Edited by James Knowles
Introduction
This entertainment was staged on 11 April 1609, when King James, Queen Anne, Princes Henry and Charles, and Princess Elizabeth, accompanied by the court and London’s diplomatic community, attended the opening of Britain’s Burse. The Burse or New Exchange, developed by Robert Cecil, Earl of Salisbury, was a high-class shopping centre built in the Strand, the main road between the City of London and Westminster. The site, originally the stables of Durham House, was chosen for its proximity to the wealthy residential districts that were being established along the Strand and in Covent Garden. The two-storey building, with a neoclassical loggia on the ground floor and elaborate stained glass and carvings, was designed to rival not only Gresham’s Royal Exchange in London but also the Antwerp Burse and the Venetian rialto (Stone, 1957, 106–21; Croft-Murray, 1962, 1.194–5; Knowles, 2002, 187).
These international ambitions echoed Cecil’s own interests in the Virginia and East Indies trades and were reflected in the novel luxury goods that the Burse aspired to offer, especially ‘china goods’, porcelain, lacquer-work, silks, and other textiles imported from the Far East. The building also continued Cecil’s development of Westminster, and especially the St Martin’s and Strand areas, as his local fiefdom (Merritt, 2002, 232–5). Contemporary documents, including a poem ‘And is not this strange / That Durham House and Westminster should put down the Exchange’, reveal the anxiety occasioned by the Burse, not least from the City of London merchants who envisaged depredations to their trade (Rosenbach MS 1083–15; Merritt, 2002, 232; Stone, 1957, 107–8).
The Venetian ambassador’s description and the Hatfield MSS (Masque Archive, Burse, 13, 1–12) show that Cecil took great pains over the opening entertainment. He employed Sir Walter Cope, who owned a famous cabinet of curiosities, to source the ‘Indian toys’ and other curiosities to be displayed and given away. Thomas Wilson, his man of business and a translator of Italian and Spanish texts, was asked to organize a suitable dramatic event. Working together, Cecil and Wilson selected Jonson and may even have suggested the topic and style of the piece (Knowles, 2002, 187). Many of the ideas of Britain’s Burse develop from Cecil’s earlier entertainments, especially the lost ‘Entertainment at Salisbury House’ which may also have depicted American scenes. Many of the exotic items can be paralleled in Cecil’s own collections, and some of the books that supplied images for the text were to be found in Cecil’s library, such as Huighen van Linschoten and Pliny (see notes to 55, 77, and 91, and Hatfield MSS, ‘Catalogue of all your Lordship’s printed books’, 26 January 1615).
For this novel space Jonson adapts the conventions of the country house entertainment, with a welcome by the Key Keeper (the porter) on the ground floor, as if the royal party had actually journeyed much further to attend the occasion. This ‘voyage’ is further alluded to in the description of the Burse as ‘land discovery of a new region’ (8), as if the entry to the Burse was itself a ‘discovery’. For the second part, the royal party may have gone upstairs to what Wilson’s letter calls ‘the place of show’ (Masque Archive, Burse, 10), where they were presented with a China shop filled with luxury goods that the Master displays and describes. This section echoes Volpone’s appearance as a mountebank (Volp., 2.2). Thomas Wilson described the actors as playing ‘mountebank tricks’, and he suggests they were to wear masks like commedia dell’arte mountebanks (Masque Archive, Burse, 10), a possibility perhaps supported by the payment for ‘2 vizards’ in the accounts (Masque Archive, Burse, 3). From the extant text and the surviving descriptions, however, it remains unclear if Wilson’s letter delineates the show as performed, or whether we have only a partial text. Certainly, the whole piece was written rapidly and may well have changed between Wilson’s projection (31 March) and the performance (11 April). Although no designs survive for the shop, the text refers to a board (66) and shelves (64, 182), and Wilson’s letter has the valuable objects covered with curtains until they are displayed with a flourish. Wilson’s plot summary posits a sharp differentiation between the ‘merces adulterinas’ sold by the masked mountebank/master and the ‘things of price’ which are gifted after the double discovery of persons and presents. The extant text, without stage directions, lacks such structural clarity, and seems to offer little tonal change between the body of the speeches and the post-song gift-giving 224–44). Despite this lack of certainty, the final gift-giving, coupled with contemporary reports about the plenitude of presents, suggests that, instead of the customary masque that would have been the culmination of a country house entertainment, Jonson offered an unmasking of magical and luxury goods.
The importance of the luxuries and rarities displayed by the Master is evident in the numerous financial papers surrounding the event. For Cecil’s other entertainments, Jones required at least £30 for the scenery and stage-works, but on this occasion the cost was only £9 12s. The Hatfield bills include payments for many of the objects mentioned in the text, such as a ‘fan of feathers’, a ‘book covered with velvet with glass and comb in it’, a ‘prospective glass’, and ‘a dozen of china dishes’ (Masque Archive, Burse, 3). From the summary accounts, which include Indian commodities (£15 14s 6d, plus £22 in another bill) and China commodities (£9 15s), we know that Cecil also gave away rings with poesies worth £56 4s. The total cost came to £178 12s 10d (Hatfield MSS, Accounts 9/5), although this excludes items borrowed from Sir Walter Cope and the other expensive gifts for members of the royal family (Masque Archive, Burse, 12). Many of these, such as the silver plaque of the Annunciation given to Queen Anne and the horse-caparison for Prince Henry, were costly items: the Venetian ambassador valued the plaque at four thousand crowns. The banner that hung above the shop, according to the Venetian report, confirms the importance of the luxury goods in the occasion: ‘All other places give for money, here all is given for love’ (Masque Archive, Burse, 13). Just as the Keeper first suggested that the royal party had engaged in a voyage of exploration, so the shop offers a utopian vision of commerce replacing the mercantile ethos of the Royal Exchange with the new world based on aristocratic patterns of gift-giving for ‘love’.
The Chinese porcelain employed in Britain’s Burse encapsulates the magical quality of the commercial world brought together in the one building and shop. Porcelain was highly prized as a luxury status symbol, but it was also starting to be traded more widely and was appearing in more middling households; it was an ideal aspirational object. Moreover, porcelain was widely held to be a magical material with alchemical properties, transforming itself from earth into a luxury object. This is precisely what the Burse itself has done, developing a derelict stables into a cabinet of commercial curiosities. The alchemical magic of porcelain also stands for Jonson’s own poetic transformation of an occasion for thinly veiled bribery into a masque of magical objects, conjuring up, in the very centre of London, the exotic worlds touched by England’s emerging mercantile empire. A short time later, in Epicene, he displayed a much more sceptical attitude towards such claims. Mrs Otter’s china house is less a place of magical metamorphosis than a quasi-brothel in which all is given for money and nothing for love.
Several critics have traced the parallels between this text and Epicene, noting especially the similar props (Green, 2002, 274–5). Dutton (Epicene, 25) argues that Mrs Otter’s brothel-cum-shop provides Jonson with a metaphor for the poetical prostitution in which his relations with Cecil have entangled him, the compromises of which are epitomized by Britain’s Burse. More recently, David Baker (2005) argues that the entertainment anxiously rehearses the uncertain economics of Asian trade and pokes fun at them, while Dillon (2000), 123 stresses local tensions over the building of the Burse. Baker’s invocation of a ‘collective imagination of a much wished for hegemony’ (161), and the tense uncertainties occasioned by the Master’s evocation of Chinese science, return us to the difficult question of tone and the structural problem of the entertainment as it stands. It is notable that, for all the adumbration of the wonders of Asian trade, the gifts doled out are European luxuries of a readily verifiable type, and this perhaps suggests a playful or sceptical stance towards the Master’s claims.
Many aspects of the staging remain opaque owing to the absence of stage directions. Wilson’s letter shows that the royal party arrived and left via the water gate and Durham House Yard, and that the Key Keeper greeted them ‘at the foot of the stair’ with his speech given as he conducted the guest to ‘the place of show’. This may imply that the second part of the show (49–244) took place upstairs, although the script does not mark this. Similarly, Wilson mentions ‘loud music of cornets and such like’ ‘at the first opening’ (Masque Archive, Burse, 10), although whether this required the use of a traverse or simply the shop’s shutters cannot be ascertained. If this part of the show was staged upstairs, since the upper floor of the building was lit by stained glass and may have been quite dark, it is possible that the shop, with its curiosities and magical moving statue, may have acquired a shrine-like appearance, increasing the sense of mystery and wonder surrounding the Burse (cf. Orgel and Strong, 1.128–9). This said, the spaces upstairs in the actual shops were small (in a later letter Wilson calls them ‘chests’), and this limited space complicates the staging of the singing statue which may even have taken place in a second niche or stage. Although the Venetian ambassador states that the entertainment used one of the shops, we cannot rule out the creation of a specific, possibly larger, shop-stage, and some further clues may be afforded by the bills which include payments for cloth (‘barras’ and ‘broad tinsell’) and nails, and £6 4s for joinery. Given that the total cost for fifteen shops was £141 14s (Hatfield MSS, Bills 160/1), this suggests each shop cost just over £9 8s, so that the stage joinery equalled about two-thirds of the cost of a real shop.
From the Hatfield accounts it appears the scenery was designed by Inigo Jones and built by Jenever the joiner, and Jonson ‘the Poet’ was accompanied by three fellow actors, Nathan Field (the Keeper), William Ostler (the Master), and Giles Cary (the Boy), all of whom were shortly to appear in Epicene (Masque Archive, Burse, 11). The Keeper’s costume is also detailed (buskins, cassock, doublet, an ‘old man’s beard and nightcap’ topped by ‘a hat with a brooch’), and the Master wore a striped suit and a hat (Masque Archive, Burse, 9). The music was probably provided by Cecil’s own musicians, who included John Coprario and Nicholas Lanier. Lanier may have sung the role of Apollo (Hulse, 2002, 139–58).
The text is a modernized version of the contemporary copy in the State Papers Domestic (SP14/44/62*; JnB 574.5). Digital images and a transcript of the manuscript appear in the electronic edition.
THE ENTERTAINMENT AT BRITAIN’S BURSE
KEY KEEPER
Now beshrew my glad heart, sir, but you are the welcomest man in
this kingdom, and beshrew my knave’s heart if I bid any man half so welcome
these a child’s part, so far as God’s blessing and a good heart’s wish meets in 5
where you are now, nor by my troth can I tell you, more than that you may
seem to be upon some land discovery of a new region here, to which I am your
to mention it — had I known it to have had half the trouble and vexation that
I have felt in’t, East and West should have looked to it for me, I would never
multitude, is beyond the tongue of man. ’Tis well known, sir, I have been 15
a man of some reckoning — I have kept both an inn and a tavern, and could
answer their questions and expound their riddles. But here, why, I have had
more interrogatories given me in one hour than all your law courts ever knew
that ever were could not invent: about the house, the rooms, the floor, the
out of breath, and yet not them into silence. And before the shops were up,
but a scrivener swore he would lose his ears then. Another would have it
stolen goods or he would be hanged for it. A third would have it a store-house 30
for Westminster, of corn here above and wood and sea-coal below, to
loose. A sixth sort would have it in studies for young returned travellers, and
front built only to grace the street and for no use; where I wonder how such
men could keep their brains from being guilty of imagining it rather a place
if their ignorance help ’em not to mercy, I know not what can. I may fear
but gladness is a talking thing, and I hope Your Majesty will drown all offence
in your welcome. Some of our shopkeepers are come here; and one or two of
’em are furnished, especial our China man.
China girdles, China knives, China boxes, China cabinets, caskets, umbrellas,
Very fine cages for birds, billiard balls, purses, pipes, rattles, basins, ewers,
spectacles? Sir, what you lack?
[Enter the MASTER.] 60
Please you to take a nearer view of these excellencies, examine but some
eye. A few shelves, somewhat thin, and rarely furnished, I confess! But if all
about the town, I know, and that have been honoured with the visitation of
great persons no less than this but, alas, what ha’ they, what rarity can they
A few of these dishes counterfeit? You’ll fairly give me credit now – not a piece 70
those figures and give it perpetuity of what colour they please. Some hold
the matter is working fourscore or a hundred years ere it come to maturity 80
in a confused mass, and is left by the grandsire or the great grandsire to the
nephews at three descents as an immediate portion to make ’em rich. Here
ha’ no gout chilblains in his fingers that drinks out of this; ’tis for the hand
with a castle on his back, where beside the art of the artificer in the whole
dimensions, the spreading of the ear, winding the proboscis, mounting of
elephant more than any other creature? He might have made it a mule, a 90
according to the poet, ‘As faithful, wise, and valiant as a dog.’ Nor have you
Oh, your Chinese! The only wise nation under the sun! They had the knowledge 100
Spring, as she was in paradise, innocent and lovely; a fan of the feathers of 105
of beauty. I assure you, he that would study but the allegory of a China
is in this book to tickle the best head of England and yet to keep his hair from
but a natural cobweb of that country, last longer than your gilded leather;
paper made of the barks of trees and ink to carry dry in your pocket; and 120
thousand such subtleties which you will think to have cheap now at the next
thought they will come home very much dissolved. Therefore, as ye please,
thus, shows ye all manner of colours by refraction and instructs ye in the true
chin. Then here’s a spectacle, an excellent pair of multiplying eyes, and were 135
distinction of any man’s clothes ten, nay twenty mile off, the colour of his
SHOP-BOY
If it be toward you, sir!
he speaks and in what language. If the sun shine anything strong, I will stand
new spire is built, and set fire on a ship twenty leagues at sea in what line I will
I assure you there’s not that trifle in this whole shop that is not mysterious.
the common and vulgar remnants of every milliner’s shop, but I must clear
it to you. There is no face here that hath not his morality nor form of beard
disbombasted in the streets by public commandment. This shaven cheek and
brewers’ clerks, where it remains at this day to be seen. I could make you more
an Alexandrian and with a Caesarean beard, but I will content myself with a170
but looking for more authority; the fifth, a ripe and mature beard, and being
long and of two colours; the eighth, inclining to white, the churchwarden’s,
he being religious while he is in his office; the ninth, a careless beard fit for 180
goldsmith’s mark aside, I’ll uphold it better than the authentical. There’s
the true colour without contradiction, the radiant lustre that dazzleth the 185
eyes of the beholder, then it exceeds it in lightness and a mechanical neatness
upwards. Had he furnished himself thus of a goldsmith, it would have cost
him more than he is worth and been in perpetual danger of thieves. But now
figures of the sun and moon, a clock, and other excellent properties. Ye will 195
here will do something. Now, if thou be’st the god of music, let’s hear thee! 200
Song
To hear Apollo’s statue sing
’Gainst Nature’s law, 205
Ask this great King
And his fair Queen, who are the proper cause.
It is not wisdom’s power alone,
But both so high, 210
In this great King
And his fair Queen, do strike the harmony.
Which harmony hath power to touch
As I am now, 215
To this great King
And his fair Queen, whom none to praise knows how,
Except with silence, which indeed,
Doth truest admiration breed.
And that can I, 220
To this best King
And his best Queen, in my last note and die. [Exit.]
say! This is past the heat of hands or the beams of the sun. [To the King] Well, sir,
commodity, and but see where paradise stood and bring of the birds alive
shall value it, I’ll send it ye home. [To the Queen] And, madam, let me have
applauding it. This, if ye please, I venture with ye upon the same terms. [To 235
the Prince] Ye look like a good customer too, and a good paymaster to boot!
and for a proud horse, indeed. ’Tis yours upon the same mart, sir. If there
be any honours or beauties else here that will like and take of me, I will ask 240
no other security but their good words and fair handsels. And God make me
rich, which is the seller’s prayer, ever was, and will be.