and Derby 221Beaumont, Francis

The Knight of the Burning Pestle 169, 170, 221,420

life 341, 345, 354masques 351collaboration with john

fletcher 162, 342, 345, 358Civil War/Commonwealth revivals 459company affiliations 165, 349drolls based on 469publication 164, 234, 354, 448–9Shakespeare’s respect for 358A King and No King 234, 346, 459The Maid’s Tragedy 234Philaster 345The Scornful Lady 234, 444The Wild Goose Chase 164, 449

Beaumont, Sir Thomas; The Coleorton Masque404–5

Beauvais Play of Daniel 42Becon, Thomas 97beds on stage 327, 328, 333

497






Index

Beerbohm, Max; ‘Savonarola’ Brown 422Beeston, Christopher 176, 329–30

and Beeston’s Boys 449, 450as boy actor 149financial success 145and Heywood 165management style 163, 450and Queen’s Men 450and Shirley 361, 437–8

Beeston, William 158, 450, 451Beeston’s Boys (King and Queen’s Boys) 149,

449–50, 460Bellenden, John 73, 134Benedict, St 47Benedictine order 47Benediktbeuern monastery; Carmina Burana

manuscript 42Benson, Frank 292Berkeley, Lord 190

company 191, 192, 312Berkeley, William; The Lost Lady 463Beunans Meriasek (Cornish saint play) 128Beverley mystery cycle 50, 128, 129, 205Bible 87–114

on folly 415–16language of 39and history and current affairs 90–1, 104Reformation reading of 87, 114–15; effect on

drama 115; government promotes 89, 90,91, 110, 112; and literacy 89, 112

translations 89; Great Bible 89, 91, ; KingJames 39; Tyndale’s New Testament 89,110; Vulgate 110

biblical dramaabandonment 66–7, 179–82, 230, 247Bucer’s De Regno Christi and 89–90early Tudor 117, 126–32and iconoclasm 107, 115and politics 103–7, 115by professional troupes 88, 96–101, 108–9,

114–15Protestant intervention in provincial 115Protestant promotion 88–90in schools 101–4in universities 104–8see also Bale, John; liturgical drama;

mystery cyclesBird, William; revision of Marlowe’s Doctor

Faustus 345Bishops’ Ban (1599) 269–70, 281Bishop’s Stortford, Herts; St George play

180Black Death 48–9

black people 255–6Blackfriars, boys’ companies at

at First Blackfriars playhouse (1576–84) andat Burbage’s theatre (1599–1604) seeChapel Children

at Burbage’s theatre (1604–8) see Childrenof the Queen’s Revels (1604–8) 326

reformed company (1608–13) 329, 348;merges with Lady Elizabeth’s Men 329,348

Blackfriars playhouse 324–5building and facilities 324–5, 326–8Burbages and 273, 278, 313, 317, 324–5, 326,

329, 364Caroline amateur plays 144, 156Civil War and Commonwealth period 329,

441, 445, 449, 460–1, 462complaints and petitions against 226, 273,

313, 325, 364, 442demolition 441, 462French actresses at 378Henrietta Maria attends 144, 447King’s Men at 313, 326, 329, 447; in Caroline

period 144, 156, 447, 453, 454;management and ownership 329, 358;social cachet 144, 443, 447–8, 453

Marston’s Sophonisba (1606) 326–8Pudsey’s familiarity with 175Shirley’s work for 361stage-sitters 325Whitelocke as habitue 442–3

Blagrave, William 149Blayney, Peter W. M. 234–8Boar’s Head playhouse 225, 322, 360Bochan, Jacques (dancing master) 400Bodel, Jean; Jeu de Saint-Nicholas 46Bodley, Thomas 234Boece, Hector; Historia 73Bohemia, James I and 374Book of Sports 185–6, 442books

bishops’ ban 269–70, 281of household ordinances 203music, in households 207, 208trade in 234–8

Bottom the Weaver (droll) 468Boudicca, Queen of Iceni 5, 11The Bouncing Knight (droll) 469Bower, Walter 72–3boxes, side 324, 335boy actors

in adult companies 232, 280, 312contracts 232

498






Index

early Tudor interludes 132, 133, 135, 208in household festivities 208in women’s roles 97, 100–1, 280, 329see also boys’ companies; Chapel Royal;

school plays; and under court dramaboy bishop ceremonies 62, 75, 120, 414Boyle, William; Jugurtha, Caroline revivals of

452boys’ companies

1575–90 323–41599 revival 273, 278–811599–1608 325–8admission charges 325adult actors with 420–1and censorship 279, 326, 370 (see also

Jonson, Chapman and Marston’sEastward Ho!; Day’s The Isle of Gulls)

Duttons’ 157knaves’ roles 421–2lighting 325, 327, 328Marston and 279, 280, 325, 326–8, 348Middleton and 279, 325, 348music 280, 325, 327, 328‘private’ theatres 278–9, 325social cachet 144, 278–9, 280, 325, 443,

447–8, 453and war of the theatres 249, 273, 279see also Beeston’s Boys; Blackfriars, boys’

companies at; Chapel Children;Children of the Queen’s Revels; courtdrama (boy actors); Lady Elizabeth’sCompany; Paul’s Boys

Braintree, Essex 112, 180Bramley, Hants; king ale 183Brayne, John (entrepreneur) 153, 298–9, 300Brecht, Bertolt 68Bridgewater, 1st Earl of ( John Egerton) 405Bridgnorth, Shropshire 122, 182Bridgwater, Somerset 192Bristol, 1st Earl of ( John Digby) 432Bristol, Avon 121, 194, 328

touring companies at 154, 187, , 192, 195,409

Bristow, James (boy player) 148Britannia Triumphans (masque) 398, Brome, Abraham and Isaac from 57Brome, Richard

on authorship 156at Cockpit 158, 450, 451earnings 156, 157, 158at Salisbury Court 451; contract 157–8, 349,

355, 450, 451solo writing 346

worksThe Antipodes 152, 175, 451The Court Beggar 159–60, 450The Damoiselle 156A Jovial Crew 381–2, 450, 454The Sparagus Garden 451

Brough-on-Humber, Yorks; Roman theatre 11Broughton, Rowland (playwright) 157Brown, John (schoolmaster of Strageath) 84Browne, Robert (actor) 146Brute, legend of 253Bucer, Martin

De Honestis Ludis 141–2De Regno Christi 89–90

Buchanan, George 76–7, 78Baptistes 76–7, 78Jephthes 76–7, 78royal celebrations 73translations of Euripides 76–7

Buckingham, 1st Duke of (George Villiers) 401and Middleton’s A Game at Chess 427and Jonson’s Sejanus 368and Spain 375, 426, 428, 436

Buckingham, 3rd Duke of (Edward Stafford)204

Burbage familyand Blackfriars theatre 273, 278, 315, 317,

324–5, 326, 329, 364and Lord Chamberlain’s Men 312

Burbage, Cuthbert 299, 313, 315–16Burbage, James

and Blackfriars theatre 313, 324–5, 364death 313, 315and financing of Chamberlain’s Men 153, 313Leicester’s patronage 142and Red Lion 299and Theatre 299, 300–1and war of the theatres 249

Burbage, Richard 313, 325, 359as actor 161, 295, 447

Burbage, William 329Burel, John; Pamphilus 76Burgundy; court revels 219, 386burlesque 468–9Burnley, Lancs; Robin Hood games 182Burre, Walter (stationer) 353–4Bury St Edmund’s, Suffolk 218Busino, Orazio 398, 401Byzantine empire 9, 20, 23

calendar, Julian 269Caligula (Gaius), Roman emperor 5Caludon Castle, near Coventry , 190, 192

499






Index

Calvert, Samuel 367Calvin, John; Institutes 97Calvinism 88, 109Camborne, Cornwall 128Cambridge University 44

Christmas Lords 120, 123Christ’s College 123–5Elizabeth I visits 106–71553 performances 122, 123–6, 134Hamlet performed at 357King’s College Chapel 106–7Marlowe at university 341Queens’ College 125–6, 206touring companies 187, Trinity College 107–8, 120, 123, 134

Camden, William 257, 265Campion, Edmund SJ 258Campion, Thomas

Lord Hay’s Masque 394, 397, 403The Lords’ Masque 387, 388, 392, 395, 400Somerset Masque 394–5

Candlemas 74, 75–6, 133Cane, Andrew 145, 150–1, 413Canterbury, Kent

entertainments (1553) 122Roman town 6, , 9; theatre 11, 17St Stephen’s church 93touring companies 187, , 197

capitalism, transition to 223Capon, John (generic name for performer)

465–6The Cardinal’s Conspiracy (anon. Caroline

play) 453cards, playing 421Careless, John, of Coventry 113Carew, Richard; The Survey of Cornwall 128Carew, Thomas; Coelum Britannicum 376, 385,

392–4Carey, Henry, 1st Baron Hunsdon 142, 312Carlell, Lodowick 447–8

Arviragus and Philicia 144Carlisle, Cumbria , 187, 267

Roman town , 9Carmina Burana 42carnival 61–2, 245, 415Carr, Robert, Earl of Somerset 400, 402, 425Castiglione, Baldassare; Il Cortegiano 290,

293–4, 401Castile; Auto de los Reyes Magos 46Castle Ashby House, Northants 176, 463The Castle of Perseverance 54–5, 56, 60, 135castrati 202Catherine de Medici, Queen of France 259

Catherine of Aragon, Queen of England 220wedding to Arthur 212, 214, 216, 217

CatholicismBabington plot 247Devout Humanism 377early coexistence with Protestantism 87, 93equation with Babylon 94–5foreign threat 251, 257–60, 264–5, 426Middleton’s A Game at Chess and 426, 435household plays and 219–20, 222, 223kirk’s opposition to 82, 84Mary I restores 113, 116, 133, 178, 179recusancy 185, 219–20, 222, 223; measures

against 193, 219, 220, 264, 266, 268post-Reformation survival of drama and

traditions; 109, 110, 178, 179, 185, 247;see also under mystery cycles

Shakespeare and 220and succession controversy 264–5Tyndale equates clergy with Pharisees 111see also Jesuits; monasticism; Papacy;

vestmentsCatterick, Yorks; Roman theatre and temple

, 18Cavendish, Jane and Elizabeth Egerton; The

Concealed Fancies 221Cavendish, William, 1st Duke of Newcastle 362

household theatricals 221, 463Cawthorne, Yorks; rushbearing 186Caxton, William 65Celtic culture 253–4

see also Cornwall; Ireland; Scotland; Walescensorship

boys’ companies and 279, 326, 370Civil War/Commonwealth 469–70Daniel’s, in Queen Anne’s household 144,

326, 370of histories 270Jacobean 326, 366–9, 370, 374–5, 426–7, 436;

of print 372, 375by Master of the Revels 246–7, 279, 326

Chagford, Devon; Robin Hood plays 118Chamberlain, John 265–6, 278, 317, 369–70, 400

on Middleton’s A Game at Chess 424, 434Chambers of Rhetoric, Dutch 56Chandos’s Men 154, 192, 417, 418chant, plainsong 36–7Chaos (puppet play) 198Chapel Children

at First Blackfriars playhouse (1576–84) 278,323–4, 325

at Burbage’s theatre (1599–1604) 249, 278,325

500






Index

Chapel Royal 95, 102–3, 134, 208, 209, 397chapels, household 206, 207, 208, 216

Earl of Northumberland’s 213, 215chaplains, household 97, 207, 208Chapman, George

collaboration 345, 347earnings 350masques 351, 388, 401, 403publication 353solo writing 346worksAll Fools 277, 353, 418Biron plays 326Bussy d’Ambois 160, 353Eastward Ho! (with Jonson and Marston)

144, 326, 345, 347, 353, 367, 370–3An Humorous Day’s Mirth 276The Memorable Masque 388, 403translation of Homer 352

character, dramatic 41, 51, 172, 410, 414chariot-racing, Roman 18, 23charivari 71, 80Charlemagne, Holy Roman emperor 26Charles I of Great Britain

absolutism 381amateur writers at court 144, 156, 447–48and Book of Sports 186, 442controversy affecting theatre in reign 377–82and Henrietta Maria 377, 381, 385, 402, 403,

472and King’s Men 448leaves London 444, 445, 446, 460masques at court 376, 377, 384, 385patronage 362; ends system of royal

theatrical 143–57and Scotland 441Ship Money 448Spanish marriage plans as prince 374, 375,

404, 426, 428; A Game at Chess and 426,428, 429, 436

theatre visitCharles IX of France 259Chedworth Roman villa, Glos 8Chelmsford, Essex 98, 111–12, 180chess, in Ford’s Love’s Sacrifice 332

see also Middleton’s A Game at ChessChester

festivals 120, 121, 129mystery cycle 49, 50, 52, 63; content 129;

manner of performance 52, 129;post-Reformation 65, 88, 109, 112–13, 127,129, 179, 181; text 50, 127

Roman town , 9

Chettle, Henrycollaboration 343–4, 347, 348, 349, 359;

see also individual plays belowcompany affiliations 344, 347finances 157, 344, 350prose tracts 352publication 353solo writing 344, 357, 449stationer by trade 341worksAgamemnon (with Dekker) 277The Arcadian Virgin (with Haughton) 277‘Cardinal Wolsey’ plays 344, 345‘The Famous Wars of Henry the First’ 350‘Felmelanco’ (with Haughton) 343, 344Hoffman 344, 357, 449‘Hot Anger Soon Cold’ (with Porter and

Jonson) 348‘The London Florentine’ (with Heywood)

343, 344The Orphan’s Tragedy (with Dekker) 277Patient Grissell (with Dekker and

Haughton) 254, 277, 344, 346, 357, 360Sir Thomas More 346, 355The Spencers (with Porter) 277The Stepmother’s Tragedy (with Dekker) 277Troilus and Cressida (with Dekker) 277Troy’s Revenge (with Dekker) 277Vayvode 159

Chetwood, William Rufus (theatre historian)139

Chichester, W Sussex; Roman town , 9child actors see boy actorsChildren of the King’s Revels 335, 355, 420, 451,

454Children of the Queen’s Revels 326

Anne of Denmark and 144, 326, 370Beaumont and Fletcher write for 349censorship 326, 370dissolution 326Jonson and 280, 349Marston and 161, 326–8, 345, 348reformed company (1608–13) 329, 348;

merges with Lady Elizabeth’s Men 329,348

see also Jonson, Chapman and Marston’sEastward Ho!; Day’s The Isle of Gulls

Children of St Paul’s see Paul’s BoysCholemeley, Sir Richard 220choreographers 398–9, 400choristers, household see chapelschorus figures 175, 308–9Christ, staging of body of 63–4, 65

501






Index

Christendom 26christenings 206Christian IV of Denmark 385Christianity

Roman establishment 9, 19, 23see also church

‘Christis kirk’ genre 79Christmas festivities

Civil War/Commonwealth suspension442, 444

disguisings 384household 205, 208, 209local 120masques originate in 384, 405–6misrule ceremonies 118–20, 123, 132, 133universities 120, 123, 125, 126see also Yule-tide and under court drama

chronicle plays 68, 250–1, 252church

in Anglo-Saxon period 21–2, 24Caroline controversies 380, 453ceremony narrowed by Reformation 64–5early medieval drama 21–3and fools 414–15Homily Against Rebellion 250James I forbids political sermons 375and Jonson’s The Magnetic Lady 448Latin language 27, 39–40licensing of plays for printing 372obligatory attendance 268post-Reformation suppression of

traditional festivities 180, 184, 185, 415power of medieval 25–7ritual and recovery of time 35Roman and sub-Roman period 9, 19, 23;

attitudes to theatre 19–20, 24–5thirteenth-century developments 47–8see also Catholicism; church building; kirk;

liturgical drama; liturgy; monasticism;Protestantism; Reformation

church buildingsparish fund-raising for 180, 181–2, 184–5performances in 32, 46, 106–7, 194

Circumcision, Feast of the 42circus-like acts 16, 24, 70

see also acrobatsCirencester, Glos; Roman town , 9city comedy 261, 287, 296, 297civic authorities

Civil War/Commonwealth 459, 461control of theatre 153, 154, 197, 247, 298, 365,

440, 441–2; see also under London;provinces

drama reinforces authority 61, 62, 194and jigs 412Master of the Revels protects players from

246royal celebrations 213see also under London; provinces

civic buildingsRoman 8, 11–14, 22sixteenth-century 193, 194

civic cultureElizabethan pride and power 193, 197, 266–7Lindsay and 80and mystery cycles 49, 50, 51, 53, 127occasional celebrations 213processions 68; Lord Mayor’s shows 176,

213, 351, 354, 361, 386Renaissance theatricality 155Roman, and theatre 17Scots 72, 73, 85sponsorship of drama 65, 88, 93, 109, 115;

decline 141, 178–9, 229; in Scotland 72,73–4; see also mystery cycles

Civil War and Commonwealth period 458–75authorities’ accommodation to theatre 176,

459–60, 462, 469–76Cane supports king 151court away from London 444, 445, 446, 460demolition and dismantling of playhouses

441, 459, 460–1, 462expansionism, national 471–2illegal performances 147, 175–7, 441, 446–7,

458–60, 463–4; in inns 463–4, 465; MPsattend 443, 461–2; raids on 459–67; see alsounder individual companies and playhouses

interludes 467–8legislation banning performance see under

parliamentmasques 441, 459, 462, 467moral theatre, calls for 469–70outbreak of war 186, 443–4pamphlet plays 464–7provincial theatricality 463–4puritan polemic 463–4and Restoration theatre 439–40, 476scenery 476touring companies cease operation 199see also drolls; and under households;

parliamentclassical literature and learning

and Alexander’s Senecan tragedies 76and allegory in Scots royal entries 72drama 123, 125, 155, 212, 286; Roman

tragedy 16, 17; see also under comedy

502






Index

and early Tudor interludes 66–7five-act structure of plays 102, 123–4and iconography at Mary I’s coronation 133and medieval bawdy Latin comedies 44and professional theatre 69twelfth-century Renaissance 44

Claudius, Roman emperor 5Claypole, Lady Elizabeth 469Clement V, Pope 48clerk plays, Scots 74, 84Clifford households 196Clinton, Edward, 1st Earl of Lincoln 143closet drama; Alexander’s Senecan tragedies

76closure of theatres 364, 440, 441

see also under Civil War andCommonwealth; plague

clothing, sumptuary laws and 244cloud machines 392clowns 407–14

audience relationship 172, 410, 412, 414boys’ companies lack 420and character 172, 410English, on continent 411danger associated with 408–9and fools 273, 413, 417at Globe reconstruction 413at Hornby rushbearing 186improvisation 162, 174, 273, 408, 410, 413jigs 410–11non-verbal skills 411person not subsumed by persona 172, 410,

412, 413physical appearance 408, 411Queen’s Men 409, 410–11see also Kemp, Will; Tarlton, Richard and

under Shakespeare, WilliamClyomon and Clamydes (playbook) 277Cobham, Baron (Henry Brooke) 272, 368Cockpit, Drury Lane (also known as

Phoenix) 329–30, 335Brome as playwright 158, 450, 451Charles I attends 449Civil War/Commonwealth period 330, 449,

459, 460, 461, 462class of audiences 449Davenant and 330, 450fire (1617) 163, 329–30Ford’s Love’s Sacrifice 332–5Heywood’s Age plays 165Jones’s designs for 330, 331, 472–3lighting 332–3politically sensitive plays 450

Queen’s Men at 379, 449, 450, 451repertoire protected against competitors

450plays of everyday life 449at Restoration 330, 441revivals 449–50scenery 450Shirley’s work for 361, 379Shrove Tuesday riot (1617) 163, 329–30see also Beeston, Christopher; Beeston,

William; Beeston’s BoysColchester, Roman 5–6,

gladiator vase 18theatre 10–11, 17, 18

Coleman, Mrs (actress) 476Colet, John 66collections from audience 189, 190Coloma, Don Carlos 424, 433, 434, 436, 438comedy

actors 407; see also clowns; fools; knavesclassical 44, 45, 284, 286; Jonson and 286,

292–3, 295; Roman 16, 18, 102; see alsoPlautus; Terence

Elizabethan plot-based tradition 283–6;Jonson’s departure from 286, 296

five-act structure 102Italian 286–7neo-Latin 44, 45Restoration, of manners 297Shakespeare’s new style 278Udall’s Roister Doister as first Tudor 67

Comedy of Humours (anon. play at the Rose) 357commedia dell’arte 69, 229, 287, 408commedia erudita 69commercial motive 59, 272, 372–3commercial theatre, London 139–76, 224–41,

298–335audiences 166–71; regulation of 171–7, 341,

353capitalises on decline of communal drama

229Caroline breakdown of organisation 158composition and size of companies 147,

148, 152, 231, 307, 312, 313; see also boyactors; hired men; sharers

competition 231, 249, 272–3, 279continuity after 1642 147duopoly of Lord Admiral’s and Lord

Chamberlain’s Men 249, 272–3, 274,312–13

economic and other criteria 238–41finances 147, 153, 231, 305, 312; see also under

owners of theatres; playwrights

503






Index

commercial theatre, London (cont.)legislation and 146management systems 312; see also

entrepreneurs and under LordChamberlain’s Men

number of visits 228ownership of playtexts 156, 159, 161, 163, 352,

362, 450and patronage system 141–4, 210–12, 230–1,

239–40; Revels Office management 143,147, 222; Stuart royal monopoly 143, 147,155, (lapses) 198, 446

and politics 227Protestant attacks on 243range of attractions 227–9recruitment and training 148–9regularisation 224, 239–40, 243social entrenchment 445–6, 447see also individual playhouses, companies and

aspects, especially actors; boy’scompanies; entrepreneurs;householders; licences; playbooks;playhouses; playtexts; playwrights

commodities, plays as 224, 226, 238, 241Commonwealth see Civil War and

Commonwealth periodcommunal celebrations 414, 442

and masques 385, 387, 405–6see also ales; festivals

communal festive drama, medieval 22, 61, 62,130

decline of 61–9, 141, 176, 229see also mystery cycles

Compton, James, 3rd Earl of Northampton463

Condell, Henry (actor) 161, 173, 233–4, 329, 359conduct books 290Confesse, Nicolas (dancing master) 400conquest plays 476constabulary, local 185Constantine I, Roman emperor 9, 19continent

expatriate English clowns 411, 413masques 384, 386–7, 389–91, 397–8, 400players at Stuart court in exile on 460see also individual countries

contractsbuilder’s, for Fortune 321child actors’ 232Henslowe’s 157hired men’s 152playwrights’ 157–8, 347

Contre-Machiavel 258

contrition, national acts of 440–1controversies 242–59, 364–81

boys’ companies and 326, 373class issue 380, 381and foreigners 255–60and freedom of individual 380–2Marlowe and 261–3masques and 376–7religion and politics 367–8, 374–5and representation 245, 246, 247theatre as arena for voicing 373–4, 380theatre as subject of 242–4, 364–5, 372–3, 382see also individual issues and plays

Conway, Sir Edward ( James I’s secretaryof state) 436

Cooke, William (stationer) 362, 460Cooper, Thomas, Bishop of Winchester 184Cornish, William (plumber) 212Cornwall 54, 128, 253coronations 213

James I 364, 365Mary I 133–4Robert III of Scotland 71

Corpus Christi festival 48, 49in 1550s 127drama 49, 63, 65, 129, 180, 181processions 48, 74, 75, 128, 193Scots celebrations 74, 75suppression 109, 178, 181, 193

costumein commercial theatre 158, 233, 330, 447–8contemporary, Bale’s use 91for court drama 145, 447–8for household performances 208medieval liturgical drama 30period, for Jacob and Esau 102at Queens’ College Cambridge 125renting for parish drama 181for Respublica 135see also vestments

country houses see householdscourt drama

amateur writers 144, 156audience interaction 168–9boy players: early-mid Tudor 102–3, 105–6,

123, 133, 135, 168; Elizabethan and Stuart208, 298, 323, 325, 329

Christmas and New Year 132, 135, 208,272–3, 274, 298, 313, 323, 383, 444;Dekker’s Old Fortunatus 277, 359

continental 388, 389–90early Tudor interludes 142, 208effect of absence from London 444, 446, 460

504






Index

in 1553 116, 117, 132–6great households compete with 203and humanism 66May game 212Medwall’s defining of nobility 67novelty entertainers 211–12Prynne’s attack on 380Reformation use of 88–94, 104, 105, 108–9,

142revision of plays for 345and Stuart factions 366, 377, 401–2tournaments 206–7, 209, 212, 217see also masques; pastoral; and under

individual monarchs and disguisings;professional troupes; Scotland

The Court of Comfort (moral interlude) 195courtesy books 66Coventry, W Midlands

Elizabeth I visits 114Fair Friday procession 130Hock Tuesday play 114, 121, 130Protestantism 113–14Midsummer Watch 130mystery cycle 49, 50, 52, 127, 129–30; guilds

and 114, 129; Protestant revision, anddemise 113–14, 180

touring companies at 187, , 190, 191, 192;visits cease 197, 199

Cox, Robert; Acteon and Diana (interlude)467–8

The Cradle of Security (moral interlude) 195–6crafts, Scottish (trade guilds) 74–6, 83Crafty Cromwell or Oliver in his Glory as King,

The Second Part of (pamphlet play) 466Crane, Ralph (King’s Men’s scrivener) 424,

429–30, 432, 433Cranfield, Lionel, Earl of Middlesex 431–2Cranmer, Thomas, Archbishop of

Canterbury 89, , 219The Creacion of the World (Gwreans an Bys,

Cornish play) 128Creation (medieval play) 61Creation of the World (puppet play) 198Creede, Thomas 352critical discourse about drama 446Cromwell, Thomas

and Bale 90, 91, 94, 96, 131, 219and Bible reading 89, 90, 91; 1536 and 1538

Injunctions 89, 110, 112and Great Bible 89, sponsorship of drama 93–4, 96, 105–6, 141

Crondall, Hants; king ale 183Croo, Robert (Coventry playwright) 114

Crooke, Andrew (stationer) 362cross or crucifix, worship of 105cross-dressing

Bale’s Three Laws 101in jigs 411in The Roaring Girl 378in Scots drama 73Wager’s Mary Magdalene 100–1

Crosse, Henry 159Vertues Common-wealth 153

Crouch, John; pamphlet plays 465crowd

audience identified with on stage 320single character to represent 107

Croxton Play of the Sacrament 57, 58–9, 61, 62,63, 64

crusades 26, 44Albigensian 47

cue phrases, length of 164–5Cupar 78–9, 134Cursor Mundi (devotional work) 47Curtain theatre, London 301

building 225, 300, 301, 314entrance payment 314John Field decries 243Lord Chamberlain’s Men rent 273replaced by Fortune 143, 322

curtainsin Davenant’s operas 473Roman, drop 15, 16

cyclic dramaCornish-language Ordinalia 128see also mystery cycles

Cyprus 257

Daborne, Robert 156, 164, 347–8, 350‘The Arraignment of London’ 345

dancingat festivals 120French styles in Stuart England 400Kemp and 273, 411medieval phallic 70parliament disapproves of Sunday 442in Roman pantomime 23Scots 70, 79see also morris dancing and under masques

dancing masters 398–9, 400Daniel, Samuel

Anne of Denmark’s Master of Revels 144,326, 370, 402

and Jonson 291, 389–90masques 351, 389–90, 402on theatre 228

505






Index

Daniel, Samuel (cont.)published works 237, 353worksThe Civil Wars 352Cleopatra 353Philotas 144, 326, 353, 368The Queen’s Arcadia 353sonnet sequence, Delia 352, 353Tethys’ Festival 389, 390

Daniel playsBeauvais 42by Hilarius 42

Davenant, Sir Williamadaptations of Shakespeare 468and Army plot 445, 450at Cockpit/Phoenix 330, 450and King’s Men 447‘moral representations’ 470–1new theatrical aesthetics 469‘operas’ 176–7, 330, 471–5, 476Rutland House productions 176–7, 462,

470–1worksThe Cruelty of the Spaniards in Peru 471–2, 475The First Day’s Entertainment 470–1, 474The History of Sir Francis Drake 471–2, 475Luminalia 405A Proposition for the Advancement of Morality

by a New Way of Entertainment of thePeople 469–70

Salmacida Spolia 395–6, 400, 404; staging392, , , 395–6

The Siege of Rhodes 472–6; stage designs472–4,

The Unfortunate Lovers 144Davidson, John 83Day, John 161, 341

collaboration 343, 344, 359kills Porter 351, 358works‘The Conquest of Brute’ 350Humour out of Breath, knave in 421The Isle of Gulls 144, 170, 173, 326, 370John Cox (with Haughton) 277‘The Spanish Moor’s Tragedy’ (with

Dekker and Haughton) 360De Dominis, Marc Antonio, Archbishop of

Spalato 430De Witt, Johannes, and Swan playhouse

313–15declamatory style in masques 397–8Dekker, Thomas 354–5, 359–61, 363

authorship credits 353, 361

and Children of St Paul’s 359collaboration 343, 344, 347, 349, 355, 359see also individual plays belowcompany affiliations 344, 347, 355, 359and court 277–8, 359death 361in debtors’ prison 359, 361domestic relations genre 360duplication of popular works 360on economic conflict between playwrights

and performers 159finances 344, 351, 355, 359, 360–1at Fortune 277, 360London origin 341and Lord Admiral’s Men 359–60and Lord Chamberlain’s Men 347, 359Lord Mayor’s shows 352, 361masques 351Meres on 341pamphlets 159, 361on playwright’s work 354prose writings 159, 352, 361publication 234, 359, 361revision of old plays 360on stool-sitters 170worksAgamemnon (with Chettle) 277Bear a Brain 277The Bellman of London 361‘The Civil Wars of France’ plays 360‘Earl Godwin’ 360‘The Famous Wars of Henry the First’ 350‘Fortune’s Tennis’ 360The Gull’s Hornbook 149, 159, 170, 325The Honest Whore (with Middleton) 343,

360Keep the Widow Waking 149, 161, 345Old Fortunatus 252, 277–8, 302–3, 359, 360The Orphan’s Tragedy (with Chettle) 277‘Page of Plymouth’ (with Jonson) 347, 349,

360Patient Grissell (with Chettle and

Haughton) 254, 277, 344, 346, 357, 360‘Phaeton’ 359–60The Roaring Girl (with Middleton) 172, 173,

321, 348, 378Satiromastix 249, 347, 353, 357–8, 359The Seven Deadly Sins of London 308The Shoemakers’ Holiday 261, 277, 359;

publication 234, 359; social context 261,267

and Sir John Oldcastle 345and Sir Thomas More 346

506






Index

‘The Spanish Moor’s Tragedy’ (with Dayand Haughton) 360

The Stepmother’s Tragedy (with Chettle) 277Troilus and Cressida (with Chettle) 277Westward Ho! and Northward Ho! (with

Webster) 359The Witch of Edmonton (with Ford and

Rowley) 378, 417The Wonderful Year 159, 361

delivery of linesinstructions in Anglo-Norman Adam 46natural style in Globe 318

demography 8, 48–9, 193, 242Derby, 6th Earl of (William Stanley) 278Derby’s Men 196, 210, 278, 349

Edward IV and sequel 277, 360play at court 273, 274

Dering, Sir Edward (collector of playbooks)442

descent machinery 330see also flying devices

The Destruction of Jerusalem (Coventry, 1584)114

devices, emblematic 206Devon; Robin Hood plays 118, 182devotional works, popular 47D’Ewes, Sir Simonds 442, 443dialects in mystery cycles 130dialogue

medieval sung 30, 36–7, 40, 45–6Roman sung 16Shakespearian internal 413

Dickens, Charles 292Digby, John, Earl of Bristol 432Digby plays

Chelmsford as possible location 98, 111–12The Conversion of St Paul 54, 111–12The Killing of the Children 57, 58Mary Magdalene 54; Wager’s adaptation

111–12Reformation revision 111–12

disbelief, suspension of 414discoveries

in centre-stage opening 303, , 317, 323,327, 333, 334–5

‘heavenly’ 392The Disease of the House (pamphlet play) 465–6disguise

in masques 206and misrule 77

disguisings 68, 216–17, 223allegory 216audience involvement 216

at court 208, 209, 212; Scots 73household festivities 203, 206, 208, 209,

216–17masques develop from 384–5women’s participation 220, 221

disorder, theatre and threat of 364–5, 408–9,458

display, aristocratic 214, 383, 401domestic relations genre 357, 360Doncaster, Yorks 194Donnington, Lincs; biblical plays 180Dorset; touring routes 187, Dorset, 4th Earl of (Edward Sackville) 144doubling of parts 94, 97, 132, 151, 197, 307Douglas, Gavin; The Palice of Honour 79–80Dover, Kent 122, 187, , 198, 211Drake, Sir Francis 254

nephew’s Sir Francis Drake Revived 472Drayton, Michael

collaboration 343, 359; ‘The Famous Warsof Henry the First’ 350

not named on title pages 353Poly-Olbion 352sonnet sequences 352

drolls, Commonwealth period 467–9abridgements of plays 467, 468–9The Wits or Sport upon Sport, Marsh’s and

Kirkman’s , 467Drue, Thomas

The Bloody Banquet 310The Duchess of Suffolk 374–6

Drummond, William, of Hawthornden,Jonson’s Conversations with 367, 371

Drury Lane Theatre 330Dryden, John 468, 472, 476Dublin, Shirley in 361, 445Duffet, Thomas 468Dulwich College; Alleyn collection 164, 321dumb-show to herald subsequent action 333Dunbar, William 79Dundee 74, 82, 85Dunfermline, royal entertainments at 75Dunkenhalgh Manor, Lancs , 198Dutch Church libel 262Dutton, Lawrence and John (players) 157Dux Moraud 57–8dwarves, household 202Dyke, William, of St Albans 182

Earl of Derby’s Men, Earl of Leicester’s Menetc. see Derby’s Men; Leicester’s Men;Oxford’s Men; Sussex’s Men;Worcester’s Men

507






Index

ears and noses, cutting of 370, 379–80east, trade with 257East Anglia

Croxton Play of the Sacrament 58medieval non-cycle plays 53Tudor touring routes 187, see also individual towns

East India Company 257Easter 33, 133, 205, 208, 442Edinburgh

apprentice riot over play (1561) 83Blackfriars’ Wynd theatre 85court entertainments 78–9, 118, 134–5craft processions 74Dunbar on state of 79Mary Queen of Scots’ entry (1561) 71, 72, 83outdoor performance at Greenside 78–9,

134–5Robin Hood plays and processions 83, 118

education 242humanist 66in rhetoric 123see also schools; universities

Edward I of England 75, 212Edward III (perhaps partly Shakespeare’s) 355Edward IV of England 205

Black Book 203Edward VI of England

Act of Uniformity (1551) 367Bucer’s treatise on religious drama for

89–90court entertainments 95, 122, 132–3, 142,

208; masques 117, 133‘De meretrice Babylonica’ by 94death and Mary’s succession 116, 117polemical use of drama 142, 367Reformation under 64, 93, 102, 116, 136, 367

Elckerlijc (Dutch Rederijkers’ play) 56Elgin, school performance of Terence 83–4Eliot, T. S.; Ash Wednesday 22Elizabeth, Queen of Bohemia 374

wedding 383, 402, 403Elizabeth I of England

black attendants 256closure of theatres on death of 364, 440commoners’ loyalty to 250cult and mythology 252, 253, 261–2, 284, 366and Essex rebellion 250–1and Falstaff character 356household entertainments complimenting

221–2Leicester’s entertainments for 106, 121, 251,

386

marriage issue 106, 251, 258, 260, 386and Mary Queen of Scots 251masques 385–6as patron 143, 220, 246; parsimony 213, 223papal excommunication 258, 264and Philip II of Spain 251, 258, 264–5, 272plays performed for 102, 106, 107, 123progresses 114, 385–6religious stance 106succession controversy 106, 246, 251–2, 264,

266, 272, 366Tarlton at court of 409, 421as woman ruler 252

Elizabeth of York, Queen of England 214enclosures, agrarian 242, 261English, John (Henry VII’s interluder and

tailor) 205, 216entrepreneurs, Elizabethan 152–5

see also individual names, especially Beeston,Christopher; Brayne, John; Burbagefamily; Henslowe, Philip; Heton,Richard; Langley, Francis

entries, ceremonial 133–4Dunbar’s parody on 79James I’s, to London 365in Scotland 70, 71, 72, 79, 83touring companies’ visits resemble 193

Epiphany, feast of 42Erasmus, Desiderius 66

Moriae Encomium 415Paraphrase of St Luke’s Gospel, Udall’s

translation 105estates, three medieval 26Essex; end of biblical plays 180

see also ChelmsfordEssex, 2nd Earl of (Robert Devereux)

in Ireland 254, 265, 268, 269–70, 274–5patronage of troupe 147, 312rebellion 250–1, 368; connections with

Richard II 268, 269, 270, 356; Daniel and326

and succession issue 269–70Essex, 3rd Earl of (Robert Devereux) 443Ethelwold; Regularis Concordia 38–9Eton College 105–6Euripides; Buchanan’s Latin translations 76–7Evans, Thomas, and Blackfriars playhouse 329Evelyn, John 459Everyman 56–7, 60

Dutch original, Elckerlijc 56, 57printed text 56

exemplification (type of licence) 154Exeter, Devon , 118, 127, 187,

508






Index

expansionism, national 254–5, 471–2extemporising see improvisation

fairs, performances at 463, 465, 467The Fall of Adam (medieval play) 61Falstaff character 275, , 356, 412, 469The Famous Victories of Henry V 243–4, 355, 357,

410farce

Civil War/Commonwealth 467medieval Latin 45Roman 10, 19, 20

Farnham, Surrey 188Farrant, Richard (master of choristers) 278,

323–4Faversham, Kent 122Ferrabosco, Alfonso 397, 398festivals

Civil War/Commonwealth suppression442, 458–9

folk, and development of theatre 223liturgical drama at 32, 35local, in 1553 118–21Reformation suppression 82, 109Scots civic play at 74see also misrule and individual festivals

feudalism 26, 49, 223Field, John 243Field, Nathan 232, 341, 345, 348

A Woman Is a Weathercock 301Field, Richard (stationer) 358Field of the Cloth of Gold 205finance

Elizabethan and Jacobean institutions225–6

Jews’ role in 257see also under actors; companies;

playwrights; and names of thesefires, theatre see under Cockpit; Fortune;

Globefireworks 220Fishbourne, West Sussex; Roman palace

, 8five-act structure 102, 123–4Flecknoe, Richard 469

operatic entertainments 469, 471, 475redefinition of drama 469, worksAriadne Deserted by Theseus 471The Idea of his Highness Oliver, late Lord

Protector 469Love’s Dominion 469The Marriage of Oceanus and Britannia 471

Fletcher, John 341and Lord Chamberlain’s/King’s Men 349,

447, 449and Massinger 345, 460; Rollo or the Bloody

Brother 449–60publication 354, 449and Shakespeare 160, 161; ‘Cardenio’ 355;

Henry VIII 317, 355; The Two NobleKinsmen 230, 355

Shirley influenced by 361Wit Without Money 459see also under Beaumont, Francis

Fletcher, Laurence 85–6Fleury Playbook 41–2flying devices 312, 316, 319, 324

first fly gallery 392Inigo Jones’ use 330, 392

folk plays 69Scots language 77

fools 414–20artificial 417–21audience relationship 172, 418–20biblical references to folly 415–16boys’ companies lack 420and clowns 273, 413, 417in commercial theatre 273–4in communal celebrations 414–15Feast of Fools 85, 223, 414–15at festivals 120, 133household 202, 211kings and 212, 415–16, 417knaves supersede 423medieval and early Tudor 414–16natural 274, 415, 417, 418person not subsumed by persona 172, 418–20pre-Shakespearian, in theatre 414–16, 417Scots 79Shakespearian 273, 417as spies 420women 220see also Armin, Robert

Ford, John 341, 346, 359, 361, 445, 449Love’s Sacrifice 332–5The Witch of Edmonton (with Dekker and

Rowley) 378, 417foreigners

treatment in drama 255–60Welsh viewed as 253–4see also aliens, resident

Forman, Andrew, Bishop of Moray 73Fortune theatre 320–2, 451–3

audiences 172, 174building 225, 274, 321

509






Index

Fortune theatre (cont.)in Civil War and Commonwealth 441,

446–7, 459, 461, 462Dekker and 360fire (1621) and rebuilding 163, 164, 317jigs 412Lord Admiral’s Men at 274, 277–8, 320–2,

343, 360Moll Frith at 148plays performed at 172, 277, 278, 452, 453square plan 321; abandoned 317

Foxe, John 97Actes and Monuments 108, 113, 275, 373–6Christus Triumphans 107–8

FranceBuchanan in 76–7court entertainments and masques 386,

387, 388, 400dancing styles 400Elizabethan relations with 259–60Feast of Fools 415Fleury Playbook 41–2Henrietta Maria and 144, 400, 402medieval bawdy Latin comedies 44mysteres 129, 130Princess Mary betrothed to Dauphin 208–9Roman theatre at Orange 14wars of religion 259–60, 265

Francis of Assisi, St 47Franciscan order 47Frederick V, Elector Palatine and King of

Bohemia 374, 375, 376Palatine’s (or Palsgrave’s) Men 163, 164

freedom, Caroline debate over individual380–2

Frith, Moll 148frons scaenae 303–4, 330

see also tiring housesfurniture, stage 307, 319, 335

see also beds

Gaius (Caligula), Roman emperor 5galleries

in amphitheatres 299, 303, 314, 321, 322in indoor venues 324, 330possible standing 314, 322see also balconies

Gammer Gurton’s Needle 123–31, 125Gandersheim, Germany 27Garfield, Benjamin; lawsuit over Keep the

Widow Waking 149Garland, John (clown) 148, 410Garrick, David 292, 295

Gascoigne, George, The Glass of Government103

Gayton, Edmund 169, 173Gee, John; The Foot out of the Snare (pamphlet)

429Geneva 82, 88, 104gentility, Elizabethan code of 407gentry 277, 280Geoffrey, Abbot of St Albans 43George, St; York festivities for 129George a Greene (playbook) 277Gibbon, Charles ( fl. 1653) 462Gibson, Richard 205, 209Giles, Thomas (dancing master) 400gladiators 16, 18, 19, 23Glapthorne, Henry; Albertus Wallenstein 453Globe playhouse 315–17

building 225, 226, 273–4, 315–17; rebuilt afterfire 316–17, 320; timbers of Theatrereused 316, 317

demolition 441design 299, 315–17emblem 316finances 268, 273, 358fire (1613) 320flag 316flying devices 316, 319jigs 412–13King’s Men’s summer house 317–20, 329,

448, 452, 454Lord Chamberlain’s Men and 273–4, 315–17,

320management system 268, 273, 317, 358Marston and 280, 345, 348Middleton’s A Game at Chess at 227, 424, motto 316Music Room 317, 319plays in 1599 277Rose affected by 274Shakespeare and 268, 277–8, 358sharers 268, 317, 358stool-sitters discouraged 170tiring house 316, 317upper stage 433

Globe reconstruction, modern 240actors in standing crowd 320clowns at 413Lords’ Rooms 315natural acting style viable in 318Shakespeare’s Julius Caesar (1999) 320

GloucesterPuritans and Lord of Misrule 120Roman town 6, , 9

510






Index

touring companies 187, , 189, 192; LordBerkeley’s Men 192; Mayor’s play 189,192, 198–9; Queen’s Men 194; Willis on191–2, 194, 195–6

Goad, Thomas; The Friar’s Chronicle 429Godly Queen Hester (anon. interlude) 208Goffe, Alexander (apprentice player) 176Goffe, Thomas; The Careless Shepherdess 451Gold, Robert, at Norwich 122Gondomar, Diego Sarmiento de Acuna,

Count of 426, 434Good Friday ceremonies 32–3Goodman, Christopher 104, 113Goodman, Henry 292Goodman, Nicholas 315Gosbecks Farm Roman site, Essex 11, 18Gosson, Stephen 97, 244, 458

Paul’s Cross sermon (1598) 320Plays Confuted in Five Actions 148

Gough, Thomas (player) 157Gowry conspiracy 70, 367, 369–70Greece, ancient; New Comedy 44, 284, 286Greene, Robert 244, 341, 346

and Elizabethan tradition of comedy 285prose fictions and pamphlets 352worksAlphonsus of Aragon 277Friar Bacon and Friar Bungay 259, 285, 407Greene’s Farewell to Folly 352A Groatsworth of Wit 352James IV 259, 417A Looking Glass for London and England

(with Lodge) 234Orlando Furioso 164Tu Quoque 152

Greene, Thomas, of Queen’s Men 154, 413Greenwich Palace 207, 212Gregory IX, Pope 47Gregory XIII, Pope 258Greville, Fulke 109Grey, Arthur, 14th Baron Grey de Wilton

254Grey, Lady Jane 116, 133Griggs, John (carpenter) 302Grimald, Nicholas; Christus Redivivus and

Archipropheta 108Grindal, Edmund, Archbishop of York and of

Canterbury 113, 179grotesque antimasques 384, 398Guildford, Surrey 188guilds

Coventry, and mystery cycle 114, 129dissolution of religious in York 179

and drama 49Elizabethan actors’ membership of 145formation 49Kendal, and Corpus Christi play 180Leicester Guildhall and Lord Mayor’s shows 352and mystery cycles 49, 51, 129, 130pageants 74; as images 120precedence in processions 74, 120and Shrewsbury passion plays 109, 110Tudor view of performances 68see also crafts, Scottish

Guilpin, Everard; Skialetheia or a Shadoweof Truth 269

guisings, Scots 73, 80, 85, 86see also disguisings

Gunnell, Richard (player) 149, 164Gunpowder plot 70Gwreans an Bys (The Creacion of the World,

Cornish) 128Gyles, Thomas, and Paul’s Boys 324

Haddington, E Lothian 74, 75, 76, 85, 118Hadrian’s Wall , 7–8, 20Hague, The; Stuart court in exile 460Hakluyt, Richard 257Hall, Anthony, of Duke of Rutland’s

household 204–5Hall, Edward 384, 386Hall, William, of King’s Men 460halls, great; early modern performances in

97, , 206, 208, 225‘Hamlet’ (anon, 1594) 356Hammerton, Stephen (actor) 447Hampshire ales 183–5Hampton Court palace 207Hampton Court conference 366hanging, onstage deaths by 310, Harington, Sir John 277, 385Harrowing of Hell 39Hart, Charles (actor) 460Hartwell, Abraham 106–7harvests

bad, in 1590s 264, 266processions 71

Harvey, Gabriel 248Hatfield, Herts 123Hathaway, Richard 341, 347, 353

collaboration 342, 343, 347works‘The Boss of Billingsgate’ (with Day) 343Hannibal and Scipio (with Rankins) 342‘John of Gaunt’ (with Rankins) 347

511






Index

Haughton, Lord see Holles, JohnHaughton, William 343, 350, 359

The Arcadian Virgin (with Chettle) 277An Englishman for My Money 261John Cox (with Day) 277Patient Grissell (with Chettle and Dekker)

254, 277, 344, 346, 357, 360The Poor Man’s Paradise 277‘The Spanish Moor’s Tragedy’ (with Day

and Dekker) 360Hawkins, John 256Hayward, John

History of the Reign of Henry IV 270history of Richard II 268

‘heavenly’ discoveries 392‘Heavens’ (roof over stage) 312, 323Heminges, John 145, 233–4, 313, 329, 359Henri IV of France 260, 265Henrietta Maria, Queen of England 377–81

and Charles I: independence of courts 377,402, 403; platonic love 377, 385, 403, 472

court drama 146, 447; performance in 144,377, 378; see also masques; pastoral below

Devout Humanism 377French style 144, 402masques 402, 403, 405; performs in 144, 387,

pastoral 377, 378, 447as patron 220performances 144, 377–9, 387, Prynne’s attack on 362, 378–9Shirley and 362, 379, 380, 403and Spain 377theatre visits 144, 447, 449see also Queen’s Men

Henry VII of England, court ofentertainments 212, 219, 220and humanism 66players 205, 216wedding celebrations 212, 214, 216, 217

Henry VIII of EnglandAct for the Advancement of True Religion

(1543) 367Act of Union with Wales 253and Bible 89, drama at court of 94, 105–6, 168masques and revels 206, 208–9, 217, 384–5,

386Mallard’s psalter shows 415–16, 417Old Testament prototypes for 90–1polemical use of drama 141will 272see also Reformation

Henry, Prince of Walesbaptism 73death 402, 440investiture 383, 402marriage negotiations for 374and masques 377, 388, 401–2, 403

Henry of Cornwall (lost Elizabethan play) 196Henslowe, Philip

and Alleyn 312boy players 148contracts 157correspondence 345, 347–8Diary 162–4, 347, 350; on playwrights’

collaboration 161, 342–5, 359; onpayments and loans to playwrights 156,350–1

and Fortune theatre 274, 315, 320–2Howard of Effingham supports 143and Hope playhouse 322–3investment and profit 305–7, 313Kendall paid salary by 152–3and Lady Elizabeth’s company 163and Marston 279ownership of playbooks 163and Porter 350–1property list 310and Rose 158, 301–2, 305–7, 312, 316and Rowley 350and Sir John Oldcastle 275

Herbert, Lady Anne 221Herbert, Henry see Pembroke, 2nd Earl ofHerbert, Sir Henry, Master of the Revels

364and Drue’s Duchess of Suffolk 374end of licensing by 439, 444, 446and Middleton’s A Game at Chess 426, 427,

428, 429, 432, 437and Shirley’s The Ball 437–8

Herbert, William see Pembroke, 3rd Earl ofHercules (merchant ship) 257Hereford 120, 128heresy 47Herne, Jeremy (dancing master) 400Herod, medieval plays on 41, 60, 130heroes, new Elizabethan type of 261Heton, Richard 157–8, 163, 451Heywood, John 67, 136

at court 123, 133, 136, 208The Spider and the Fly 135The Play of the Weather 67, 168

Heywood, Thomasand Cockpit 165, 449collaboration 343, 344, 359

512






Index

company affiliations 157, 158–9, 165, 344,347, 349; Lord Admiral’s Men 158, 349;Worcester’s/Queen Anne’s Men 157,158–9, 349

and controversial material 373–4Kirkman’s admiration for 162Lord Mayor’s shows 352, 354on moral purpose of theatre 373output 162, 354pamphlets 354Perkins’ poem prefacing Apology for Actors

227playbooks 234playwright and actor 162, 232, 341prose tracts 352works until death 354worksAge plays 160, 165The Brazen Age 173Divers Crab-tree Lectures 159 & Edward IV 234, 252, 277, 349, 360The English Traveller 158, 236, 354The Fair Maid of the West 449–50The Four Prentices of London 149, 261, 452If You Know Not Me, You Know Nobody 234,

373–4, 449–50Joan as Good as my Lady 277‘The London Florentine’ (with Chettle)

343, 344Love’s Mistress 449Sir Thomas More 346War without Blows 277A Woman Killed with Kindness 158, 357

Hezekiah as type of good king 104–5, 107Higden, Ranulf (alleged author of the Chester

cycle) 112Hilarius; Daniel and Lazarus plays 42Hildegard of Bingen; Ordo Virtutem 42hired men 152, 153, 231, 312history plays

medieval 53, 57–9, 68Elizabethan 259, 357, 360see also under individual authors

Hitchin, Herts 89hoax production at Swan 228hobby-horses 133, 442Hoby, Sir Thomas; translation of

Castiglione’s Il Cortegiano 290Hock Tuesday play, Coventry 114, 121, 130‘hoggling’ (Somerset entertainment) 121Holbein, Hans

The Ambassadors 242title page of Great Bible

Holinshed, Raphael 271Holland, Aaron; builds Red Bull 322Holland, 1st Earl of (Henry Rich) 362Hollar, Wenceslaus 303, 316, 330Holles, John, Lord Haughton, 2nd Earl of

Clare 401on Middleton’s A Game at Chess 424, 425,

427, 432, 433, 434; versions of scripttallying with 429

Holy Roman empire 26Holy Week ceremonies, medieval 32–3Homer, Chapman’s translation of 352Homily Against Rebellion 250Hope playhouse 225, 322–3, 441Horkstow, Lincs; Roman mosaics 18Hornby, Lancs; rushbearing 186Houghton family and Shakespeare 220householders in commercial companies 232households, great 200–23

actors’ interaction with audience 166–8amateur theatricals 221, 442, 443, 463analogues in playtexts 202books of ordinances 203boys’ companies hired by 208Catholic 219–20, 223chapels and drama 208, 216Civil War and Commonwealth

performances 166, 176, 177, 462–3, 465development of study of 200–2disguisings 203, 206, 208, 209, 216–17duties and privileges 204–5ecclesiastical 200–1, 218–19Elizabeth I complimented in drama 221–2fools in 202, 211itinerant nature 203–4masques 201–2, 203, 206, 386, 402–3, 404–5motives for entertainments 204multi-media events 203, 207–10, 212–17,

223non-textual genres 202, 203novelty entertainers 211–12numbers in 204occasional celebrations 205, 212–17, 223Paul’s Boys’ household-style playing 169,

208players in 144–5, 149, 202, 204–5, 207, 208,

210–12, 216; other occupations 144–5,204–5

playing places 97, 202, 203–7, 208, 213playtexts chosen 205, 217–20playwrights resident in 97, 207political function of drama 210, 222pre-Elizabethan performance in 166

513






Index

households, great (cont.)public and private spheres in 203, 204, 206,

213, 215, 217sources on 200, 201, 203touring companies visit 168–9, 193, 194, 196,

197, 198, 217tournaments 206–7, 217vitality of drama in 200, 222–3weddings 123, 202, 205, 206, 207, 214Wisdom as household play 218–19women and drama in 201, 220–2, 223see also court drama and under patronage

How a Man May Choose a Good Wife From a Bad(Elizabethan domestic comedy) 357

Howard, Charles, 2nd Baron Howard ofEffingham, 1st Earl of Nottingham 143,147, 312

Howard, Frances 400, 402, 404Howard, George; ‘triumph’ of Venus, Cupid

and Mars 133Howard, Lord William 198Hrotsvitha, Latin plays by 27Huguenots 259–60humanism 65–7, 76–7, 101–4

Devout 377humours, theory of 294–5, 465Hunnis, William 102, 208Hunsdon, 1st Baron (Henry Carey) 142, 312Huntingdon, 3rd Earl of (Henry Hastings) 113Hutton, Matthew, Dean of York 179Hythe, Kent 198

imagesfear of power of dramatic 87, 106–7, 180,

245, 246iconoclasm 87, 95, 107, 115

Impatient Poverty (moral interlude) 132impersonations, controversy over 437–8impresario system 454imprisonment of playwrights 450

Dekker, for debt 359, 361over Eastward Ho! 370over A Game at Chess 437, 438over The Isle of Dogs 110, 150, 162, 249, 370

improvisationearly modern 151–2, 162–3; clowns 162, 174,

273, 408, 410, 413at local festivals 120Roman period 16–17

indoor theatres, early modern 323–38Jones’s drawings for 330, see also Blackfriars theatre; Cockpit; Drury

Lane Theatre; Paul’s Boys (playhouse);

Salisbury Court playhouse; Whitefriarsplayhouse

industry, theatrical see commercial theatre;finance; professional troupes

Ingelond, Thomas; The Disobedient Child 103,132

inns, performances inElizabethan and Jacobean 154, 169, 194,

225, 227; Privy Council ban in London312, 313

illicit, Civil War/Commonwealth 176,463–4, 465, 467

Inns of Court 341masques and revels 386, 403, 444Shirley’s work for 362, 376

Inquisition, founding of 47intelligence gathering

by fools 420by players for patrons 204, 211, 245Walsingham’s operation 264, 420; Marlowe

245, 262, 264; Munday 264; Queen’s Men143, 193

interludesaudience interaction 168–9biblical 131–2; see also Jacob and EsauBook of Sports forbids 185child actors 132, 133, 135, 208Civil War/Commonwealth 467–8early Tudor court 142, 208in 1553 131–2, 135–6household performance 168–9, 203, 206,

207, 218humanist 66–7longevity 196, 197, 468moral 195, 196, 468political comment 142, 208Vice as forerunner of clown 410see also Jacob and Esau; Lindsay of the

Mount, Ane Satyre . . . ; Respublica;Wager, Lewis; Wisdom

Interregnum see Civil War andCommonwealth

intervals, performance without 310Inverkeithing, Scotland 70inversion 75, 80, 124

order reasserted through 61–2see also misrule

Ipswich, Suffolk 187, Ireland

Elizabethan unrest 254, 264, 265, 268,269–70

1641 rebellion 444proclamation of Mary I 93, 131

514






Index

The Irish Rebellion (controversial Carolineplay) 439, 453

Isabella, Queen of England; Household Book(1311–12) 203

Isle of Dogs affair 150, 162, 249–50, 315, 346–7,348, 352

aftermath 110, 150, 162, 249–50, 370Italy 258

comedy 286–7, 297court entertainments and masques 384,

386–7itinerant performers

early Tudor 96, 98, 101, 122; musicians 121–2medieval 50, 58, 144, 187, 205Roman and sub-Roman 16, 24Scots injunctions against 85

Ivory, Abraham (actor) 461, 462

Jacob and Esau (Reformation school drama)88, 101–2, 104, 208

and Bible 103, 104on political power 103–4, 115and predestination 102, 103, 104–5

James I of Scotland 271James IV of Scotland

entertainments 73, 78, 79, 134and Lindsay 134patronage of arts 77wedding celebrations 72, 214, 216, 217

James V of Scotland 72, 78, 82James VI of Scotland and I of England

accession to English throne 252, 271, 272Augustan style 366Book of Sports 185, 186Buckingham accused of plot against 436;

and ceremonial 72, 73; coronationpageant 364–5

court large and divided 366, 401–2foreign policy 374–6; and Elector Palatine

374; failed Spanish match for PrinceCharles 374, 375, 404, 426, 428

and Middleton’s A Game at Chess 424, 425–7,435, 436–7

and Henry, Prince of Wales 374, 377, 402,403

and Jonson 351and King’s Men 367–70, 437and Laurence Fletcher 85–6and Lindsay’s Satyre 135and masques 212, 401; controversial 376,

377, 401and New World 403pacifism 366, 402, 403, 428

and Parliament 186, 375patronage of theatre confined to royal

household 143, 147, 155, 198, 322, 365person and circumstances cause

controversy 365–7, 401–2puritan opposition to 186, 427relations with subjects 365–6religious stance 82, 84, 366, 375, 428in Scotland: ceremonial 70, 72, 73;

patronage 85–6Shakespeare’s Henry V and 271temper 401theatrical comment on 326, 367–70, 374, 375,

424–38; (see also A Game at Chess)union project 366, 403see also Anne of Denmark (and king);

censorship ( Jacobean)Jamestown, Virginia 255Jane Seymour, Queen of England 220jesters 120, 122, 409, 411, 415jests, household 201–2, 203Jesuits

under Elizabeth I 258, 266, 270under James I 428; Middleton’s A Game at

Chess and 426, 430–1, 432–3Jews 111, 256–7, 262jigs 174–5, 410–11

Civil War/Commonwealth 467droll genre incorporates 468, 469Elizabethan and Jacobean 174–5, 411, 412–13longevity 414, 468

John Swabber the Seaman (droll) 467–8Jones, Inigo

aerial scenes 392continental influence on 330, 386, 390–1and Jonson 383, 390, masques 202, 383, 386, 394; Caroline 392,

, , 395–6, 405; Jacobean 212, 220,

neo-classicism 390–1, 395perspective scenes 391and Phoenix 330, , 472–3platonism 390playhouse design 328, 330, and Webb 472–3staging of masquesBritannia Triumphans 398, Chloridia 383Coelum Britannicum 392–4The Masque of Blackness 383–90, 392The Masque of Queens 392, Salmacida Spolia 392, , , 395–6Tempe Restored 390,

515






Index

Jones, John; Adrasta 171Jonson, Ben

as actor 232, 341arrest on Buckingham’s assassination 120and audience 156, 233on Blackfriars theatre 325and boys’ companies 249, 280, 349city comedy 287, 296, 297collaboration 343, 345, 346–7, 348–9, 359comedy, innovatory style of 286, 287–8, 297company affiliations 348–9and Daniel 291, 389–90education 286drolls based on plays of 469epigrams 352finances 350, 351and folly 423and Frances Howard’s wedding 404and gulls 296, 417and Henry, Prince of Wales 388irascibility 234James I’s patronage 212, 351and Jones 383, 390, and Lady Elizabeth’s Men 156and Lord Admiral’s Men 160, 347, 348–9and Lord Chamberlain’s/King’s Men 165,

349Machiavelli compared with 287masculinity theme 297masques 202, 212, 220, 351, 383, 386–7;

antimasques 384; moral purpose in387–8; music 397, 398; person andpersona in 404; responses to 388; see alsoindividual titles below

onstage audiences and chorus figures 170,175, 291

ownership of playtexts 165and Pembroke’s Men 347, 348and Plautus 286, 292–3, 295plots 350provincial performances of 196publication of works 234, 346–7, 353–4;

authorship acknowledged 156, 233, 353revises The Spanish Tragedy 344–5satires 352and Shakespeare 357–8and Sidney 290silent characters 289solo writing as norm 346–7and war of the theatres 249, 279worksThe Alchemist 286, 296Bartholomew Fair 156, 175, 233, 464

The Case Is Altered 286, 347Catiline, dedication of 174Chloridia 383, 387Cynthia’s Revels 156, 170, 249, 349The Devil Is an Ass 170–1, 286, 297, 325Drummond of Hawthornden’s

Conversations 367, 371and Eastward Ho! 345, 349, 353, 370;

imprisonment 370Epicoene 287, 297, 417‘An Epistle to Master John Selden’ 404Every Man in His Humour chapter 11 349, 353Every Man out of His Humour 175, 295, 349‘An Expostulation with Inigo Jones’ 390The Golden Age Restored 403–4‘Hot Anger Soon Cold’ (with Porter and

Chettle) 348Hymenaei 353, 387–8The Isle of Dogs 150, 162, 249, 315, 346–7, 348,

370Love Freed from Ignorance and Folly 351Lovers Made Men 398Love’s Triumph Through Callipolis 384–406The Magnetic Lady 448The Masque of Blackness 353, 383–90, 392, 402The Masque of Queens 384, 388, 392, , 400,

402Neptune’s Triumph 404The New Inn 286, 297Oberon the Fairy Prince 351, 402‘Page of Plymouth’ (with Dekker) 347, 349,

360Pleasure Reconciled to Virtue 385, 388, 398, 401Poetaster 249, 280, 349, 358‘Richard Crookback’ 347Robert II, King of Scots, or The Scots Tragedy

(with Dekker and Chettle) 277, 349Sejanus 297, 349, 353, 367, 368–9, 370The Staple of News 170The Vision of Delight 398Volpone 202, 286, 296, 349, 353, 429

Jordan, Thomas; The Walks of Islington andHogsden 452

jousts, mock see tournamentsJulius Caesar, C. 4Juno and Diana (interlude) 106Justinian, Roman emperor 23

Kayn, Alexander, of Aberdeen, wife of 80Kemp, William 146, 411, 412

on continent 146, 411, 413dancing 273, 411jigs 411

516






Index

as independent actor 147–8and Leicester 146, 411and Lord Chamberlain’s Men 412;

severance from 147, 273, 411, 412, 414Shakespeare’s roles for 412and Strange’s Men 411–12and Worcester’s Men 413

Kendal, Cumbria 187, , 266Corpus Christi play 127, 180

Kendall, William 152–3Kenilworth, Elizabeth I at 121, 251, 386Kent, touring companies in 122, 141, 187, ,

198Killigrew, Thomas 447–8, 460

Claricilla 462Kilkenny, Bale’s plays at 93, 131The Killing of Abel (Wakefield cycle) 62The Killing of the Children (Digby play) 57, 58Killour, Friar 82king ales, Hampshire 183–5King and Queen’s Boys see Beeston’s Boysking games 75, 183–5, 414King Leir (anon.) 356King’s Men 447–9

amateur plays 144, 156, 447–8at Blackfriars theatre 326, 329, 447, 453, 454Charles I and 448church objections to The Magnetic Lady 448under Civil War/Commonwealth 441,

448–9, 460composition 153, 313, 447and Caroline court 144, 447–8Davenant and 447finances 192Fletcher’s affiliation 349, 447at Globe 329, 448, 452, 454Gowry play 367, 369–70Henry VIII at Globe, 1613 317–20and James I 367–70, 376, 437Lord Chamberlain’s Men become 198, 322,

365management system 329, 345, 447, 454Massinger and 349, 447Middleton and 348paid not to play 198playwrights’ ‘outside sales’ to 347–8protected from unauthorised printing of

plays 443, 447at Restoration under Killigrew 460Sejanus controversy 368–9Shakespeare as playwright 157, 447sharers 86, 158, 447, 448, 454Shirley’s affiliation 355, 361, 362, 445, 447

social cachet 447–8, 453and Suckling 447–8see also Lord Chamberlain’s Men

King’s Revels 335, 355, 420, 451, 454The King’s Weekly Intelligencer 461kirk, reformed 81, 82–6

and festivals 82, 85General Assembly 81, 84James VI and 82limits of effect against drama 84–6and Roman Catholic church 82, 84sabbatarianism 82scholars’ reading of drama 83and texted plays 84

Kirkaldy, Sir William (hanged in effigy) 83Kirke, John; The Seven Champions of

Christendom 452Kirkman, Francis 162

II Wits or Sport upon Sport (1673) 305, ,467

A Knack to Know a Knave (anon. comedy) 412The Knave in Grain (anon. comedy) 452knaves 420–3

boys’ companies and 421–2playing cards 421

Knowlton, Kent 463Knox, John 82–3, 104Kyd, Thomas 341, 346

and Marlowe 161–2, 262The Spanish Tragedy 256, 307–10; framing

device 433; knave in 421; publication 234,277, ; revival 344–5, 357; stagedirection 303

la Hinosa, Marques de 436Lady Elizabeth’s Men 149, 163

Children of the Queen’s Revels merge with329, 348

playwrights writing for 156, 348, 361Lake, Sir Thomas 436Lanark Corpus Christi procession 74Lancashire 154, 182, 185Lane, Sir Robert; troupe 147, 157Laneham, John (clown) 410Laneham, Robert (of Coventry) 114Langley, Francis 143, 313, 348language, cultic property of 22, 39–40Lanier, Nicholas (composer) 387, 398Lanyer, Aemilia (poet) 221A Larum For London (anon. play) 352, 353, 358Lateran Council, Fourth 47Latin language

cultic significance in church 39–40

517






Index

Latin language (cont.)humanist writing 107; see also Buchanan,

George; Erasmus, DesideriusMarston assumes knowledge of 280medieval comedy and farce 44, 45twelfth-century translations of Greek texts

through Arabic 44university plays 69, 108see also music-drama, medieval

Laud, William, Archbishop of Canterbury186, 379

Lawes, William and Henry 398Lazarus plays

Fleury Playbook 41by Hilarius 42

lazzi 408learning

church’s monopoly in Middle Ages 26at court of Henry VII 66and household interludes 218Marston writes for audience with 280twelfth-century Renaissance 44see also education; humanism

Legh, Peter MP 443Leicester 187, , 198

Guildhall 194, Leicester, Earl of (Robert Dudley)

and Burbage 142Chamberlain’s Accounts 203death 411and Elizabeth I 106, 121, 251, 386in Netherlands 146, 259, 411Protestant ideology 211, 219, 385–6and Queen’s Men 143, 147, 211, 219

Leicester’s Men 142, 147, 153, 186–7, 312at court 298Privy Council patent 153, 300quality of actors 210and vagabond legislation 300

Lent 365, 440Lever, Thomas (Marian exile) 113Liber Responsalis 46licences, theatrical companies’

Elizabethan system 160, 364–5exemplifications 154in London 153–4Privy Council 145, 153, 300in provinces 154, 189, 193, 441–2; patron’s

influence and 189, 192, 193see also Revels Office

Lichfield Cathedral, Staffs 39lighting, stage 325, 327, 328, 330, 332–3

‘dark’ scenes 327, 332–3

Lincoln, 1st Earl of (Edward Clinton) 143, 147,157, 312

Lincoln 39, 49, 93, 127Roman town 6, , 9

Lincolnshire; biblical plays 180–1Lindsay of the Mount, Sir David 72, 76, 78,

79Ane Satyre of the Thrie Estaitis 77, 78–9, 80–1,

134–5metatheatricality 80–1

Linlithgow Palace 78, 134Lisle, Lady Honor 221Lisle letters 99literacy

Anglo-Saxon 24and Bible reading 89, 112Church monopoly, medieval 26Everyman’s reading audience 56humanism and 65–6Reformation promotes 87, 89, 112Scots craftsmen 76

liturgical drama 27–41, 48and development of liturgy 30–1effect on spectators 34–40influence on early modern theatre 69music 36–9see also Quem Quaeritis and Visitatio

Sepulchri ceremoniesliturgy

cultic significance of language 39–40dramatic renditions by Amalarius 31–2and liturgical drama 27, 30–1Gallican and Roman rites 30–1, 32Mass as drama 30medieval sense of power of 32Reformation attitudes to Latin 93and time 35

local drama 117, 118–22audience relationship with participants 121,

130–1see also ales; civic culture; festivals; mystery

cycles; parish-sponsored drama;provinces

Lockwood, James (fool) 418–20Lodge, Thomas 352Lollardy 113Londesborough, Yorks 196London

biblical plays 114–15book trade 234as centre for theatre 155, 175–6, 446Charing Cross 467Charterhouse 221

518






Index

civic authorities’ control of theatre 146, 153,246, 298, 320, 365, 412, 440, 461; and TheIsle of Dogs 249, 315; theatres in libertiesevade 226–7, 243, 278, 305

civic pride and power 266–7Clink 305Common Council 227, 243Court of Aldermen 146, 153financial institutions 225–6Great Fire (1666) 338, 362inns, performances in 227, 312, 313Jewish converts 256–7liberties (areas outside control of city

magistrates) 226–7, 243, 278, 305, 320,323

Lord Mayor see separate entryLord of Misrule procession 118migration to 407morris dance with Robin Hood 118Newington Butts, theatre at 225Norden’s map Paris Garden 243Paternoster Row 408riots 163, 169, 260–1, 329–30river transport 305Roman town 6, Rutland House 176–7, 462, 470–1St James, Palace of 207St James, Garlickhithe, Wager as priest 97St Paul’s churchyard 234social problems, 1599 266Tarlton as tavern-keeper in 408Treaty of 366Vere Street, Clare Market 462see also commercial theatre, London;

coronations; court drama; Inns ofCourt; playhouses; St Paul’s School; andunder plague

Lopez, Roderigo (Elizabeth I’s doctor) 256–7Lord Admiral’s Men 142–3

Alleyn and 142, 147, 159clown 413Comedy of Humours 357at court 272–3, 277, 359–60finances 157, 274; see also under Henslowe,

Philipand Fortune 274, 277–8, 320–2, 343, 360and Isle of Dogs affair 315and Lord Chamberlain’s Men: competition

273, 356, 357, 360; duopoly 249, 272–3, 274,312–13, 322

ownership of plays 159, 353playbooks 274, 276, 353

playwrights 343, 344, 347; Daborne 350;Dekker 359–60; Heywood 158, 349;Jonson 160, 347, 348–9; Marston 348;Middleton 348; Porter 347

become Prince Henry’s Men 198, 322, 365revivals 344–5, 350at Rose 273, 276, 307–10, 312second company 276Shakespeare follows up successes 356, 357split (1591) and reform (1594) 147and Worcester’s Men 344, 345see also Fortune playhouse; Henslowe,

Philip; Rose playhouseLord Bath’s minstrels 122Lord Berkeley’s Men see under Berkeley, LordLord Chamberlain’s Men 142, 230, 287

and Blackfriars theatre 313Burbage family and 312clowns 414at court 272–3, 313at Curtain 273, 301Dekker’s Satiromastix 347, 359finances 274, 313, 356Fletcher’s affiliation 349and Globe 273–4, 315–20, 322, 412jigs 414Jonson’s writing for 287, 349Kemp and 147, 411–12, 414James I takes over as King’s Men 198, 322,

365and Lord Admiral’s Men: competition 273,

356, 357, 360; duopoly 249, 272–3, 274,312–13, 322

management system 313, 317playbooks 274, 276–7, 352, 353Richard II for Essex conspirators 249, 250,

356at Rose 312Shakespeare’s affiliation 157, 158, 301, 355,

356, 360sharers 158, 313Strange’s Men become 411–12at the Theatre 312, 313, 315and war of the theatres 249see also King’s Men

Lord Chandos’s Men 154, 192, 417, 418Lord Cromwell’s Men 93–4Lord Mayor of London 261

shows 176, 213, 352, 354, 361Lord President of the Council in the Marches,

players of 192Lord Russell’s players 122Lord Stafford’s Men 192

519






Index

Lord Strange’s Men see Strange’s MenLord Warden of the Cinque Ports, players of

192Lords’ Rooms 314–15Loseley Manuscripts 132Lothian, play traditions in 80Lowe, George 427Lowin, John, of King’s Men 173, 449, 460Lusty Juventus (interlude) 168Lupton, Thomas; All for Money 151–2Luther, Martin 64, 95luxury goods 242, 257Lydd, Kent 122, 198Lyly, John

and Elizabethan tradition of comedy 284–5and Elizabeth I’s cult 221, 252, 284and Marprelate controversy 247, 248, 249,

324patrons 219–20, 221and Paul’s Boys 249, 278, 324worksAlexander and Campaspe 284, 285Endymion 219–20, 221, 251, 252, 284Euphues or The Anatomy of Wit 284, 352Midas 219–20

Machiavelli, Niccolo 258, 287Mandragola 287The Prince 200

machinery, stagecloud machines 392machina versatilis 392noise of 394–5scena ductilis 392in Scots royal entries 72see also flying devices

Madox, Richard 148Maidstone, Kent , 198Makejoy, Matilda (female minstrel) 221Maldon, Essex 112, 180Mallard, Jean; psalter for Henry VIII 415–16,

417Malone, Edward 342Malta 257Mandeville, Sir John 255‘The Manere of the Crying of Ane Play’Mankind (moral interlude) 56, 60, 62, 98, 190manliness, ideal of 290Manners, Francis, 6th Earl of Rutland 362Mannyng of Brunne, Robert; Handlying Synne

47Manuche, Cosmo 463

Loyal Lovers 176, 465

manuscriptsBodleian Eng. hist. B. 208, Second

Northumberland Household Book 203Bodley 791 128Christ Church, Oxford, Evelyn MS.258b 203Folger Shakespeare Library, Macro , 218illuminated, showing fools 415–16, 417Leicester Record Office BRIII/2/52, mb2

203Loseley 132Mallard’s psalter of Henry VIII 415–16, 417Macro 54Nottingham University Library MS.MiA62,

f.14 203St Albans Abbey, of Terence 44–5of Sir Thomas More 346see also under Middleton’s A Game at Chess

Margaret Tudor, Queen of Scots 72, 214, 216,217

Marlowe, Christopher 261–3, 341challenges Elizabeth’s ‘cult’ 261–2death 262–3and Dutch Church libel 262epyllia 352influence of morality plays 68Jews in 257, 262, 429Jonson’s Matheo emulates 291and Kyd 161–2and Nashe 346, 352playbooks 234political comment 262and power of representation 245provincial performances of 196revivals 345, 449, 452serials and sequels 356solo writing as norm 346spy 245, 262, 264worksDido Queen of Carthage 252, 261–2, 346, 352Doctor Faustus 68, 234, 245, 258, 345, 452Edward II 252, 262The Jew of Malta 163, 256, 258, 262, 429, 433,

449The Massacre at Paris 259–60, 262, 360Tamburlaine 151, 256, 261, 262, 280, 356, 452translation of Ovid 352

Marprelate controversy 247–9, 324Marsh, Henry; The Wits or Sport upon Sport

467, 469Marston, John

and bishops’ ban 269, 281and boys’ companies 279, 280, 325, 326–8,

348

520






Index

collaboration 343, 345, 347company affiliations 345, 348drolls based on 469epyllia 352leaves theatre for ministry 354at Middle Temple 341music 328neologisms 280publication 326, 353satires 352solo writing as norm 346stage-sitters 170, 173, 175staging embodies themes of play 327symbolic and emblematic action 327and war of the theatres 249, 279will and finances 351worksAntonio and Mellida 151, 165, 279–81, 357Antonio’s Revenge 357Eastward Ho! (with Jonson and Chapman)

144, 300–1, 345, 347, 353, 367, 370The Fawn 326Histriomastix 145, 174, 175, 249The Malcontent 345, 353; Webster’s induction

4, 170, 172, 236Sophonisba 326–7, 328What You Will 170, 278, 353

Martins Months Minde (pamphlet) 248Mary I of England

accession 116, 117Bale and proclamation of 93, 131betrothal to Dauphin 208–9Catholicism 113, 116, 133, 178, 179, 367coronation procession 133–4court drama 102, 133–4, 168–9, 220marriage 258, 264at Norwich 122Protestant exiles under 103–4, 113

Mary of Guise, Queen Regent of Scotland 79,83, 134–5

Mary Queen of Scots 251, 385–6entry to Edinburgh (1561) 71, 72, 83masques for 73

masks, Roman theatrical 16, 18, 44–5Mason, William, at Norwich 122masques 376–7, 383–4

and absolutism 401–5aerial scenes 392allegory 384, 385–6antimasques 384, 398, , 400, 402, 403authors 351Christmas 383, 405–6combination of elements 395–7, 405–6

and communal celebration 385, 387, 405–6continental influence 384, 386, 387, 390–1,

400cross-dressing 73dancing 398–401; antimasque dances 399,

400; choreographed dances of masquers399, 400; social dancing at end 168, 384–5,399, 400–1

Davenant’s works’ similarities to 475–6declamatory style 397–8disguise 206display 383, 401ephemerality 117form 383–4grotesque element 384, 398harmony as theme 385, 395–7, 403identity of masquers and meaning of 404Inns of Court 386, 403Jones’s staging 390–5; see further under

Jones, Inigolove as theme of 385Milton’s reforming Comus 404–5moral purpose 387–8, 401, 404–5music 395–8, 400, 403in non-royal households 201–2, 203, 206,

386, 402–3, 404–5objections to 383, 385, 405origins 68, 384–5, 387, 405–6plays containing 202, 334, 389, 404politics and ideology 376–7, 383, 385–6,

401–5scenery , , 472–3at Scots court 72–3, 74, 77, 78spectacle 390–5, 401stylo recitativo 397–8traditional elementstransformations 391–2, 395wedding of Elizabeth of Bohemia 383, 402women’s participation 144, 220, 221;

Henrietta Maria 144, 387, see also under individual monarchs, Anne of

Denmark; Campion, Thomas;Chapman, George; Civil War andCommonwealth; Daniel, Samuel;Davenant, Sir William (SalmacidaSpolia); Henrietta Maria; Henry, Princeof Wales; Jones, Inigo; Jonson, Ben;Shirley, James

Mass see liturgyMassey, Charles 341Massinger, Philip

and Cockpit 449collaboration 345, 349, 359

521






Index

Massinger, Philip (cont.)death 445and King’s Men 165, 349, 447worksThe Great Duke of Florence 332The King and the Subject 448A New Way to Pay Old Debts 417Rollo or the Bloody Brother (with Fletcher)

449, 460Matthew, Sir Toby 430–2Matthew of Vendome 44Maurice of Nassau, Prince of Orange 376May, John 125May Day celebrations

in England 182, 183, 185, 414; at court 133,212; in Scotland 83, 84; kirk and 85

Mayler, George (actor and merchant taylor)145

mayorssymbols of power 193see also Gloucester (Mayor’s play); Lord

Mayor of Londonmaypoles 185, 212, 442, 458–9, 468Meade, Jacob, and Hope playhouse 322Medwall, Henry 166–8

Fulgens and Lucrece 67, 166–7, 208Il Nature 167–8

Melville, Andrew 73, 83Melville, James 83Menander 44, 284‘mercuries’ (royalist newspapers) 459–60Mercurius Anti-Pragmaticus 459Mercurius Democritus 462, 465–6Meres, Francis; Palladis Tamia 238, 341Merian, Matthaus A Mery geste of Robyn Hoode and of his lyfe The Merry Devil of Edmonton (anon. comedy)

358metre

blank verse superseded 476rime couee in Philotus 81Wakefield Master’s complex 51

Middle AgesAnglo-Saxon period 24–6early 22–43later 43–69, 178–81later influence 67–9in Scotland 70; see also liturgical drama;

music-drama; mystery cycles; non-cycleplays

Middlesex, Earl of (Lionel Cranfield) 427,431–2

Middlesex General Session 174

Middleton, Edward (son of Thomas) 437Middleton, Thomas

and boys’ companies 279, 325, 348city comedy 297collaboration 161, 343, 348, 359; see also

individual plays belowcompany affiliations 165, 347, 348Lord Mayor’s shows 352masques 351, 404, 430; within plays 404playtexts owned by King’s Men 165possible imprisonment over A Game at

Chess 437, 438revision of play for court 345and Rowley 348, 430and Shakespeare 161Welsh characters 254worksBlunt Master Constable 348The Changeling (with Rowley) 423, 430;

wedding in 202, 209, 216, 230, 231A Chaste Maid in Cheapside 329A Fair Quarrel (with Rowley) 348‘Father Hubburd’s Tales’ 325A Game at Chess 227, 231, 374, 376,

chapter 17The Honest Whore (with Dekker) 343, 360A Mad World My Masters 172Masque of Heroes 430The Revenger’s Tragedy 357, 404The Roaring Girl (with Dekker) 172, 173, 321,

348, 378Women Beware Women 332, 404

Middleton household Chamberlain’sAccounts 203

Midlands; touring route 187, midsummer festivities 120

Chester 120, 129, 179Coventry 130Totnes 120Wells 120

Mildmay, Sir Humphrey 446miles gloriosus type 292–3, 295Milton, John

Arcades 405Comus (A Masque Presented at Ludlow Castle)

405mimes

in Anglo-Norman Adam 46Roman and sub-Roman 10, 16, 24–5

minstrelsAnglo-Saxon 24female, Matilda Makejoy 221in 1553 121

522






Index

household 204, 207, 215, 216itinerant 144, 187, 205Scots 79

misrulecivic authorities and 85disguise 77Lords of 118, 120, 132, 186; surrogate 409, 410May celebrations 83Robin Hood plays 75, 77in Scotland 75, 83, 85; abbot ceremonies 75,

76, 84, 118; authorities and 85see also inversion; fools (feast of ); and under

Christmasmobility, social and geographical 48–9, 244,

407monarchy

Bale connects with biblical patriarchs 91and fools 415–16, 417Hezekiah as type of good king 104–7masques and ideology 401–5mythology, Elizabethan and Jacobean 366prohibition on stage representation 436relations with subjects 365–6rightful ruler issue 264, 268Scots reflections on 79, 134Shirley’s The Court Secret on 455–7theatre as connected to 440touring companies as representatives of

192–3, 197see also absolutism; patronage (royal

monopoly); progressesmonasticism

Anglo-Saxon 25Bale’s attack on 101dissolution 64, 181–2, 221; aristocracy and

96, 97; effects on drama 65; loss ofmanuscripts 39

and liturgical drama 26–43and N-Town Plays 50

money-lending, Elizabethan 153see also playwrights (finances; advances and

loans)Montague, Walter; The Shepherd’s Paradise

378, 447Montaigne, Michel Eyquem de 76–7Montecassino Passion Play 42Montgomerie, Alexander 77–8Montgomery, Susan Vere, Countess of 221Moors in Elizabethan drama 255, 256moral plays 195, 196, 218, 468moral purpose of theatre 372–3, 387–8, 401,

404–5, 469–70moralites, French 135

morality plays 53, 54–7allegory 54, 57inversion and restoration of order 62Marlowe and 68at wedding of James IV and Margaret

Tudor 216More, Sir Thomas, and circle 67morris dancing 118, 128, 186, 210, 414

Kemp’s, from London to Norwich 273, 411Morton, Sir Albert 436Morton, Cardinal John, household of 67,

166–8mosaics, Roman, at Horkstow, Lincs 18Moseley, Humphrey 164, 362Mountjoy, Charles Blount, 8th Baron 254Mucedorus (anon. adventure play) 234mummings 62, 384Munday, Anthony 244, 264, 341

collaboration 343, 346, 359Lord Mayor’s shows 352masques 351not named on title pages 353prose tracts 352A second and third blast of retrait from plaies

and Theaters 244Sir Thomas More 346, 355

musicaffective power 36–8early modern: books in households 207,

208; boys’ companies 280, 325, 327, 328;at Globe 317, 319; and harmony 395–7,403; interaction with words and staging328, 395–7; itinerant performers 121–2;location of players in theatre 300, 317,319, 327, 328; in masques 395–8, 400, 403;patronage of musicians 191, 221; andplatonism 395; women and 221

medieval: Beauvais Ludus Danieli 42; inliturgical drama 36–9; mystery cycles 52,130; non-cycle plays 59; notation 37;plainsong (Gregorian) chant 36–7; tropes36

Roman 16, 23see also minstrels; singing

music-drama, medieval 27–43, 45non-liturgical 41–3, 48see also liturgical drama

mysteres, French 129, 130, 131, 135mystery cycles 50–3, 126–31

audiences 52authorship 130, 205Bale and 93, 131Christ’s incarnation in 65

523






Index

mystery cycles (cont.)and civic culture 49, 50, 51, 53, 127and community 61, 62, 130–1comparative rarity 128–9, 180content 129at Corpus Christi 49, 65, 129dialects and regional speech 130elsewhere in Europe 129; see also mysteresguilds and 49, 51, 129, 130household plays akin to 205influence on later theatre 68instructional purpose 52–3inversion and reassertion of order

61–2longevity 88, 117–18, 247music 52, 130organisation and manner of performance

50, 51–2, 129origin 49; and of term 49performers 130plague and 126–7post-Reformation 88, 109, 126–31Protestant revision and demise 52, 65, 87,

88, 109, 112–14, 126, 127, 178, 179–80;Elizabethan orders prohibiting 179, 247;and fear of images 87, 109, 179; see alsounder individual places

and religious experience 131revival under Mary I 178, 179sacramentalism 65, 112, 114social comment 50, 51staging 51–2texts 130versification 130see also N-Town Cycle; Towneley plays; and

under Beverley; Chester; Coventry;Exeter; Newcastle; Norwich; Wakefield;York

N-Town cycle 50, 111Nabbes, Thomas

Covent Garden 449Tottenham Court 449

Nantes, Treaty of 260Nashe, Thomas

Dido Queen of Carthage (with Marlowe) 252,346, 352

entertainment for Whitgift 168and Isle of Dogs affair 162, 249, 315, 346–7,

352and Marprelate controversy 247Nashe’s Lenten Stuffe 346–7, 352picaresque fiction 352

Pierce Penniless’s Supplication to the Devil 174,352

Summer’s Last Will and Testament 352nativity play, household 205Naworth, Cumberland 198neo-classicism 390–1, 395Netherlands

Elckerlijc 56, 57immigrants from 262war against Spain 258–9, 260, 264, 268, 411

Nethersole, Sir Francis 427neumes, Anglo-Saxon New Comedy, Greek 44, 284, 286The New Market Fair or a Parliament Outcry of

State Commodities 466New Romney, Kent 122, 128, 180, New World 254–5, 257, 403New Year festivities 208Newcastle, 1st Duke of (William Cavendish)

362Newcastle, Tyne and Wear 121

mystery cycle 50, 127, 129on touring route 187,

Newington Butts playhouse 225, 301newsbooks

Perfect Occurrences 459The Perfect Weekly Account 460

Newton Valence, Hants; king ale 183Nice Wanton (interlude) 103, 132Nicholas, St; medieval French plays 41, 46Nicholas of Modena 95non-cycle plays, medieval 53–9

commercial motives 59inversion and reassertion of order 61–2later influence 68–9music 59after Reformation 87, 88spectacle 59themes, contemporary readings, and

universality 59–61Vice figure 410see also history plays; morality plays; saint

playsnon-verbal performance

clowns 411household drama 202, 203

Norden, John; Civitas Londini Norfolk, 4th Duke of ( John Mowbray) 218Norman Conquest 24, 26Northampton, 1st Earl of (Henry Howard)

367Northampton, 3rd Earl of ( James Compton)

463

524






Index

Northampton, 4th Earl of ( James Compton)176

Northbrooke, John 243Northumberland, 3rd Earl of (Henry Percy)

209Northumberland, 5th Earl of (Henry

Algernon Percy)chapel 205, 208, 213, 215household drama 205, 213–14, 216The Second Northumberland Household Book

203, 211Northumberland, Duke of ( John Dudley) 116,

133Norton, Thomas, and Thomas Sackville;

Gorboduc 106, 251Norwich

city waits 121Common Hall 194Kemp’s morris-dancing to 273, 411Mary I at 122music in medieval cathedral 39mystery cycle 50, 65, 127, 129Red Lion Inn 194–5touring companies at 187, , 189–90, 194,

198; patents 154; Queen’s Men 189–90,194–5

Nottingham Castle, Elizabeth I at 385–6novelty entertainers 211–12

Oates, Jack 273–4occasional celebrations

civic, Elizabethan 213household 205, 212–17, 223Shakespeare’s plays for 356

Okeden, John, of Canterbury 94Oldcastle, Sir John 272, 356

see also Falstaff character; Sir JohnOldcastle

Olivares, Conde-Duque 433open-air theatres

Cornish playing places 54, 128Scottish 78–9, 82, 134–5Shrewsbury 109

operaaffective power 37–8in original language 39–40seventeenth-century quasi- 469–75; see also

under Davenant, Sir William; Flecknoe,Richard

oral tradition and jigs 411Orange, France; Roman theatre 14orchestra space, Roman 15, 16orchestras (musicians) 327

orderaffirmed by inversion 61–2theatre as threat to 364–5, 408–9, 436,

458Ordinalia (Cornish cyclic drama) 128Osborne, Dorothy (later Lady Temple) 463Overbury, Sir Thomas 403–4Ovid 44

Marlowe’s translation 352owners of theatres; finances 153, 154, 307, 313

see also Burbage family and individualmembers; Henslowe, Philip

Oxford, 16th Earl of ( John de Vere) 90Oxford, 17th Earl of (Edward de Vere) 147, 212,

219–20, 221Oxford University 44

academic plays 126Christ Church 126Hamlet performed at 357Magdalen College 98New College 126Peele at university 341touring route 187,

Oxford’s Men 147, 192, 210, 322pageants

on Elizabethan stage 318–19Haddington guild 74meanings of term 120–1mystery cycles 50, 51at Theobalds, for Christian IV of Denmark

385Palatinate see Frederick V, ElectorPalatine Prince (nephew of Henrietta Maria)

447Palsgrave’s (or Palatine’s) Men 163, 164, 375Pamphilus (anon. medieval play) 44pamphlet plays 464–7pamphlets 429

Dekker 159Greene 352Heywood 354Scott 376The Stage Players Complaint 150Stubbes 260see also Marprelate controversy

pantomimes, Roman 19, 20, 23papacy 258, 264paper-saving devices 165Paris 44, 259–60, 460parish-sponsored drama 88, 93, 115, 178–9,

180–1, 186fund-raising through 180, 181–2, 184–5see also ales

525






Index

parliamentAct for the Advancement of True Religion

(1543) 367Act of Uniformity (1551) 3671642 order suspending performances 147,

178, 197, 439, 440, 441; Actors’Remonstrance and 447, 464; authorities’support for 441–2; contemporaryexpectations of duration 440–1, 458; MPsnot in support of 442–3, 461–2; politicalcontext 440–1, 443–4

1648 order for demolition of playhouses441, 459, 461, 462

Charles I’s rule without 381James I’s dissolution of 375and local sports and festivities 186Pride’s Purge 461–2

parliament, Scots 84parody

Dunbar’s on royal entries 79Shakespeare’s on guild players 68

parts system 164–5, 280, 287–8see also doubling of parts

passion playsmedieval monastic 42post-Reformation 82, 128, 180; see also Bale,

John (‘The Passion of Christ’)pastoral genre 377, 378, 447patents 153, 210–11, 261, 300

see also licensespatronage

court, of humanism 66and household drama 201, 202, 213, 218, 221,

222, 231household membership as element 142,

186–7, 210–12and politics 141–3; promotion of patron’s

ideology 90, 96, 106, 204, 212, 217, 219,231

at Scots court 77, 85–6women patrons 220–1; see also individual

queenssee also under commercial theatre;

playwrights; professional troupesPaul, St; epistles, on folly 415Paul’s Boys (formerly Children of St Paul’s)

early Tudor amateur performances 123,298, 323

1575–90/1 278, 298, 323, 3241599 onwards 278, 325, 329freedom from civic control 278Dekker and 359

household and household-style playing169, 208

Lyly and 278, 324Marston and 151, 279–80, 348Middleton and 348playhouse 169, 323

Paul’s Cross sermons 301, 320pavilions 134–5Peacham, Henry 304, Pearce, Edward 279, 280Peele, George 341, 346, 352

The Araygnement of Paris 221–2, 252The Battle of Alcazar 255, 256David and Bethsabe 277The Old Wives’ Tale 248

Pembroke, 2nd Earl of (Henry Herbert) 147,207, 217

Pembroke, 3rd Earl of (William Herbert)as lord chamberlain 154, 427, 428, 437wedding celebrations 207, 216

Pembroke’s Men 143, 147, 190, 347see also The Isle of Dogs affair

Penance, sacrament of 47Pennington, Alderman Isaac, MP 442Penryn, Cornwall 128Penrith, Cumbria 266Percy, Eleanor, Duchess of Buckingham 204Percy, Henry Algernon see Northumberland,

5th Earl ofPerfect Occurrences (newsbook) 459, 461–2The Perfect Weekly Account (newsbook) 460Perkins, Richard; poem prefacing Heywood’s

Apology for Actors 227perspective

anamorphic 242Jones’s perspective scenes 391

Perth 74Petre, Sir William 123, 208, 214Philip II of Spain 251, 258, 260, 264–5, 272Phillips, Augustine, of Lord Chamberlain’s

Men 250, 356Philotus (anon. Terentian play) 76, 77, 81–2, 84Phoenix playhouse see Cockpit, Drury Lanepicaresque genre, Nashe and 352Pilke, Richard and Elena (royal minstrels)

204Pill, John (tailor, of Aberdeen) 75piracy of playtexts 160–1Pirandello, Luigi 68Pitscottie, Lindesay of 73Pius V, Pope 258, 264place and scaffold staging 51

526






Index

plagueclosure of London playhouses 225, 235–6,

243, 267, 364, 440–1; (1581) 145;(1590s–1603) 267, 312; (1603) 364; (1609)329; (1625) 361; (1636–7) 361, 449

effect on companies 312in 1599 264, 266, 267and James I’s coronation pageant 364and mystery cycles 126–7

plainsong (Gregorian) chant 36–7platonism 377, 385, 388, 390, 395, 403, 472Platter, Thomas 174, 314Plautus 17, 44, 287

Jonson and 286, 292–3Tudor performances 125, 212

playbooksas advertising 235–6, 276, 353best sellers 234and capitalisation 235–6, 274Dering’s collection 442reading public 234–8, 277statistics of production 237–8, 276, 277, 352–3

players see actorsplayfields, Scottish public 82playhouses, London 224, 298–335

amphitheatres 298–323animal baiting 322–3buildings signal commercialisation 243Civil War/Commonwealth demolition

and dismantling 441, 459, 460–1, 462complaints from neighbours 226, 440design, general 299–300economic aspects 153, 154, 225–9, 307, 313indoor venues 323–38in liberties 226–7, 243, 305, 320, 323map of number of visits 228Paul’s Boys’ 169, 323puritan objections to 440patterns of production 446‘private’ 278–9, 325at Restoration 441social entrenchment 445–6see also Blackfriars theatre; Boar’s Head;

Cockpit; Curtain; Drury Lane Theatre;Fortune; Globe; Hope; NewingtonButts; Red Bull; Red Lion; Rose;Salisbury Court; Swan; Theatre; andWhitefriars playhouses, and balconies;boxes, side; galleries; lighting; music(location); stages; staircases; tiringhouses; trap-doors; yards

playing placesCornish (plen-an-gwaries) 128touring companies’ 154, 194see also inns; playhouses; and under

householdsplays within plays 379, 381, 382

droll genre incorporates 468see also under Shakespeare, William; Sir

Thomas Moreplaytexts 160–5

actors’ input 162–3, 430alteration 161, 162–3amounts paid for 350commercial companies and 160–3, 165in households 217–20loaned out with theatre 163ownership 155, 158, 160, 163, 352, 362, 450; see

also under individual companiespiracy 160–1Queen’s Men’s loss of 163, 329–30, 450readership 233–8, 277, 326revision 165, 344, 348, 355, 359, 369; see also

under Shakespeare, WilliamScottish 76–9, 84storage of 163–4see also Revels Office (licensing);

publicationplaywrights, early modern 341–58

and actors 159–60, 162–3; player-playwrights 158, 232, 341, 341

collaboration 161–2, 232, 341, 342–7and companies 155–60, 232, 341, 347–9;

‘outside sales’ 347–8, 349contracts 157–8, 347finances 156–7, 232–4, 350–4; advances and

loans 347, 348, 350–1; earnings 350; andpublished plays 352–4; salaries 157, 158

free-lance writing 347, 355in households 207, 208life-long work or retirement 342, 345, 354,

447and market 160masques 351non-dramatic writing 341, 352origins 341patronage 207, 218, 351–2; Shirley’s

development of personal 355, 361, 362–3;see also under individual names

and publication of works 341–2, 352–4, 361–2‘reformed’, criticise theatre 244revision and amendment of playtexts 165,

345, 356

527






Index

playwrights, early modern (cont.)sharers 157, 158, 358small piece-work 355, 360solo composition 342wills 351see also individual names and under

audience‘The Pleugh Sang’ (Scots part-song) 77plots 165, 287–8, 350Plymouth, Devon 187, politics and drama

Caroline period 143, 144, 377, 450, 452–3commercial theatre and 227crown attempts to control 246–7early Tudor 103–7, 115, 131–2, 135, 136;

political use of drama 96, 104–7, 219household drama 208, 222jigs 174, 175masques 383, 385–6, 401–5patronage and Elizabethan 141–3, 231Queen’s Men and 211and religion 367–8, 374–5Scots royal entries 71, 72see also controversies and under individual

playwrights and interludesPonet, John, Bishop of Winchester 104poor relief 260, 266popular culture 155, 223, 243, 452

see also individual genrespopulation 8, 48–9, 193, 242Porter, Henry 341

collaboration 277, 343, 347, 348death 351, 358and Lord Admiral’s Men 157, 347, 349,

350–1works‘Hot Anger Soon Cold’ (with Jonson and

Chettle) 348The Spencers (with Chettle) 277The Two Angry Women of Abingdon, sequel

to 277Portugal 256Pory, John 146Postlethwaite, Pete 292Pragmatic Sanction (1438) on Feast of Fools

414precedence

in guild processions 74, 120amongst nobility 215

precisians 185predestination 102, 103, 104–5Preston, Lancs; Corpus Christi play 180Prestonpans, E Lothian 83

The Pride of Life (morality play) 54Pride’s Purge 461–2Prince Charles’s Men 454

Bankes and 149in Civil War/Commonwealth period 460at Fortune 451–3Middleton and 348at Red Bull 150at Salisbury Court 451value of shares 153

Prince Henry’s Men 198, 322, 365printing 65, 66

see also publicationPrivy Council 246

and actors’ professional status 145and Blackfriars theatre 442and Chester mystery cycle 179and A Game at Chess 425–6, 436–7and The Isle of Dogs 249, 253–4on Newington Butts playhouse 301patent for Leicester’s Men 153, 300and plague closure of theatres 145, 267Queen’s Men as tool of 143, 211restriction of London companies to two

143, 276, 312, 322and The Whore New Vamped 150

processionsat festivals 74, 120civic 49, 68, 72coronation 133–4, 213, 364, 365Corpus Christi 48, 74, 75, 128, 193harvest 71misrule 75–6precedence of crafts in 74, 120royal entries 72

professional troupes, Tudor 96, 122, 186–99benefit from decline of communal drama

230biblical drama 88, 96–101, 108–9, 114–15and civic authorities 153, 191, 193, 194, 198,

298; see also licensing belowat court 142, 143, 145–6, 272–3, 277, 298, 356,

359–60, 447–8; fees 298; prestige 155decline and end of touring 197–9finances 98, 152–3, 188–91, 298in Gloucester 189, 192, 198–9household visits 168–9, 193, 194, 196, 197,

198, 217increasing difficulties, 1570s 300inns as playing spaces 194intelligence gathering 204, 211, 245licensing 154, 189, 193, 441–2; patron’s

influence and 189, 192, 193

528






Index

outdoor performances 194patronage 96, 122, 142–3, 146–7, 191–3,

210–12, 230–1; benefits to patrons 192–3,204, 222, 231, 245; patron’s standingdetermines treatment 189, 191–2, 193, 211;promotion of patron’s ideology 90, 96,106, 204, 213, 218, 219, 231; protection ofplayers 189, 211, 230–1, 300, 370

playing places 194provincial touring 186–99repertories 194–6singing 97size 196–7storage of playtexts 163–4touring routes 187–9, 198travel permits 186–7, 191, 230–1see also individual troupes and commercial

theatre, Londonprogresses, royal 114, 204, 213, 386, 425–6prologues 149, 172properties, stage 307–8, 310prophet play genre 93proportion, neo-classical principles of 395proscenium arch, Davenant’s 472Protestantism

Bible as literal word of God 114–15biblical themes promoted by 88–90Catholic coexistence, early 87, 93Chelmsford as stronghold 112and commercial theatre 243and decline in provincial drama 178–9under Edward VI 93, 116, 136, 142and literacy 87Marian exiles 103–4, 113moderate Elizabethan 211, 219, 385–6and non-cycle plays 87and provincial biblical drama 108; see also

under mystery cyclesreforming passion plays 82; see also Bale’s

The Passion of Christpatronage; see also individual noblesuse of theatre for polemic 141–2, 143, 211variety within 87see also Calvinism; Church; images; kirk;

mystery cycles (Protestant revision);Reformation

provinces, early modern performance in178–98

biblical plays, demise of 179–82Book of Sports promotes 185–6civic authorities and 154, 192, 193, 194, 197,

199, 298see also licensing below

Civil War/Commonwealth, performancesin 463–4

decline in drama 155, 178–82, 441–2licensing of plays 154, 189, 193, 441–2;

patron’s influence and 189, 192, 193local sports and festivities 185–6, 442playing places 154–5touring companies 141, 186–99see also ales; households; parish-sponsored

drama; professional troupesPrudentius 54Prynne, William 378–80, 458

and class issue 380, 381Shirley and 362, 379

psalms and psalters 38, 415–16psychomachia 54, 68, 101publication

author acknowledgements 155–6, 353collection of material for 164Elizabethan playtexts 155Everyman 56James I’s, of Lindsay’s Satyre 135King’s Men protected from unauthorised

443, 447licensing 372, 375playwrights and 341–2, 352–4, 361–2;

Shirley’s control 354, 361–2readership of playtexts 233–8, 277, 326revision of plays for 369see also authorship, acknowledgement of;

playbooks and under individualplaywrights

publicityboy actors’ role 149, 176in Interregnum 176playbooks and 235–6, 276, 353touring companies’, for patrons 90, 96, 106,

192–3, 204, 213, 218, 219, 231Pudding, Jack (generic name for actor) 461, 466Pudsey, Edward; commonplace book 163, 175punishments 370, 379–80

see also imprisonmentpuppetry 175, 198, 212, 229puritanism 219

attacks on theatre 197, 243, 405, 440, 463–4Civil War/Commonwealth polemic recalls

440, 459, 463–4and James I 427and Lords of Misrule 120and Marprelate controversy 247–9Queen’s Men and discouragement of 143,

193suppression of local festivities 185

529






Index

Puttenham, George; The Arte of English Poesie301

pyrotechnics 54, 72, 118, 220, 320, 328

Queen’s Men (Elizabeth I’s) 230, 312clowns 409, 410–11and The Famous Victories of Henry V 357finances 148, 190–1, 192formation 143, 147, 193, 211Garland as member 148in Gloucester 189, 194intelligence-gathering 193Leicester and 143, 211and Marprelate controversy 247, 248in Norwich 189–90, 194–5political value 143, 211publication of plays 277, 352Walsingham and 143, 193

Queen’s Men (Anne of Denmark’s) 329Thomas Greene 154, 413Heywood and 349and Shrove Tuesday riot (1617) 163, 329–30value of shares 153Worcester’s Men become 198, 322, 365

Queen’s Men (Henrietta Maria’s) 379, 449,450, 451

queens, summer 183Quem Quaeritis ceremonies 27–30, 38–9, 40

Visitatio Sepulchri 28–9, 32–4Quiercy, Council of 31

Radcliffe, Ralph (author of scriptural plays)89, 97

Radcliffe, Thomas, 3rd Earl of Sussex 142, 409raids on playhouses, Civil

War/Commonwealth 459, 462, 468Ralegh, Sir Walter 254–5, 368, 421Rangeworthy, Glos; Whitsun revels 185Rankins, William 347, 458

and Hathaway: Hannibal and Scipio 342;‘John of Gaunt’ 347

Rastell, John 67Ravenscroft, Thomas, of Paul’s Boys 280Rawlins, Thomas; The Rebellion 451Read, Richard (stationer) 353–4Reade, Timothy (clown) 413Records of Early English Drama project 141,

200, 201Red Bull playhouse 446, 449–50, 451–3

boy actors 149building 225, 322Civil War/Commonwealth performances

322, 449, 459, 462, 467–8; authorised 176;

pamphlet plays 465; raided 461; ropedancing 459–60, 465–6

Greene as clown at 413Heywood’s Age plays 165The Irish Rebellion 453Prince’s Men at 150Queen Anne’s Men at 329–30Restoration performances 322, 441revivals 452The Whore New Vamped 453

The Red Knight (anon. play) 409Red Lion playhouse 153, 225, 298–300, 303,

314Redbourn, Herts; Whitsun ale 182Rederijkers’ plays 56Redford, John 67, 208

Wit and Science (interlude) 208REED see Records of Early English DramaReformation 64–5, 87–114

civic involvement 65, 115, 267court drama 88–104, 105, 107, 108–9and decline of public and religious drama

109, 178–9, 229, 230kingship, ideas of 104–7Latin language plays 108Latin liturgy in early 93political use of drama 96, 104–7, 219professional troupes 96–101, 108–9school drama 88, 90, 108–9in Scotland 79; see also kirkstaging of plays 93–5state control of religion 242and transubstantiation 63–4, 65university drama 88–104, 105, 107, 108–9see also images; monasteries (dissolution);

Protestantism; and under Bible; biblicalplays; literacy; mystery cycles

regional troupes, Elizabethan 149religion

politics inseparable from 367–8, 374–5Roman period 10, 17, 18, 19see also Catholicism; Church;

Protestantism; ReformationRenaissance 61–9, 155repertories, stabilisation of 446representation, power of 245, 246

see also imagesRespublica (interlude) 131, 135–6, 208Restoration

adaptations of Shakespeare 468changes and continuity 439–40, 476comedy of manners 297impresario system 454

530






Index

King’s Men under Killigrew 460playhouses still usable 322, 330, 441

The Resurrection of Our Lord (anon. biblicalplay) 110–11

Resurrection play in household 205The Return from Parnassus (university play) 150Revels Office and Master of the Revels

boys’ companies’ freedom from 279, 370closes Cockpit, 1640 450court entertainments, 1553 133direct control of Admiral’s and

Chamberlain’s Men 249and Elizabethan patronage system 222licensing of plays: Elizabethan/early

Jacobean 163–4, 246, 249, 274, 326;Caroline system 143, 147, 446; ceasesoperation in 1642 439, 444, 446; forprinting 371; see also Herbert, Sir Henry

Offices of Tents and Works 207patent to Leicester’s Men 153protects players from rigorous magistrates

246stage tower at Blackfriars 95Tilney and Sir Thomas More 246, 247

revenge plays 357, 360revision of plays see under playtextsrevivals

Caroline 157, 377, 449–50, 451, 452Elizabethan 165, 350, 357, 360revision of texts for 165, 345with up-to-date follow-on 160

Rex Diabole (interlude) 221Reynolds, John (carpenter) 299Reynolds, John (pamphleteer); Vox Coeli 429Reynolds, Robert (clown) 411rhetoric, art of 123, 172Rich, Henry, 1st Earl of Holland 362Richard II, Essex and figure of 249, 250–1, 268,

269, 270Richard, Lewis (composer) 397Richards, Nathanael; Messalina 303, , 451Richmond Palace 207rime couee in Philotus 81riots 246, 260–1, 364

see also under apprenticesritual

Latin liturgy 27in liturgical drama 39–40Roman period 18and time 35

roadsElizabethan touring routes 187–8Roman 6, , 8–9, 24, 25

Roanoke, North Carolina 254–5Robert III of Scotland; coronation 71Roberts, James (stationer) 352Robin Goodfellow 94, Robin Hood plays

in Cornwall 128late fifteenth-century 88sixteenth-century 118, 119, 128, 182–3, 206, 231in Scotland 73–4, 75–6, 77, 83, 84, 118;

stanzaic introduction, ‘The Manere ofthe Crying of Ane Play’

Robinson (Elizabethan playwright) 344‘Felmelanco’ (with Chettle) 343, 344

Robinson, Nicholas 125Robinson, Thomas; The Anatomy of an English

Nunnery in Lisbon 429Rogers, David; Breviary 113Roland le Fartere (entertainer) 212Roman period 3–22

Christianity 9, 19, 20civic buildings 6, 8, 11–14decay and reuse 21civic role of theatre 17cultural context 4, 5–10demise of empire 9, 20, 23end of Roman occupation of Britain 20evidence on theatre 10historical background 4–9late and sub-Roman period 20–6performance culture 9–10place of theatre in Roman life 9–20religion 10, 17, 18, 19Romanisation of Britain 5–9, 17–18sources 4spectacle 22–3towns 5–6, , 8–9, 21tragedy 16, 17see also Verulamium; villas; and under

amphitheatres; comedy (classical);roads; theatre buildings

rope dancing 459–60, 461Rose playhouse 301–10

blocking 304–5building 225, 301–2capacity 307contract for hired man 152excavations and contemporary drawings

302–5expansions and improvements 305, 312, 316flying gear 312Globe in competition with 273, 274Henslowe and 158, 301–2, 305–7, 312, 316interior

531






Index

Rose playhouse (cont.)Lord Admiral’s Men at 273, 276, 307–10, 312Lord Chamberlain’s Men at 312river transport to 305sight-lines 304size 302–3stage 303–5, 307staircases 314Strange’s Men at 196, 307–10The Shoemakers’ Holiday 267The Spanish Tragedy (1592) 307–10tiring house, frons 308, 309, 314Titus Andronicus 304Worcester’s Men at 158, 343

round, performance in; Cornish tradition 54Rowe, John; sermons, Tragi-Comedia 463–4Rowe, Nicholas 356Rowley, Samuel 341, 345, 351

finances and will 350, 351, 359Rowley, William 232

collaboration 345, 359as comic actor 232, 413, 423, 430and Palsgrave’s Men 164worksAll’s Lost by Lust 430The Changeling (with Middleton) 423; as

Lollio 423, 430; wedding in 202, 210, 230,231

A Fair Quarrel (with Middleton) 348The Witch of Edmonton (with Dekker and

Ford) 378, 417royal ceremonies 68, 70–4

Scottish 70–4see also coronations; entries

royal householdHenry VII’s and legitimation of dynasty 219theatrical patronage see under commercial

theatresee also individual members and court drama;

progresses; Revels Office; and underweddings

Ruddier, Sir Benjamin 436running time of plays 310rushbearing ceremonies 186Russell, Lord; players 122Rutland, household of Duke of 204–5Rutland, 6th Earl of (Francis Manners) 362Rye, Kent 187,

sabbatarianism 82, 185, 186, 243, 365, 442Sackville, Edward, 4th Earl of Dorset 144Sackville, Thomas, 1st Earl of Dorset, and

Thomas Norton; Gorboduc 106, 251

sacramentalism, medieval dramatisation of62–4

mystery plays 65, 112, 114St Albans, Herts

Abbey 19, 21–2, 39, 43, 44–5; manuscript ofTerence 44–5,

grammar school 361Roman town see Verulamium

St Andrews 72, 75, 83St Bartholomew’s Day massacre 259–60St Breock, Cornwall 128St Columb Major, Cornwall 128St George play, Bishop’s Stortford 180St Ives, Cornwall 128St John’s Eve festivities 121St Martin’s Eve festivities 121St Meriasek (Cornish saint play) 54, 128St Paul’s School, London 66

early Tudor performances 123, 298, 323see also Paul’s Boys

St Peter’s Eve festivities 121saint plays 53–4

Cornish, St Meriasek 54, 128Wager’s adaptation of 97–9, 101

Salamanca university 44salaries

hired men 152–3playwrights 157, 158touring companies 152–3

Salic Law 266, 270, 271–2Salisbury, Wilts 187, Salisbury Court playhouse 450–1

amateur plays by courtiers 144building 335–8Brome as playwright 349, 355, 450, 451Civil War/Commonwealth period 459,

461–2; interior dismantled 441, 462Earl of Dorset’s interest in 144playbooks 164Queen’s Men at 449revivals 451

Samuelston, E Lothian 85Sands, William (puppeteer) 198scena ductilis 392scene changes 310, 327–8scenery 392, 439–40, 450, 476

Davenant’s 472–4, see also architecture, stage and under

masquesschool plays

biblical 88, 89, 108–9Bucer on 90at court 105–6, 123, 298, 323

532






Index

Elizabethan 123, 323in Scotland 83–4Terentian 83–4see also Jacob and Esau

schools 155, 286Shrewsbury 109see also school plays

Scotland 70–86antipathy in Jacobean England 366, 371civic play 72, 73in Civil War 441clerk plays 74, 84court drama 70–4, 78–9, 86guilds 74–5introductory speeches to plays 77–8James I and union project 366, 403kirk and drama 81, 82–6literacy 76Parliament 84playtexts 76–9, 84poetic references to play events 79–80royal events 70–4Scots language plays 76Shakespeare’s Henry V on relations with

270–1sources 70tournaments, mock and real 79tradition of play, continuity of 86see also kirk; Scots language; and under

dancing; misruleScots language

folk play 77masques 77playtexts 76, 77

Scott, ThomasVox Populi 376, 429The Second Part of Vox Populi 429

seating, theatreearly modern indoor venues 324–5, 330Roman 14–15, 16see also stage-sitters

A second and third blast of retrait from plaies andTheaters (possibly by Munday) 244

The Second Maiden’s Tragedy (anon. tragedy) 357secularisation of drama 87–8Le Seinte Resureccion (Anglo-Norman drama)

46self-fashioning, late Elizabethan 261Selimus (anon. play) 256Seneca, Lucius Annaeus, the Younger 17

Alexander’s tragedies after 76sequences, musical 36serials and sequels 160, 356, 357, 360

sermons 243, 301, 320, 375servants, wily and saucy 62, 286Servi, Constantino de 394–5Severn valley 118, 187–8Seymour, Edward, Duke of Somerset 208Seymour, Jane, Queen of England 220Seymour, Sir William, and The Coleorton

Masque 404–5Shaa, Robert

‘doodle’ of plot 165and Isle of Dogs affair 150, 162, 249, 346–7

Shakespeare, William 355–9, 363as actor 232, 341amateur performance of plays 442Armin’s roles 418, 420, 422–3and audience: distancing 171; writing to

please 231, 356, 358Celtic characters 253, 254, 270–1characterisation 285, 414clowns 407, 408, 412, 414, 417, 422–3collaboration 161, 346, 355comedy: characters 413–17; see also clownsabove, fools and knaves below; styles of 278,

285–6commercial sense 231, 356, 357, 358drolls based on 468–9domestic relations genre 357epyllia 352Falstaff character 275, 276, 356, 412, 469finances 272, 273, 358, 359and Fletcher 160, 230, 355fools: Feste 418–20, 423; Lear and 416–17,

420; Touchstone 273, 418, 420, 423foreign figures in 255, 256free-lance period 355and Globe: investment 268, 273, 358;

performances at 274–5, 277, 317–20;references in plays 273, 277–8, 316

history plays 269, 356; see also individualtitles below

internal dialogues 413and James I’s accession 270–1and Jonson 357–8Kemp’s roles 412knaves 422, 423and Lord Chamberlain’s/King’s Men 157,

354–5, 356; sharer 157, 158, 329, 358and Lyly 284–5market, writing for 231, 356, 357, 358Menander’s influence 284music 328occasional writing 356ownership of playtexts 165

533






Index

Shakespeare, William (cont.)patronage 220, 358plays within plays: Hamlet 202, 231, 412;

A Midsummer Night’s Dream 68, 171, 202,215, 230, 231; The Taming of the Shrew 202

poetry 358and politics 268–9, 270–2, 356; Richard II and

Essex rebellion 249, 250–1, 252, 268, 269publication: authorship acknowledged 353;

(and not) 353; folio collections 233–4, 278;fourth quarto 250; playbooks 234, 277;revisions for 160, 282, 356

provincial performances 196, 357religious sympathies 220Restoration adaptations 468retirement 447revision of others’ and own plays 160, 282,

355–6serials and sequels 160, 356–7and Shirley 361smaller piece-work 355solo writing 342, 346, 354–5sonnets 352, 358spectacle 59and Strange’s Men 355and Sussex’s Men 304, , 355and war of the theatres 249What You Will, As You Like It titles 231, 278and Wilkins 355will 358–9worksAll’s Well That Ends Well 420Antony and Cleopatra 328, 414As You Like It 231, 277, 278, 285; new concept

of comedy 278; references to Globe 273,277–8; Touchstone 273, 418, 420, 423

Cardenio (with Fletcher) 355Coriolanus 261, 420Cymbeline 271, 420and Edward III 355Hamlet 352, 356, 357, 372, 413; on boy

performers 208, 249; on Globe 277–8,316; play within 202, 231, 412; referencesto theatregoing 171, 175, 412; revisions282, 356

Henriad 355, 357 Henry IV 252, 253, 266; Falstaff character

275, 276, 412, 469; playbook 234, 277 Henry IV 252, 353Henry V 268, 271, 277, 301, 353; Celtic

nationals in 254, 270–1; historicityquestioned 275–6; Pistol character 260,423; and political climate 254, 268, 270–2

Henry VI plays 252, 307, 355, 356, 360; Cade’srebellion 261, 409

Henry VIII (with Fletcher) 317–20, 355Julius Caesar 408, 413, 420; performed at

Globe (1599) 274–5, 277 (1999) 320;political context 268–9, 270

King John 355–6King Lear 271, 356; fools 416–17, 420;

revisions 282, 356, 370Love’s Labour’s Lost 248, 259, 384–5Love’s Labour’s Won 356–7Macbeth 356, 413Measure for Measure 413, 420, 422–3The Merchant of Venice 255, 256, 352, 353,

412The Merry Wives of Windsor 254, 356, 357A Midsummer Night’s Dream 252, 255, 353,

356; clowns 407, 412; droll extracted from468; mechanicals’ play 68, 171, 230; playas wedding entertainment 202, 215, 231;Puck as Knave 422

Much Ado About Nothing 278, 283–4, 285, 353,412

Othello 255, 256, 357, 413–14Pericles (with Wilkins) 355The Rape of Lucrece 358Richard II 249, 250–1, 252, 268, 269Richard III 234, 360, 413, 429Romeo and Juliet 277, 279, 412, 413–14and Sir Thomas More 162, 346, 355The Taming of the Shrew 171, 202, 355, 433; on

entertainments 171, 175, 228–9; Fletcher’ssequel 160

The Tempest 202, 389, 420Timon of Athens 420Titus Andronicus 255, 304, , 355Troilus and Cressida 160, 236, 352, 358, 420Twelfth Night 61, 231, 278, 356; Feste 418–20,

423Two Gentlemen of Verona 412The Two Noble Kinsmen (with Fletcher) 230,

355Venus and Adonis 358The Winter’s Tale 183, 420, 422, 423

Shanks, John 145sharers 231–2, 312

Caroline non-player 153finances 145, 153Lord Chamberlain’s/King’s Men managed

and owned by 313, 317, 329, 447, 454number in company 152ownership of plays 159, 163player-playwrights as 157, 158, 358

534






Index

roles given to 149and 1642 suspension of theatres 448

Sharpham, Edward (playwright) 351, 359Shatterell, Edward (actor) 462Sheppard, Samuel; pamphlet plays 465Sherborne, Dorset 181–2, 194Ship Money 448Shirley, Lady Dorothy 362Shirley, James 355, 361–3, 454–7

and audience 361company affiliations 355, 361, 449; King’s

Men 355, 361, 362, 445, 447controversy over The Ball 437–8death 362in Dublin 361, 445finances 362–3and Henrietta Maria 379, 380, 403influences on 361Inns of Court perform works 362, 376London origin 341masques 351, 362, 376, 377, 403ownership of plays 362patronage 355, 362, 363political commentary 376–7, 403, 455–7printing of works 354, 361–2solo writing as norm 346, 361will 362–3worksThe Ball 437–8The Bird in a Cage 362, 379, 380–1The Changes 174The Court Secret 444, 454, 457Hyde Park 449The Lady of Pleasure 449The School of Compliment, or Love Tricks 361The Sisters 445The Triumphs of Peace 362, 376–7, 403

ShrewsburyAshton’s passion plays 109–10grammar school 109misrule ceremonies 118, 120visiting performers 122, 187,

Shrove Tuesdayapprentice riots 163, 169, 329–30court entertainments 133household play 205

Sidney, Sir Henry 254Sidney, Sir Philip 109, 259, 412

Defense of Poetry, on images 245The Lady of May 386as type of masculinity 290produces jousts 207, 217

Silchester Roman town 6, , 9

sin, medieval emphasis on 47Singer, John (clown) 410, 413singing

Children of the Chapel Royal 102in Jonson’s masques 397, 398mystery cycles 52professional troupes, early Tudor 97see also dialogue (sung); minstrels;

plainsongSinging Simpkin (interlude) 468Sir John Oldcastle 274–6, 422

collaborative writing 277, 345, 346Sir Thomas More (multi-authored play) 349, 355

censorship 246, 247, 346clown’s improvisation 162manuscript 162, 165, 246, 247, 346, 355play within a play 175, 190

Skelton, John 67, 136, 221Magnyfycence 77

Slater, Martin 85–6, 145, 154, 159slave trade, African 256Sly, Will 170, 173, 329Smith, Wentworth 343, 344, 347, 359social comment in mystery cycles 50, 51social composition of audiences see under

audiencessocial control 252social entrenchment of theatre 175–6, 445–6,

447social order, ritual reaffirmation of 193, 194social status of performers see under actorssocial unrest, Elizabethan 260–1, 264, 266soldiers’ and sailors’ return from wars 260,

266soliloquies 172solo performances by actors 147–8solo writing 341, 346

see also under Chettle, Henry; Shakespeare,William; Shirley, James

Somers, Will (Henry VIII’s fool) 168, 415–16,417

Somerset‘hoggling’ 121Robin Hood plays 182

Somerset, Duke of (Edward Seymour) 208Somerset, Earl of (Robert Carr) 400, 402, 425sonnets see under Daniel, Samuel; Drayton,

Michael; Shakespeare, WilliamSouth Littleton, Worcs; church ale 121Southampton, 3rd Earl of (Henry

Wriothesley) 358Southampton, Hants 187, , 194south-west touring route 187,

535






Index

SpainDavenant and 470Elizabethan relations 258–9, 264–5; war 251,

258–9, 260, 264–6, 268; Great Armada251–2, 258, 259

Henrietta Maria and 377James I’s marriage negotiations for Prince

Charles 374, 375, 404, 426, 428; A Game atChess and 426, 428, 429, 436

Portugal annexed by 256sack of Antwerp 258, 260

Spalding, Lincs; biblical plays 180–1spectacle

Roman 11, 22–3Elizabethan/Jacobean 59, 285, 318, 320masques 390–7, 401medieval 59; Anglo-Norman Adam 46;

Beauvois Ludus Danieli 42; Digby saintplays 54, 98

spectatorship as theme in drama 175speech; medieval shift from singing to 45–6Spencer, Gabriel, and Isle of Dogs 162, 249,

346–7Spencer, John (clown) 411Spenser, Edmund

The Faerie Queene 251and Ireland 254

spies see intelligence gatheringsports, traditional 458–9

see also Book of Sportssprezzatura 290, 293–4, 401Stafford, Edward, 3rd Duke of Buckingham

204Stafford’s Men 192stage buildings, Roman 15–16stage directions, Anglo-Norman 46stage hands, Jacobean 319The Stage Players Complaint (pamphlet, 1641)

150stage-sitters 169–71

actors amongst 161, 170, 173, 308–9, 318–19,335

admission fees 324, 335–8Blackfriars theatre 324, 325Red Bull 322Salisbury Court ban on 335–8women 170

stagesblocking 305, clearing between scenes 310, 319, 327–8in households and halls 206, 213indoor venues 169, 324, 330in inns 169

medieval liturgical drama, stage-like space30

musicians under 328playhouses 299–300; Fortune 328; Hope 323;

Red Lion 298–9, 303; Rose 303–5, 307;Theatre 301

portable 301, 307, 323raising separates players from audience 169Roman period 14–16roofs above 299–300, 307, 316, 321, 324see also machinery, stage; stage-sitters;

trap-doorsstaircases, playhouse 314, 323Stanley, William, 6th Earl of Derby 278Stansby, William (stationer) 354Star Chamber, Court of 220, 375, 380, 464

and local festivities 182–3, 185stationers 352

playwrights’ relationships with 341–2,353–4, 361–2

Stationers’ Company 464Register 278, 352, 475–6

Stevenson, William; Gammer Gurton’s Needle123–5

Stewart, William (translator of Boece) 73Stirling 82Stockwood, John (preacher) 243Stoke Charity, Hants; king ale 183stool-sitters see stage-sittersStowe, John

Annales 317Survey of London 140, 267

Strafford, 1st Earl of (Thomas Wentworth) 362Strageath, kirk of, Stirling 84Strange’s Men 230, 411–12

Alleyn performs with 147, 196become Lord Chamberlain’s Men 411–12at Bristol 196Kemp as member 411–12at Rose 307–10Shakespeare’s Henry VI sold to 307, 355and Sir Thomas More 349, 355

Strasbourg, Marian exiles in 104Stratford, Warwicks 187, Stratton, Cornwall 128Street, Peter; building of theatres 316, 321street theatre 225, 465structures, onstage 95, 299, 310

see also arboursStubbes, John (pamphleteer) 260Stubbes, Phillip 458

The Anatomie of Abuses 243–4stylo recitativo 397–8

536






Index

Suckling, Sir JohnAglaura 447–8and Army plot 445plays performed at Blackfriars 447–8

Suffolk, 2nd Duke of ( John de la Pole) 218Suffolk, 4th Duke of (Henry Grey) 122Suffolk’s Men 122, 211summer games 120, 183–5Summers, Will see Somers, Willsumptuary laws 244Sussex, 3rd Earl of (Thomas Radcliffe) 142,

147, 312, 409Sussex’s Men 147, 312

at Bristol 409playbook of George a Greene 277quality of actors 210Tarlton in 409Titus Andronicus 304, 355

Swaffham, Norfolk 120Swan playhouse 313–15

building 225, 300, 313–14, 315decline and closure 315Isle of Dogs affair 250, 315, 348hoax over production at 228Lady Elizabeth’s Men at 329opening 357Pembroke’s Men engaged for 143

sword-fighting competitions 301Sylvester, William (carpenter) 299

Tacitus, Cornelius 6Tarlton, Richard 407–8, 409, 410, 411

and Armin 417at court 409, 421improvisation 174, 273, 408jigs 411and Marprelate controversy 247and oral tradition 411as player-playwright 341and Sussex’s Men 409Tarlton’s Jests 408, 409

Taunton, Somerset 98Taylor, Joseph (actor) 146, 447, 449Te Deum Laudamus 29, 33, 38tennis court, performance in 462tents as stages 205, 207Terence 17

Eunuchus 125, five-act structure 123–4Hrostvitha and 27Jacob and Esau and 101–4medieval knowledge of 44Philotus and 76

in schools and universities 84, 123, 125in Scotland 83–4, 123St Albans Abbey illustrated manuscript

44–5, Tertullian, De Spectaculis 19–20Tewkesbury, Glos 181, 182Thame, Oxon 120Thames valley 118, 182, 187, theatre buildings

Elizabethan lack of provincial 154–5Hitchin, locally designed 89monastic churches’ similarities 32players separated from audience 169and regularisation of theatre 225–6Roman 6, 10–11, 301; acoustics 14; seating

14–15, 16; stages 14–16; Verulamium10–11, 12–16, 18, 21–2

see also playhouses and individual elementsTheatre playhouse

building 225, 299, 300, 301, 302, 314closure 143, 273Field decries 243Leicester’s Men at 186–7Lord Chamberlain’s Men at 312, 313, 315timbers reused for Globe 273, 316, 317

Theobalds; pageant for Christian IV ofDenmark 385

Theodora, Byzantine empress 23Theodosius I, Roman emperor 19Thirty Years’ War 374Thorpe, Richard (playwright) 125Thorpe, Thomas (stationer) 353, 358threat, theatre as 364–5, 408–9, 436, 458Thurloe, John (secretary of state) 470Tilney, Edmund (Master of the Revels) 246,

247, 346tiltings see tournamentstime, Christian ritual and 35tiring houses 299–300, 303–4, 330

Blackfriars theatre 324Globe 316, 317Rose 303–4, 308see also balconies, tiring house

tomb on stage 335Totnes; Midsummer Watch 120tournaments, mock 201–2

allegory 386at court 206–7, 209, 212, 217hobby-horse 133in noble households 203, 206–7, 217, 386in Scotland 73, 79

Tourneur, Cyril 354Tower of Babylon (interlude) 94–5, , 107

537






Index

Towneley plays 127towns see civic authorities; civic buildings;

civic culture; urban developmentTownshend, Aurelian; Tempe Restored 385, 387,

390, trade, Elizabethan overseas 257, 260Tranent, East Lothian 85transformations in masques 395translatio imperii 253transubstantiation 61, 63–4, 65trap-doors in stages 299, 303, 324, 330

Blackfriars 328Globe 316Rose 308

Tresham, William 362A Tretise of Miraclis Pleyinge 110–11triumphs 133

George Howard’s, of Venus, Cupid and MarsScots civic 72

Troilus and Cressida (possibly by Chettle andDekker) 277

tropesmusical 31, 36platonic and pastoral 144

The Troublesome Reign of King John (anon. play)259, 355–6

trumpeters, heraldic 122, 205Trunkey, Robert (architect) 95Tufton sisters (Shirley’s patrons) 362Turks 256Turner, Anthony (actor) 462‘turret’, stage, at Red Lion 299Twelfth Night entertainments 205Two Merry Milkmaids (anon. play) 173Tyndale, William 111

New Testament 89, 110The Obedience of a Christian Man 104

Udall, Nicholas 67, 208Ezechias 88–104, 105, 107and Respublica 135Roister Doister 208translation of Erasmus’s Paraphrase of St

Luke’s Gospel 105uninterrupted performance 310universities

Calvinism 97classical learning 125drama in 1553 117, 123–6household-style drama 200–1medieval foundations 44misrule festivities 75neo-Latin plays 69, 108

parts system in plays 164–5Reformation religious drama 88–104, 105,

108–9, 123–6travelling troupes at 98wits 145, 150, 159see also Cambridge and Oxford Universities

and under ChristmasUrban IV, Pope 48urban development

Black Death and 48–9Roman 5–6; post-Roman decline 19

usurpation, justifiable 103–4, 115

vagabonds, legislation againstmedieval, and Tudor renewals (1527 and

1531) 210–11Elizabethan 122, 142, 146, (1972) 210–11,

230–1, 247, 260, 300; patronage protectsplayers 191, 230–1

revision, 1603 198The Valiant Scot (play identified as by W.J.)

453The Valiant Welshman (possibly by Armin)

417van Buchell, Arend; copy of De Witt’s

drawing of Swan playhouse 314vaudeville-type entertainers 220, 223Venetian embassy chaplain see Busino,

OrazioVennar, Richard 228Vere, Susan, Countess of Montgomery 221vernacular culture, popular; medieval drama

43–59, 61see also mystery cycles; non-cycle plays

verse form; blank verse superseded 476Verulamium (Roman St Alban’s) 6, , 9, 11–14,

17Alban’s martyrdom 19theatre 10–11, 12–16, 18, 21–2

vestments used as costumes 110, 111, 112, 208Bale 91, 111

Vice (leading part in interludes) 94, 136, 168,410

Vicenza, Teatro Olimpico 330‘viewing rooms’ 335villas, Roman 8, 21Virginia 254–5, 403Visigoths 9, 20, 23Visitatio Sepulchri ceremonies 28–9, 32–4, 37,

38, 39, 41Vitalis (Carolingian mime) 24–5Vitalis of Blois 44Vulgate version of Bible 39

538






Index

Wager, Lewis; The Life and Repentance of MaryMagdalene 88, 97–101, 102, 103, 132

Wager, William 97The Cruel Debtor 97The Longer Thou Livest the More Fool Thou

Art 97, 103wages 242, 247waits, Norwich city 121Wakefield mystery cycle 50–1, 62

content 129manner of performance 51, 129post-Reformation 109, 126, 127, 180Wakefield Master 50–1, 53

Walcar, John, of Perth 74Waldensian heresy 47Wales 253–4, 267Walmesley, Thomas 198Walsingham, Sir Francis 150

and Queen’s Men 143, 147, 193spy network 193, 262, 264, 420

Wanstead, Elizabeth I at 386war of the theatres (1599–1601) 249, 279A Warning for Fair Women (anon. play) 276–7,

358Warwick, Earl of (Ambrose Dudley), and

Warwick’s Men 142, 147, 312Waterson, Simon (stationer) 353Wealth and Health (moral interlude) 132, 168–9Webb, John 472–3, 474Webster, John

on audiences 322, 335collaboration 343, 344, 359Lord Mayor’s shows 352solo writing as norm 346worksThe Duchess of Malfi 357The Malcontent, additional material for 161,

170, 173, 236, 345Westward Ho! and Northward Ho! (with

Dekker) 359The White Devil 322

Wedderburn, James 82wedding celebrations 205, 214, 215–16

analogues in playscripts 202, 210, 215, 231Frances Howard’s 400, 402, 404masques 402, 403, 404–5Northumberland family 213–16Petre family 123, 208, 214royal see under Elizabeth, Queen of

Bohemia; Henry VIISir William Seymour’s 404–5tournaments 207, 217whole property as stage 206

Welbeck Abbey, Cavendish household 463Wells, Somerset 120, 182–3, Welsh language 253Wentworth, Peter 252, 271Wentworth, Thomas, 1st Earl of Strafford 362Westcott, Sebastian 123, 298, 323, 324Westminster, Caxton’s press at 65Westminster Assembly 442Westminster School, Jonson at 286Wever, Richard; Lusty Juventus 132Weyhill, Hants; king ale 183Wharton, James, of Lord Russell’s minstrels

122whiffling 267, 413White, Thomas; Paul’s Cross sermon 243Whitefriars playhouse 329, 348Whitelocke, Bulstrode 376–7, 378–9, 403,

442–3, 475Whitgift, John, Archbishop of Canterbury

168, 247, 269, 270Whitsuntide festivities 120

ales 182, 183, 185Gloucestershire 181, 185mystery plays 49, 65, 129; Chester 178Robin Hood plays 118Shrewsbury passion plays 109–10York 129

The Whore New Vamped (anon. play) 150, 453Whyte, Rowland 278Wilkins, George 161, 352, 355William of Blois 44William of Orange 258Willis, R.; Mount Tabor 189, 194, 195–6wills, playwrights’ 351

Rowley 351, 359Shakespeare 358–9Sharpham 351, 359Shirley 362–3

Wilson, Arthur (historian) 365Wilson, Robert (actor-playwright) 171–7, 341,

353collaboration 343, 344, 359with Leicester in Netherlands 146as player 174, 341, 410 Henry Richmond 277The Three Ladies of London 247The Three Lords and Ladies of London 259

Wilton House, Wilts , 207Wily Beguiled (anon. play) 234Winchester, Tiberius 85Winchester, Hants

king ales 183, 184musicians at 122

539






Index

Winchester, Hants (cont.)regular touring route bypasses 187Roman town , 9Statute of, on vagabonds (1285) 210Winchester Troper 28–9, 33, 37, 38–9

Wisdom (morality play) 56, 208, 218, 219Wise, Andrew 236–7Wistow, Yorks 183witchcraft 252, 378Witney, Oxon 463–4Wolfit, Donald 292Wolsey, Cardinal Thomas 209, 212women

actresses 439–40, 476in audiences 221, 243boy actors play 97, 100–1, 280Caroline controversy over role 377–8,

379dance in disguisings 220, 221fools 220and household drama 201, 220–2, 223marriage choice 67masquing 144, 220, 221; Henrietta Maria

387, musicians 221played by men, Roman period 20ruler, controversy over 252stool-sitters 170as theme of entertainments 221–2vaudeville-type travelling entertainers

220witches and shrews 252

Woodstock (anon. history play) 250Woodward, Henry 292Woolley, John 428Wootton St Lawrence, Hants 183–5Worcester 187, Worcester’s Men 312, 322

playwrights writing for 343, 344, 345, 347,348; Heywood 158–9, 349

become Queen’s Men 144, 198, 322, 365

at Rose 158, 343Will Kemp joins 147, 413

Wotton, Sir Henry 318, 436Wright, James; Historia Histrionica 140, 151,

176, 460Wright, Thomas, SJ 270Wriothesley, Henry, 3rd Earl of Southampton

358Wroth, Lady Mary 221Wymondham, Norfolk 122

yards, playhouse 299, 303, 319–20, 321Yeovil, Somerset 118, 181, 182York

Creed Play 129, 179feast of St George 129Jacobean plans for theatre 154–5medieval wealth 49music in medieval Minster 39mystery cycle 49, 50, 52; content 129; at

Corpus Christi 129; longevity 130;manner of performance 129;post-Reformation 109, 126–7, 179;sacramentalism 112, 114; text 127; YorkRealist 53

Paternoster Play 129, 179Protestant ecclesiastical commissioners

109, 180religious guilds dissolved 179Roman town 6, , 9touring companies in 187, Whitsuntide festivities 129

York, house of; right to throne 272Yorke, Sir John 220, 222Youth (interlude) 208youth, upbringing of 97, 99, 102, 103youth plays, Reformation 108–9

see also Jacob and Esau; school plays; andunder universities

Yule-tide celebrations, Scots 79, 85, 86see also Christmas

540






Documents

Index [assets.cambridge.org]assets.cambridge.org/97805216/50403/index/9780521650403_index.pdfIndex Thepage numbers in italic indicate illustrations. Abbots of Misrule 75, 76, 84, 118,