The Entertainment at Britain’s Burse (1609)

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

 [Enter] the  

KEY KEEPER.

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

from another kingdom!  Nay, my royal lady, you have a share too, and  each of

these a child’s part, so far as God’s blessing and a good heart’s wish meets in 5

 ‘Amen’. [To the King] Your Majesty will pardon me? I think you scarce know

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

compass. And for that purpose have I  walked the round this fortnight in my

present place and office,  which office — well, it makes my beard a hair greyer 10

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

have breathed toward it. Why, believe it, my good Majesty,  no ague is like

it! The  quotidian torture that I have endured here from my great cousin, the

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

entertain my guests in my velvet cap and my red  taffeta doublet, and I 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

in a  Michaelmas Term! And such things as  an age of the  wisest constables 20

that ever were could not invent: about the house, the rooms, the floor, the

roof, the  lights, the shops, the very bars and padlocks. Not a grain in the

wainscot, but they have had my  affidavit for. I have been fain to swear myself

out of breath, and yet not them into silence. And before the shops were up,

the perplexities that they were in for what it should be would have  drawn a 25

mourner’s  laughter upon them. One sort would have it a  public  bank, where

money should be lent at  five i’the hundred upon the most easy security,

but a scrivener swore he would lose his ears then. Another would have it

a  lombard to deal with all manner of pawns, but the  broker would except

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

 pre-occupy the next great  frost or a dear year in  despite o’the almanac, but

the   victuallers would none of that; they would knock their heads together

o’the pillory first. A fourth would have it an  arsenal for decayed citizens, but

what should the City do with  Ludgate then, quoth I? A fifth would have it 35

a library, but it should  be very private, the books locked up in chests all the

year, save on  Shrove Tuesday, when the bears are baited and the prentices let

loose. A sixth sort would have it in studies for young returned travellers, and

the walk below for them to discourse in, but they studied little and  travailed

less for that. A seventh would needs have it  Tipper’s office, and many, a  fair 40

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

to twist silk in, or  make ropes, or play  shuttlecock, better than nothing. Well,

if their ignorance help ’em not to mercy, I know not what can. I may fear

mine own  proper too, justly, for having been thus impertinent about ’em, 45

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.

  [The shop opens. Enter the SHOP BOY.]

SHOP BOY

 What do you lack? What is’t you buy? Very fine China stuffs of all 50

kinds and  qualities? China chains, China bracelets, China scarves, China fans,

China girdles, China knives, China boxes, China cabinets, caskets, umbrellas,

sundials, hourglasses, looking-glasses,  burning-glasses, concave glasses,

triangular glasses, convex glasses, crystal globes, waxen pictures,  ostrich

eggs, birds of paradise,   musk-cats,  Indian mice, Indian rats, China dogs, and 55

China cats?  Flowers of silk,  mosaic fishes? Waxen fruit and porcelain dishes?

Very fine cages for birds, billiard balls, purses, pipes, rattles, basins, ewers,

cups, cans,  voiders, toothpicks, targets,  falchions, beards of all ages, vizards,

spectacles? Sir, what you lack?

[Enter the MASTER.] 60

MASTER

Peace, sirrah! Do it more  gently. [To the audience] What lack you, nobilities?

Please you to take a nearer view of these excellencies, examine but some

  parcel of the particulars, and run over the rest upon the full speed of your

eye. A few shelves, somewhat thin, and rarely furnished, I confess! But if all

the  magazines of Europe afford the like, I will shrink this poor head into my 65

shop and never more be seen above board. You have  divers other China houses

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

produce? Feathers?  Cockleshells? Wooden daggers? Trash?  Dutch trenchers?

A few of these dishes counterfeit? You’ll fairly give me credit now – not a piece 70

of  porcelain about this town but is most false and adulterate, except what

you see on this shelf. These are  right such as the  Grand Signor  eats in, I assure

you; on my sincerity, you can put no poison in these, but they  presently break

or discolour, out of a natural disloyalty to man.  These are made of the true

earth, first  contused in a mortar and then ground in a mill, after put into your 75

 lake or cistern, and then macerated till the hardness be conquered. Then take

they the cream o’the top ( as your housewife makes butter) and form it into

what fashion they list and, while it is  melling in the furnace, paint it with

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

is a piece of it now,  tralucent as amber and subtler than crystal. He had need

ha’ no gout chilblains in his fingers that drinks out of this; ’tis for the hand

of a king’s daughter or a  queen of  Egypt. Your  great-fisted groom should 85

sup out of a  pipkin! Here’s a second rarity, a  conceited saltcellar, an  elephant

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

the tusks, and architecture of the castle, do but observe his  engine! Why an

elephant more than any other creature? He might have made it a mule, a 90

camel, or a dromedary, but the  elephant, being the wisest beast, it was fit he

should carry the salt from ’em all, for by salt is understood wisdom:  sal sapit

omnia. Then here’s a dog, a fine gentle delicate thing for the  chamber, and

no less  close than  cleanly. He will neither bark at you, bite you, nor  bewray

you, but with silence defend you and is an excellent  emblem of friendship, 95

according to the poet, ‘As faithful, wise, and valiant as a dog.’ Nor have you

a less elegant moral in  this cat. For,

 Look as your cat playeth with the mouse,

The play of your cat is the death of your mouse.

Oh, your Chinese! The only wise nation under the sun! They had the knowledge 100

of all manner of arts and letters many  thousand years before any of

these parts could speak.  Sir John Mandeville was the first that brought

science from thence into our  climate, and so dispensed it into Europe and in

such  hieroglyphics as these. Here be other mysteries, too. The  statue of the

Spring, as she was in paradise, innocent and lovely; a fan of the feathers of 105

 Juno’s bird, that were once the eyes of jealousy and now the servants and safeguards

of beauty. I assure you, he that would study but the allegory of a China

shop might stand worthily to be the  rector of an academy. Old  Bartholomew

of the Propriety of Things and  Pliny in English are nothing to it, nor  the story of

birds and beasts with the wooden pictures, nor the  Peg, Meg, or Margaret of 110

the  philosophers. Here is  a book now – it is but a little one you see, but there

is in this book to tickle the best head of England and yet to keep his hair from

turning grey, by a certain virtue in the  scolopendra’s bone to expel sadness

whereof this   comb is made! I have other delicacies too, as  cabinets that you

can scarcely fathom yet weigh  but eighteen ounces   avoirdupois; voiders for 115

your table that have the true recipe of the  Turkey varnish; carpets wrought

of  paraquitos’  feathers; umbrellas made of the wing of the Indian butterfly;

 ventolas of  flying fishes’ fins; hangings of the island of   Cochin, which, being

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

return of the  Hollanders’ fleet from the Indies. But, I assure you, my  factors

from  Leghorn have advertised that  Ward, the man of war (for that is now the

honourable name for a pirate)  hath taken their greatest hulk, and in their

second, with a  cross-bar shot, hath made such a spoil in the porcelain as it is 125

thought they will come home very much dissolved. Therefore, as ye please,

my commodities shall not beg to be sold.   Higher be  glasses too, that I had

almost forgot but that my boy  suppeditate.  First, a triangular, which, laid

thus, shows ye all manner of colours by refraction and instructs ye in the true

natural cause of your rainbow. A convex that diminisheth forms and   makes 130

your lady look like the queen of  fairies and your knight like your grand duke

of pygmies. A concave that augments them. This glass would have made  the

great Dutchman look more like a  Saracen than he did and was invented to

help a lean face cut out of a   cherrystone, or the despair of a beard on a barren

chin. Then here’s a spectacle, an excellent pair of multiplying eyes, and were 135

made at request of an old  patriarch of usurers in town here, to see his money

come home in and sit brooding over the heap.  Your epicure buys yonder,

 too! But here’s my jewel: my  perspective. I will read you with this glass the

distinction of any man’s clothes ten, nay twenty mile off, the colour of his

horse,  cut or long tail, the form of his beard, the lines of his face. 140

SHOP-BOY

If it be toward you, sir!

MASTER

 If it be but  half, I care not! Nay, I will tell by the moving of his lips what

he speaks and in what language. If the sun shine anything strong, I will stand

you in  Covent Garden familiarly and decipher at  Highgate the  subtlest   caracts

you can make as easily as  here. But I am promised a glass shortly from a great 145

master in the  catoptrics, that I shall stand with o’th’ top of  Paul’s, when the

new spire is built, and set fire on a ship twenty leagues at sea in what line I will

by  parabolical fiction. You may smile at this now and think it nothing, but

I assure you there’s not that trifle in this whole shop that is not mysterious.

This  file of  vizards and beards by some would be carelessly regarded as being150

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

but I can derive from the time and place of their first  original amongst us.

This was the  beard of Prince  Arthur in the citizens’ show at Mile End, anno

24 of our late Queen, and came in with  Monsieur the same year ’81, and was 155

worn with the  German sleeves and  devil’s breeches. Had it not been pity

that King  Ryence of North Galys should have  furred his mantle with this

princely beard, as it had like to befallen on a Pentecost day. This   mustachio a

la Turquisia came in a year or two before with  Casimir, but was borrowed by

the  Duke of Shoreditch in the same show and, indeed, fell off after the first 160

hot service in the  Low Countries, what time the  kettledrum-breeches were

disbombasted in the streets by public commandment. This shaven cheek and

 pickardevant came over with an Italian  marquis and was worn (as I remember)

with the short round hose and the long  canion by the worthy  Earl of   Pancras,

 Alderman Offley, when I was a boy and long after. And had it been in request, 165

especially with revellers, but that the martial aspect of this   Calais  beard,

together with the  cloak-bag slops,   was confined to the chins of attorneys and

brewers’ clerks, where it remains at this day to be seen. I could make you more

upward allusions as to the four monarchies which were a  Maccabean, with

an Alexandrian and with a Caesarean beard, but I will content myself with a170

modern  animadversion,  only deciphering the seal or degree of a  parish. First,

here’s your stubbed brown beard for your  scavenger’s beard; then your close

and worn upper-lip for your  aleconner’s beard, somewhat cropped in the

fold like the apron of a gutter; the third is your  colemeter’s beard, somewhat

black and dusty; the fourth, your  headborough’s, that an imperfect beard175

but looking for more authority; the fifth, a ripe and mature beard, and being

the  collector for the poor will not spare a hair; this sixth, a commanding

beard, and only proper for the  constable; this seventh, the  sideman’s, 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

the  deputy or a burgess; and the tenth is Death, the barber of the parish, a

 mad  shaver who makes ’em all like himself! So much for that shelf. Then

for  chemical plate, it is not possible to equal, for setting the rest and the

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

of the workmanship, but the humbleness of the price disgraceth the  valour

of the thing. I  uttered some nine pounds’ worth of it to a poor innkeeper

that before, God knows, had no plate in his house but a  casting bottle and

two  ’postle spoons that were given his wife by the  gossips of her first child, 190

and now he serves in the right  livery to all his guests, even from the peddler

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

I come to that will speak for itself. Here is an  instrument that hath in it the

figures of the sun and moon, a clock, and other excellent properties. Ye will 195

say I am a  Daedalus ere I have done, too. Nay, I assure ye it plays alone without

the help of a second. This is the  motion of  Joseph and the ass and the  three

Kings of  Cologne; ye shall see it come again straight. They tell bold tales of

the  statue of Memnon and the bell in  Dodona,  I have a statue too of Apollo

here will do something. Now, if thou be’st the god of music, let’s hear thee! 200


 

[The Master discovers a musician dressed as  APOLLO.]


Song

APOLLO

 If to your ear it wonder bring,

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,

Or beauties that can  move a stone,

But both so high, 210

In this great King

And his fair Queen, do strike the harmony.

Which harmony hath power to touch

The dullest earth, and  make it such

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.]


MASTER

 I would my  antagonist at Eltham were here now to hear what he would

say! This is past the heat of hands or the beams of the sun. [To the King] Well, sir,

ye look like a man that would give good  handsel. If ye like this instrument, 225

I am going shortly for Virginia to discover the  insecta of that country, the

kind of  fly they have there, and so overland for China to compare  ’em for

commodity, and but see where paradise stood and bring of the birds alive

home. Perhaps I will call upon  Prester John by the way! If ye will give me

  twenty for one at my return, ’tis yours; I’ll make no piece with ye, any man 230

shall value it, I’ll send it ye home. [To the Queen] And, madam, let me have

a  mart with ye too. Here’s a picture that I do value at something, both for

the matter and that which exceeds it, the workmanship. It is the  salutation

of the Blessed Virgin by the Angel  Gabriel, with the choir of other angels

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!

I must fit ye with somewhat. Oh, an there were a  Bucephalus now, what

would not an Alexander give for this? It is the whole  furniture for a horse,

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.


  [The Master distributes gifts. Exeunt Master and Boy.

The guests depart accompanied by soft music.]

Title In the MS the entertainment has no title but simply begins with the speech-heading ‘The Key Keeper’. This was used as a title in CSPD 1623–1625, 541, where the text is described as a ‘comic harangue’. This title is constructed by analogy with the titles of other Cecil entertainments, Two Kings and Theobalds.
Title ] this edn
BURSE A meeting place for merchants, an exchange (for goods and money) (OED, 3); the modernised form is often ‘Bourse’. The ‘Orders for the Burse’, ?November 1609 (NA SP14/49/5), suggest a list of potential shops: ‘haberdashers of hats, haberdashers of small wares, stocking-sellers, linen-drapers, sempsters, goldsmiths or jewellers but not to work with hammer, such as sell china wares, milliners, perfumers, silk-mercers, tire-makers or hood-makers, stationers, booksellers, confectioners, such as sell pictures, maps, or prints, girdlers’ (Brushfield, 1903, 92).
1–48 For the staging of this section, see Introduction, and Wilson’s letter (Masque Archive, Burse, 10).
1 KEY KEEPER Door-keeper or porter. The ‘Orders for the Burse’ provide a list of the keeper’s duties.
4 Nay] <Yea> Nay JnB574.5
4–5 each of these Referring to the two Princes and Princess Elizabeth.
6 ‘Amen’.] Amen./ followed by new paragraph JnB 574.5
9 walked the round guarded the building. The Keeper has walked a regular circuit (‘the round’) as part of his guard duties (OED, Walk, v.1, 11a). Cf. Alch., 3.3.2.
10–11 which . . . known it In the MS this sentence is divided into two at first ‘office’, reading: ‘in my present place and office. Which office well (it makes my head beard a hair greyer to mention it) had I known it’. Although this makes no grammatical sense, the digressive nature of the Key Keeper’s speech may suggest a change of direction and restarting his thought, or simple confusion, for comic effect.
13 no ague] no <deletion> ague JnB 574.5
14 quotidian daily.
17 taffeta Brightly-coloured silk cloth.
20 Michaelmas Term The law term, the period when the courts were in session, started on St Michael the Archangel’s day (29 September). The autumn term saw a huge influx of people into London and formed the beginning of a social season.
20 an] <the> an JnB 574.5
20 wisest constables Constables were proverbially stupid: cf. ‘You might be a constable for your wit’ (Tilley, C616).
22 lights windows (OED, 10a).
23 affidavit sworn statement.
25–6 drawn . . . laughter made even a mourner laugh.
26 laughter upon] laughter<s> <on> vppon JnB 574.5
26 public bank The modern sense was unusual in early seventeenth-century English as England had no public banks until the foundation of the Bank of England in 1694 (see OED, Bank, 7; Kerridge, 1988, 4). The most common sense was ‘bench’ (as in a money-dealer’s table or bench); Randle Cotgrave’s Dictionary of the French and English Tongue (1611) defines ‘Banque’ as ‘a bank where money is to be let out to use: or lent, or returned by exchange; table whereon such may be told’ (cited OED, Bank, 1). By extension it can refer to a money-dealer’s shop (OED, 2). Some sense of the idea’s foreign quality can be found in Marlowe’s Jew of Malta, 4.1.74, where Barabas has ‘Great sums of money lying in the banco’, and the relative sparseness of OED citations for this period. Thus although the MS spelling ‘banque’ was available, the use of a French form may be deliberately exotic.
26 bank] JnB 574.5 (Banque)
27 five i’the hundred A low interest rate; see Owls, 175n.
29 lombard A pawn-shop (OED, 3), in contrast to the ‘public bank’.
29 broker retailer; second-hand dealer (OED, 1, 2).
32 pre-occupy anticipate or forestall (OED, 4). Cf. Sordido’s obsession with almanacs and weather prediction in EMO.
32 frost During the ‘Great Frost’ of 1607 the Thames froze solid.
32 despite] <the> despight JnB 574.5
33 victuallers] JnB 574.5 (vitaylers)
33 victuallers Purveyors of food.
34 arsenal The Arsenal (in Venice) was an armoury, but figuratively the term could be used for any storehouse (OED, 2b).
35 Ludgate One of the gateways into the City of London; it was used as a prison for debtors, the ‘decayed citizens’ (Sugden).
36 be] <be> be JnB 574.5
37 Shrove Tuesday The Tuesday immediately preceding Ash Wednesday; associated with festivity and disorderly riots, especially by the London apprentices. Cf. Epicene, 3.1.5.
39 travailed worked (with a pun on ‘travelled’).
40 Tipper’s office William Tipper was a notorious searcher for concealed lands (unpaid rentals owed to the crown, usually on former monastic lands) under Elizabeth I and James I, by this means he raised as much as £30,000 each year by 1607 (Kitching, 1974, 72; Hurstfield, 1958, 71). His activities formed one of the grievances aired during the 1606–7 parliament (Willson, 1931, 106–7, 132–4, 147–8), and memories remained much later: in 1624 one correspondent wrote to Sir Edward Conway, then Secretary of State, concerned that his lands might be ‘prey for some young Tipper, or other caterpillar of the commonwealth’ (NA SP14/159/80). The issue was topical in 1609: proclamations were issued then to compel proper land registration.
40–1 fair front This was true, since the classical facade of the Burse contrasted with the high-gabled vernacular-style building visible from the rear elevation.
43 make ropes A rope-maker would work by walking backwards and twisting together lengthy cords; his profession needed an exceptionally long open space.
43 shuttlecock In the indoor game of battledore and shuttlecock, the shuttlecock is hit with the battledore (a kind of small bat or racket) backwards and forwards between two players, or by one player into the air as many times as possible without dropping it. It required a large empty room.
45 proper private property: ‘that which is one’s own; private possession . . . something belonging to oneself’ (OED, adv. 1a). An archaic usage by 1609.
49 For the issues raised by this stage direction, see Introduction. Wilson’s letter (Masque Archive, Burse, 10) suggests that the ‘first opening’ (of the shutters, or curtains?) was accompanied by cornetts and loud music.
50–60 This profusion of Indian commodities was purchased from Henry Helms and Robert Kitchen (Masque Archive, Burse, 4, 8). However, there are also payments to Helms for the ‘use of all his Indian commodities’, and Sir Walter Cope, also named as a payee in the bills, owned a famous cabinet of curiosities that contained many of these wonders, such as Chinese porcelain, a reflecting and multiplying mirror, ‘flies which glow at night in Virginia instead of lights since there is often no day there for a month’ (Williams, 1937, 172–3). The Duke of Stettin-Pomerania visited Cope’s cabinet in 1602 and saw a ‘salamander scolopendra’ (Bülow and Pavell, 1892, 27): see 113n.
51 qualities] quallityes JnB 574.5 (original reading quantityes)
53 burning-glasses Lenses used to concentrate the sun’s rays and start fire. John Napier wrote a treatise on their military application (1596), and Drummond of Hawthornden took out a patent for a set in 1626: see Parr, Staple, 3.2.54n.
54–5 ostrich eggs A standard item in the Renaissance cabinet of curiosities. They were often mounted in gilt as cups, such as the Robert Ducie Cup (c. 1584), illustrated in Glanville (1990), 325.
55 musk-cats] JnB 574.5 (Muskcads)
55 musk-cats civet cats (OED). Particularly associated with China in John Huighen van Linschoten, his Discourse of Voyages into the East and West Indies (1598), E1v.
55 Indian mice Recognized as a specific creature in Edmund Topsell, History of Four-Footed Beasts, 3D4v.
56 Flowers] Flowrs JnB 574.5 (original reading Fowles)
56 mosaic fishes Presumably fishes made of mosaic. There may be a joking allusion to Robert Cecil’s own portrait by de Critz, which had been set in mosaic in Venice and was en route to London in 1609 (Auerbach and Adams, 1971, 1.74–5, 140).
58 voiders Baskets used to clear dirty dishes and food scraps during a meal.
58 falchions broad swords, usually with a curved blade.
61 gently (1) quietly; (2) in a style suited to an aristocratic (‘gentle’) audience. Dillon (2000), 119, notes that this injunction highlights the tensions in the text between royal entertainment and trade, and the stylistic issue of using prose (albeit with buried rhymes in 55–6) in a royal entertainment.
63 parcel] parcell<s> JnB 574.5
63 parcel small part, detail (OED, 1a, 3).
65 magazines storehouses, warehouses.
66 divers . . . houses Indian and China goods, mainly spices and tea, but sometimes porcelain, textiles, and other goods, were usually sold directly from the warehouses of members of the East India Company. This is the first evidence for the existence of China shops in early Jacobean London. India or China shops or houses also sold a wide range of exotic goods (tea, spices, fabrics, curiosities) as well as porcelain (Toppin, 1935, 37–56). China shops may have had associations with prostitution; cf. Epicene, 1.4.21 and n.
69 cockleshells] Cockl[] / shells JnB 574.5
69 Dutch trenchers ‘Dutch’ may suggest ‘cheap’, but the Dutch also imitated Chinese porcelain, especially for food and serving-dishes (‘trenchers’).
71 porcelain] pursla[] JnB 574.5
72 right genuine, not counterfeit (OED, a., 17c), but also suggesting they are ‘exactly’ or ‘correctly’ the dishes used by the sultan (cf. OED, a., 7a, 7c).
72 Grand Signor The sultan of Turkey (cf. EMI (F), 1.2.70).
72 eats in During Ramadan the sultan regularly used porcelain dishes for his sherbet, and a service of ‘yellow porcelain dishes (which are very costly and scarcely to be had for money)’ was described in Ottaviano Bon’s account ‘The Grand Signor’s Serraglio’, reprinted in Purchas His Pilgrimage (1625), 2.9.15 (7S2). Although his account was not translated into English until 1625, Bon (1551–1622) served at the Ottoman court 1603–7, overlapping with Sir Paul Pindar, who worked in Istanbul 1597–1607. Both men corresponded regularly with Cecil, and it is possible that either a version of Bon’s account or some of its details reached Cecil and, thus, perhaps Jonson. Jonson introduces the term chiaus (as a synonym for a trickster) in Alch., 1.2.26 and mentions the seraglio in Alch., 2.2.
73–4 presently . . . man It was widely believed that porcelain would not hold poison and so is ‘naturally’ disloyal to those who try to use it to deliver poison (see Thomas Browne, Pseudodoxia Epidemica, 1.136). In the MS the sentence reads ‘discolour, out, of a natural disloyalty to man’ but the comma is misplaced (OED offers various senses of ‘discolour’ but not ‘discolour out’).
74–8 These . . . list A near-quotation from Gonzalez de Mendoza, The History of the Great and Mighty Kingdom of China, trans. R. Parke (1588), B3v, which describes porcelain production: ‘there are also shops full of earthen vessels of divers making, red, green, yellow, and gilt, it is so good cheap that for few rials of plate they give fifty pieces: very strong earth, the which they do break all to pieces and grind it, and put it into cisterns with water, made of lime and stone, and after that they have well tumbled and tossed it in the water, of the cream that is upon it they make the finest sort of them, and the lower they go, spending that substance that is the coarser: they make them after the form and fashion as they do here, and they put them into their kills [= kilns] and burn them’. Mendoza’s History was one of the most popular books on China in the early modern period.
75 contused pounded.
76 lake pit (OED, 3a).
77 as . . . butter The image is taken from John Huighen van Linschoten, his Discourse of Voyages, E1v.
78 melling combining, mixing (OED).
83 tralucent translucent. This form is also used in Beauty, 144.
85 queen of Egypt A double edged-name: either (1) Cleopatra; or (2) a Cleopatra = a gypsy woman.
85 Egypt] JnB 574.5 (AEgypt)
85 great-fisted groom Possibly an allusion to the great porter selected for his stature to impress those arriving at the gates of Whitehall. Walter Parsons, the groom porter, appeared in several masques, including possibly Pleasure Rec.
86 pipkin A small earthenware drinking vessel.
86 conceited ingenious.
86–7 elephant . . . back A kendi, a blanc de chine elephant-shaped jug (see Lunsingh Schuerleer, 1974, 50, and plates 30, 32). Both the Earls of Northampton and Somerset owned a decorative elephant ewer and basin (Braunmuller, 1991, 237), and an elephant salt would appeal to Cecil’s love of ingenious gold-work and automata.
89 engine (1) wit or genius, as used in EMI, 5.3.115 (OED, 1); (2) ‘ingenuity’ (OED, 2), perhaps with some inference of ‘a mechanical device’ (OED, 4).
91 elephant . . . beast Pliny, History of the World (1601), 8.1 (R6v), commented that the elephant ‘commeth nearest in wit and capacity to men’. (Philemon Holland’s translation was dedicated to Robert Cecil.) Cf. Discoveries, 229–34.
92–3 sal sapit omnia Salt seasons everything. The motto of the Salterers’ Company, but also a pun on Cecil’s title as Earl of Salisbury.
93 chamber (1) private room; (2) one of the divisions of the court. The chamber was an outer reception room and also the members of its retinue (as in the title ‘gentleman of the chamber’).
94 close secret, private.
94 cleanly well-behaved, toilet-trained. Cf. Augurs, 118.
94 bewray befoul.
95–6 emblem . . . poet Canine faithfulness is a commonplace idea; the specific quotation and poet have not been identified.
97 this cat Cecil had received a porcelain cat as a gift in 1603; see HMC Salisbury, 12.527.
98–9 Proverbial (Tilley C127).
101 thousand] thousand<s> JnB 574.5
102 Sir John Mandeville The fictitious author, supposedly a mid-fourteenth-century English knight, of Mandeville’s Travels, reprinted in 1582 and 1612. The Master’s invocation of Mandeville suggests the fantastic and inaccurate nature of his knowledge.
103 climate region.
104 hieroglyphics ideograms. Jonson uses the word in King’s Ent., 204, to denigrate Dekker’s feeble allegories and symbols.
104–5 statue . . . Spring Hatfield House MSS, Bills 35/3 includes ‘1 fair woman gilt & with gold and silver’ (Masque Archive, Burse, 4), purchased from the goldsmith John Williams.
106 Juno’s bird The peacock.
108 rector Head of a college (OED, 4).
108–9 Bartholomew . . . Things Stephen Batman’s Batman upon Batholome: His Book De Proprietatibus Rerum (1582) describes Cathay (2Rv), elephants (3Q4), and Prester John (3Q4v).
109 Pliny in English See 91n.
109–10 the story . . . pictures Perhaps a reference to Topsell’s History of Four-Footed Beasts that contained numerous woodcuts?
110 Peg . . . Margaret Unidentified; perhaps an alchemical reference?
111 philosophers alchemists, magicians (OED, 2); see Alch., 2.1.57.
111 a book A comb-case disguised as a book, perhaps the velvet-covered book paid for in Hatfield House MSS, Bills 35/4a (Masque Archive, Burse, 5).
113 scolopendra’s Both Cotgrave, Dictionary, and Bullokar, The English Expositor (1616), describe the scolopendra as a fish which, when hooked, frees itself by vomiting up its guts and, having freed itself, re-ingests it intestines. The same account can also be found in Pliny, Natural History, 3.261. Cf. 50–60n.
114 comb] JnB574.5 (come)
114 comb Hatfield House MSS, Bills 35/3 includes payment for ‘1 fine ivory comb’ at £6 (Masque Archive, Burse, 4).
114 cabinets Chinese or Japanese lacquer-work furniture was a fashionable luxury in the early Jacobean period (see Irwin, 1953, 193–4, and Impey, 1982, 135–8, 141–2). Robert Cecil owned several items (listed in the 1611 inventory of Hatfield House), and a nanban-style scriptor survives at Hatfield (see Impey, 1989, 184, and fig. 6).
115 but merely.
115 avoirdupois] JnB 574.5 (haberdupois)
115 avoirdupois The standard imperial system of weights used in England (OED, 2), as against troy weight, the system used for precious metals. The term is a corruption of Fr. avoir-du-pois, literally meaning ‘to have of pounds’.
116 Turkey Turkish (OED, 3). Turkey varnish was perhaps lacquer?
117 paraquitos’ parakeets’. This form, derived partly from It. parrochetto (or Sp. periquito), was widely used in the early modern period: cf. Florio, Queen Anna’s New World of Words (1611), 2G5v; and 1H4, 2.3.79. Cynthia (F) uses the spelling ‘parachitos’ (4.2.30 and Palinode 16).
117 feathers] feather JnB 574.5
118 ventolas ‘any kind of fan’ (Florio, 1611, 3D3).
118 flying fishes’ Flying fishes were illustrated by John White: see Hulton (1984), 58.
118 Cochin] JnB 574.5 (Coqin)
118 Cochin Cochin-China normally refers to parts of mainland China. The Master has confused his geography, perhaps, again, implying the unreliable or fantastic nature of his claims.
122 Hollanders’ fleet The Dutch dominated trade with the East Indies.
122 factors agents.
123 Leghorn Livorno (Italy).
123 Ward John Ward (c. 1553–1623?), an ally of the Turks, menaced the whole Mediterranean (ODNB), although his activities gained topicality when James I issued A Proclamation against Pirates on 8 January 1609 (Larkin and Hughes, 1973, 203). His actions, supposed capture, and execution were widely reported in 1609 through a series of largely unreliable pamphlets, including News from the Sea of Ward the Pirate and A True and Certain Report of the . . . Present State of Captain Ward. Cf. Alch., 5.4.16 and n.
124 hath] <and> hath JnB 574.5
125 cross-bar shot A cannonball with a bar of iron through its centre, commonly used as a naval armament (OED, Cross-bar, 5).
127 Higher] JnB 574.5 (Hyeer)
127 Higher That is, on the upper shelves of the shop.
127 glasses Sir Walter Cope’s cabinet contained a mirror that reflected and multiplied (cf. 50–60n.).
128 suppeditate will furnish, supply (from Lat. suppeditare).
128–40 First . . . face The optical glasses described here possibly allude to the magic lantern displayed by Cornelis Drebbel in 1608 that made his clothes and body change shape and colour: see Augurs, 75n. Drebbel is the Master’s ‘antagonist’ (see 223n.).
130 makes] this edn; make JnB 574.5
131 fairies] JnB 574.5 (Farice)
132–3 the great Dutchman A famous London fencer or wrestler, referred to in The Knight of the Burning Pestle, The Roaring Girl, and Peacham’s verses to Coryate’s Crudities (Sugden).
133 Saracen Arab, muslim.
134 cherrystone] JnB 574.5 (Ceryston)
134 cherrystone Carved cherry- or other fruit-stones were often kept in cabinets of curiosities: MacGregor (1983), 246–7.
136 patriarch The male head, ruler, or progenitor of a family, tribe, or people. Applied to ‘usurers’, referencing the stereotype of the avaricious and miserly Jewish money-lender, it specifically means each of the twelve sons of Jacob, traditionally regarded as ancestors of the twelve tribes of Israel (OED, 2a).
137 Your] JnB 574.5 (yor,)
138 too] JnB 574.5 (to)
138 perspective Possibly a telescope, although in 1609 telescopes were great rarities, mainly sourced in Holland. They were extremely expensive, to such an extent that the Council of Venice hired Galileo to fashion one rather than pay the high price demanded by travelling salesmen. Thomas Harriot (c. 1560–1621), the mathematician, astronomer, and explorer connected with Cecil, was working on telescopes at this point. Harriot’s earliest surviving drawing of a view through his version is dated ‘1609. Jul. 26. 9. PM’: see Shirley (1983), 232–3, 346, 397–405. There is a payment for a ‘prospective’ among the ‘toys and goods’ (Masque Archive, Burse, 3): possibly this was a joking allusion to Cecil’s optical interests, or further satire on Drebbel who may already have devised the camera obscura he displayed in the 1620s (see 128–40n., 199n.).
140 cut] <l>cut JnB 574.5
142 SH] Mas: JnB 574.5
142 half] half <a kernel> JnB 574.5
144 Covent Garden An enclosed garden north of the Strand behind Burghley House (Sugden).
144 Highgate A village five miles north of London in a direct line from St Paul’s (Sugden). See Highgate Introduction.
144 subtlest] JnB 574.5 (subtillest)
144 caracts] carrackt JnB 574.5
144 caracts characters; letters (OED, Character, 3). There may also be a suggestion that these are magical or mystical signs.
145 here] <hee> heere JnB 574.5
146 catoptrics The optics of reflection (OED). See Augurs, 193 and n.
146–7 Paul’s . . . built The planned rebuilding of St Paul’s and its spire (destroyed in 1561 by fire) was clearly a standing joke, although the reference may have gained additional topicality in 1609 as Inigo Jones had presented a scheme for St Paul’s in 1608 (see Harris and Higgott, 1989, 38).
148 parabolical i.e. using a parable; also punning on ‘parabola’.
150 file A string or wire for storage; normally used to keep papers and documents for safekeeping and reference (OED, n.2, 3a).
150 vizards and beards Jokes about property beards were a standard clowning routine in Elizabethan theatre, as in MND, 1.2.86–91. Among the boy acting troupes, they accentuated the disparity between the actors’ age and the roles they played, as in Marston’s Antonio’s Revenge, 2.1.20.1, where Balurdo appears with his beard half-off, half-on. Satires on beards were commonplace in the ballads and popular poetry of the period: see Fairholt (1849), 121, and Fisher (2001).
153 original The source or origin of something (OED, 3a).
154 beard . . . show An allusion to the Fellowship of Prince Arthur’s Knights (Mulcaster, 1994, 108, 369n.), a citizen group of archers, set up to rival the Duke of Shoreditch’s company (cf. 160n.). The company seems to have been especially active in the 1580s. Their 1587 show, printed in Nichols (1789–1805), 3.210*, suggests the strongly patriotic emphasis of their entertainments, which included pageants as well as elaborate processions and target shooting competitions with some three hundred participants.
154 Arthur] <S>Arthur JnB 574.5
155 Monsieur François Alençon, Duc d’Anjou (1554–1584), visited England in 1581–2 as a suitor to Elizabeth. Elaborate entertainments were staged for him, including The Four Foster Children of Desire.
156 German sleeves A short sleeve, slashed and puffed (Linthicum, 170).
156 devil’s breeches Close-fitting trousers (presumably glancing at Alençon’s diabolic qualities).
157 Ryence One of the eleven kings (of ‘North Galys’ = Wales) from Malory’s Morte d’Arthur.
157–8 furred . . . beard The exaction of hair or beards as a toll for passage was a common motif in romances, for instance as at Briana’s castle in Spenser’s Faerie Queene, 6.1.13. See Kaske (1990).
158–9 mustachio a la Turquisia] mastaccio <deletion> a la Turqusia JnB 574.5
158–9 mustachio a la Turquisia A Turkish moustache. The faux-foreign form presumably represents an attempt at the Italian forms mostaccio, mostacho, or mustaccio (see Florio, 1611, 2D6v). In Field’s Woman is a Weathercock, 5.1, moustaches are associated with Turks (OED, Mustachio, 1c).
159 Casimir John Casimir (1543–1592), Prince Palatine, was used as a mercenary by Elizabeth against the Catholics in France and the Netherlands throughout the 1560s and 1570s. In 1578 he visited London where he was invested with the Garter and feasted by the Lord Mayor of London and Sir Thomas Gresham ‘with sounding of trumpets, drums, fifes and other instruments of music’ (Stow, Annals, 1615, 3L5v). Taddey (1977) gives an account of his career.
160 Duke of Shoreditch An honorific title given to Barlo, one of Henry VIII’s archers, as a sign of his dominance over all the archers of England, and awarded annually until 1683 (Sugden). The Duke of Shoreditch’s company was especially active in the 1580s (see Mulcaster, 1994, 369n.). For their 1583 show, see W. M., A Remembrance of the Worthy Show and Shooting by the Duke of Shoreditch (1583); Nichols (1805), 2.208.
161 Low Countries Holland. Also a synonym for the genitals and, by association, for a prostitute or brothel; ‘hot service’ = (1) fierce military engagement; (2) lustful encounter.
161–2 kettledrum-breeches were disbombasted Possibly, breeches in the shape of a kettledrum that were publicly unstuffed (‘bombast’ = cotton wool used as padding); the MS spelling ‘disbumbasted’ suggests a bawdy quibble. There are many jokes about the shape of breeches in this period, especially about the barrel-like trunk, round, or French breeches (Linthicum, 205). Cf. ‘tumbrel slop’ in EMI (Q), 1.4.119, and Case, 4.7.73–4: ‘stay. Let me see these drums, these kilderkins, these bombard slops.’ See Cunnington (1955), 45.
163 pickardevant picke-devant, a pointed (‘Van Dyck’) beard.
163 marquis] JnB 574.5 (marqueshe)
164 canion An ornamental roll of cloth around the bottom of the legs on a pair of breeches (OED). Canions could be short or long, resting over, or hidden beneath, the stockings (Cunnington, 1955, 43).
164 Earl of Pancras Another mock honorific title, like the Duke of Shoreditch (cf. 160n.).
164 Pancras] JnB 574.5 (Pancridge)
165 Alderman Offley Hugh Offley (d. 1594), a member of the Leathersellers’ Company and Sheriff in 1588, played Sir Lancelot in the 1587 show of Prince Arthur’s knights (see Mulcaster, 1994, 369n.; Nichols, 1805, 210*). For his civic career, see Beaven (1913), 2.43.
166 Calais] JnB 574.5 (cales)
166 Calais beard The ‘Cads-beard’ (OED, Beard, 1b) or Cadiz beard was a well-known broad beard (Sugden).
166 beard] this edn; bread JnB 574.5
167 cloak-bag slops A ‘cloak-bag’ was a valise, so a pair of trousers the size of a bag. Figuratively, the term could refer to a fat person (Falstaff is called ‘a stuffed cloak-bag of guts’, 1H4, 2.4.374). Like a cloak-bag these breeches were highly decorated, the knees being ‘encircled with decorative points trimmed down the outside of each leg with vertical braid embroidery’ (Cunnington, 1955, 47).
167 was] conj. M. Butler; and JnB 574.5
167 was confined In the MS this phrase is ungrammatical (‘and confined’); Martin Butler suggests (privately) a confusion of ‘and’ and ‘was’, perhaps by eye-skip from the ‘and’ written almost directly above.
169–70 Maccabean . . . Caesarian Beards belonging to three heroes: the Jewish patriot Judas Maccabeus, Alexander the Great, and Julius Caesar.
171 animadversion comment, observation, criticism (OED, 6).
171 only . . . parish The sense seems to be ‘I will anatomize the offices and ranks of the parish for you.’ Possibly both words should be plural (seals, degrees): ‘seal’ = seal of office (OED, 3b), a comic piece of inflation as this usually refers to the great offices of state; ‘degree’ = rank within a social hierarchy (OED, 4a).
171 parish] JnB 574.5 (parich)
172 scavenger’s A scavenger was a parish official charged with street cleaning.
173 aleconner’s An aleconner was the official inspector of ale for the parish.
174 colemeter’s A colemeter was the official who superintended the measuring and weighing of coal for the London market.
175 headborough’s A headborough was a parish officer equivalent to a deputy constable (OED). Cf. Tub, 1.1.37.
177 collector . . . poor Parish official who collected alms (OED, 2b).
178 constable Parish officer charged with peace-keeping.
178 sideman’s A sideman (or sidesman) was an elected assistant to the churchwardens (OED).
181 deputy . . . burgess Civic offices: the ‘deputy’ acted as proxy for an alderman on the City of London’s Common Council, and as such was a recognized role in the civic hierarchy (OED, Burgess, 2b). ‘Burgess’ could be used in the generalized sense of ‘a magistrate or member of the governing body of a town’ (OED).
182 mad] JnB 574.5 (made)
182 shaver (1) roisterer (OED, 3b); (2) someone who shaves with a razor. The punning point is that Death removes their hair and leaves a bald skull, just like a barber.
183 chemical plate alchemical (presumably fake) plate (OED, Chemical, 1).
187 valour value (OED, 2).
188 uttered sold, or put on sale.
189 casting bottle A bottle designed to sprinkle rosewater; a fashionable accessory for wealthy women (Glanville, 1990, 354, and fig. 208).
190 ’postle spoons Apostle spoons were a common gift at baptisms. Cf. Bart. Fair, 1.3.77.
190 gossips godparents.
191 livery The uniform dress worn by a particular individual’s servants, now only used for men-servants (OED, 2a).
194 instrument automaton (see also 89n.). The Master combines the two commonplace senses, of a mechanical device and musical contrivance (OED, 2, and 3), and may glance at the sense of ‘apparatus’, a deliberate Latinism.
196 Daedalus The legendary Cretan creator of the labyrinth.
197 motion puppet-show (here meaning the mechanical figures).
197 Joseph . . . ass That is, the flight into Egypt.
197–8 three . . . Cologne According to legend, the three kings or Magi travelled to Bethlehem from Cologne (Sugden).
198 Cologne] JnB 574.5 (Collen)
199 statue . . . Dodona Two famous musical marvels: the statue of the demi-god Memnon at Thebes played music when touched by the dawn (see Staple, 3.2.306); the Dodona bell was a cauldron in the temple precincts at Dodona besides which stood the statue of a boy holding a whip, and when the wind blew the whip struck the ‘bell’ making a hollow roaring noise (Sugden). Drebbel wrote to James I in 1613 claiming he could create solar-powered musical instruments: see Harris (1961), 146.
199 Dodona] JnB 574.5 (Dodone)
199 I . . . statue The statues of the twelve apostles on the Burse’s façade were a major item of contention and expenditure (Stone, 1957, 113; Knowles, 2002, 187), and the moving statue may obliquely allude to them.
201 For the problems presented by this stage direction, see Introduction. Dillon (2000), 122, notes that the restricted space may mean that this ‘discovery’, if it was such, took place in another space (perhaps a niche?).
201 APOLLO God of music and poetry; probably played by Nicholas Lanier, one of Cecil’s musicians: see Introduction.
203 SH] this edn; not in JnB 574.5
209 move a stone Although moving statues of various kinds were frequent masque devices, as in Campion’s Lord Hay’s Masque (1607), Duncan-Jones (2001), 228, suggests that this scene influenced WT, 5.3. Dillon (2000), 170 (23n.), argues that uncertainty in the dating of Shakespeare’s play makes this unlikely.
214 make] make<s> JnB 574.5
223 SH] this edn; not in JnB 574.5
223 antagonist at Eltham Cornelis Drebbel (1572–1633). His perpetual motion machine was housed at Eltham, the royal palace south-west of London (Sugden). Drebbel was often an object of Jonson’s scorn as in Epigr. 97 (‘the Eltham thing’) and Epicene, 5.3.47–8; he is the original for Vangoose in Augurs. His career is recounted in Dictionary of Scientific Biography, 4.183–5.
225 handsel (1) A present expressive of good wishes offered to inaugurate a new enterprise; (2) a first payment, often the first money taken by a trader in the morning, as an earnest of more to come (OED, 2, 3). Cf. Bart. Fair, 2.2.113.
226 insecta insects (from Lat. insectum; here in neuter plural form). Jonson uses a grammatically incorrect but comically apposite feminine ending (insectae) in Epicene, 5.4.198, to characterize Sir Amorous La Fool and Jack Daw.
227 fly Sir Walter Cope owned specimens (cf. 50–60n.), and Thomas Harriot (138n.) had copies of John White’s drawings of American flora and fauna, including two of ‘a fly which in the night seemeth to flame of fire’ (Quinn, 1955, 1.54–5, 392, 406; Hulton, 1984, 45).
227 ’em] this edn; him JnB 574.5
229 Prester John The legendary king of Ethiopia.
230 twenty] xx JnB 574.5
230 twenty . . . return An insurance deal. Travellers often insured themselves by betting (usually at the rate of two or four to one against), receiving a multiple of their original stake if they survived to claim their reward. Cf. EMO, 2.2.276ff.; Epigr. 133.27–8.
232 mart bargain.
233–4 salutation . . . Gabriel The Venetian ambassador (CSPV 1607–1610, 269) describes this silver plaque of the Annunciation given to Anne of Denmark as worth four thousand crowns. There are no corresponding payments in the Hatfield accounts, unless this was among the items for which Cecil paid an unnamed Dutchman in January 1609 (Masque Archive, Burse, 11).
234 Gabriel] JnB 574.5 (Gabrill)
237 Bucephalus Alexander the Great’s war-horse (a suitable mount for the notably martial Prince Henry).
238 furniture . . . horse Among the payments in Hatfield MSS, Accounts, 160/1 is a part payment for ‘a furniture of fine silver for a horse’ (Masque Archive, Burse, 11).
243–4 This stage direction is partly based on the description in Wilson’s letter (Masque Archive, Burse, 10), which asks for ‘soft music and a song in the middle window next Durham Yard, as the King shall return that way’.
seem to be upon some land discovery of a new region here, to which I am your See more
shop and never more be seen above board. You have See more
eye. A few shelves, somewhat thin, and rarely furnished, I confess! But if all See more
say! This is past the heat of hands or the beams of the sun. See more