London’s Early Modern Tourists
Samuel Rowlands’ poem
A straunge ſighted Trauellerand the broadside ballad entitled
The Great Boobeedescribe the unpleasant experience early modern London often inflicted on the unwary country tourist. Both texts present a traveller enthralled by the magnificence of the city’s urbs, but oblivious to the dangers London’s complex communitas could pose. In addition to the spectacle London provided, the city’s economic growth enticed newcomers with the possibility of financial success. However, investments were often a dubious adventure for inexperienced country gallants, who were easily duped by unscrupulous business partners. In both works, the references to familiar tourist destinations of London presume an audience aware of London’s physical and social layout, especially as they contain a subculture of criminal con-artists, or conny-catchers. Rowlands’ poem acts as a warning against and condemnation of London’s street crime, while the anonymously authored
The Great Boobeeresonates with the tourist-speaker’s retrospective self-critique and self-satire ending on an optimistic note. Ultimately, the tension in tone between the two works reflects the variable experience of London’s new arrivals, who were soon to be either uncharitably initiated into or expelled from London.
Both texts were printed with London’s consumers of popular literature in mind. Rowlands was a pamphleteer working in London between 1600 and 1630. In 1608, the short poem,
A straunge ſighted Traueller,appeared in Humors looking glass, which was printed by Edward Allde for the book seller William Ferebrand. The titles of the other poems in this book, such as
Of one that couſned a Cut-purſeand
A drunken fray,indicate that Rowlands often took criminals and unruly denizens as his subject matter.
The Great Boobee(Wing G1664) is a broadside ballad, printed on one side of an unfolded sheet of paper.1 Like most broadside ballads, the sheet is undated. The colophon states that it was
Printed for F. Coles, in VVine-ſtreet, on Saffron-hill, near Hatton-Garden.Donald Wing suggests a printing date of 1663, which is reasonable given the material evidence, although the ballad may have been in circulation some years earlier (Wing).2
The central event of both texts is the tricking and subsequent robbery of an unsuspecting,
sight-seeing traveller from the country. The refrain and title of
The Great Boobeeis a pejorative appellation, which the ballad’s speaker alternately receives from others and applies to himself. Sailors attach the term boobee (a derivation of the Spanish bobo meaning fool) to a species of sea bird, which is easily caught after it lands on the deck of a ship (OED boobee, n.2). The title is an apt metaphor for the speaker of the poem, who is befriended and then robbed by a female cut-purse purporting to be the speaker’s cousin. Rowlands describes his subject as
AN honeſt Country foole being gentle bred(Rowlands 1). Rowlands’ less pejorative description indicates a certain sympathy for London’s victims, a sentiment absent from
The Great Boobee.Like the Great Boobee, Rowlands’ traveller is befriended and toured around the city before finally being robbed, an event precipitating his decision to leave London (Rowlands 17–20).
The element of London’s communitas responsible for the inhospitable reception of rustic newcomers is described by the
poet-pamphleteer, Robert Greene. In his five pamphlets on the subject, he reveals the tricks of the con-artists’
trade in a series of pamphlets on Conny-catching.3 Published in 1591, The Second Part of Conny-catching explains how those who steal purses frequent the tourist locales mentioned in
The Great Boobeeand Rowlands’ poem, looking for the kinds of naive newcomers described in the ballad and poem. These thieves make
their cheife walks Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents.[…] Paules, the Weſtminſter, Exchange, Plaies, [and the] Beare garden,where crowds hide them as they stalk the tourists (Greene 103). Greene explains how when the nip (purse cutter) and foist (purse stealer)
spie a Farmer or Marchant, whome they ſuſpect to be well monied, they followe him hardlooking for an opportunity to run into him and take his money in the confusion (Greene 103). Anticipating the circumstances of the robbery in
The Great Boobee,Greene warns that
the woman Foiſt is the moſt daungerous, for commonlie there is ſome olde hand, or mout[h] fair ſtrumpet, who inueigleth either ſome ignorant man or ſome youth to folly: ſhe hath ſtraight Gap in transcription. Reason: Editorial omission for reasons of length or relevance. Use only in quotations in born-digital documents.[…] foiſts him of all that hee hath(Greene 108). In Greene’s descriptions, country visitors are robbed either by clandestine theft or by trickery. These techniques rely on both the gullibility of the victims and the crowded areas the thieves operate in. The speaker in
The Great Boobeeis robbed in a crowded vintner’s shop in Smithfield. Here, the Foist is able to disappear into the crowd and the traveler is left with a bill he cannot pay. In this scenario, the thief benefits from her knowledge of the urbs, the alleys between streets and buildings, and her sense of the communitas—that is the likelihood of being caught. The tourist becomes a fool due to his lack of knowledge regarding both urbs and communitas of London.
Greene, the author of
The Great Boobee,and Rowlands all capitalize on the reading public’s desire to take pleasure in their special knowledge of the city. This knowledge provides a sense of belonging that contrasts with the superficiality of a tourist’s interest in London’s great landmarks. As evidenced by the two poems’ focus on London’s famous sites, both tourists are able to experience the urbs, but leave themselves open to the threats of the city’s communitas. Gaping in wonder at the spectacle of the city below him, the Great Boobee forgets he is in public and begins to cry (
The Great Boobee2.46–48). His counterpart in Rowlands’ poem is likewise distracted by the sights in the time leading up to his robbery. It is the height of Saint Paul’s (
The Great Boobee2.46); the monstrousness of the whale bones at Whitehall (Rowlands 12); and the lifelike portraits of the kings at the Royal Exchange (
The Great Boobee2.43–45) that capture their attention. Meanwhile, they miss the threatening social dynamics to which a more experienced Londoner would, perhaps, remain alert. A seasoned Londoner would likely find it gratifying to contrast his knowledge of the city with that of the two travellers. Rowlands’ traveler and the Great Boobee function to consolidate the Londoner’s sense of superiority vis-à-vis the new arrivals to the city.
The most striking difference between the content of the two texts is the tone of their
respective endings: one is a celebration, the other a condemnation of London. The two poems represent alternate possible outcomes available to London’s new arrivals. Rowlands’ stranger leaves London convinced that he has encountered the devil (Rowlands 19–20), while the Great Boobee imagines transcending the stigma of his past naiveté by
becoming an actor brave enough to play before the Bears (
The Great Boobee2.75–80). After what is likely a brusque and disagreeable initiation, new arrivals must decide whether to chart a new course in the frequently unforgiving urban landscape or return to their provincial point of origin. Thomas Dekker’s Gull’s Hornbook is a collection of sardonic encouragement and admonition for young country gallants attempting to make London their home. Dekker’s newcomers resemble those figured in Rowlands’ poem and
The Great Boobee: their fathers are
old worm-eaten farmer[s]who have died and left
five hundred a yearto their sons. Dekker invites those who
would strive to fashionto
whiff down these observations. For if he once get but to walk by the book (and I see no reason but he may, as well as fight by the book) Paul’s may be proud of him(Dekker 88). The Great Boobee admires the gallants he meets recalling,
they were very gay(
The Great Boobee2.12). Ultimately, he comes to believe that if he can get a licence, he will, like the gallants, make a life in London. This is a more optimistic endnote than Rowlands allows for his poem, which concludes with his traveler’s exodus and his claim that London contains visions of the devil. The demonic vision constitutes a moral judgement directed against the criminal opportunism of London’s communitas.
The beginnings of the two poems provide hints regarding the decision each traveller
ultimately makes to either stay, or return to the country. The reason for the Great
Boobee’s and Rowlands’ traveller’s decision to journey to London likely lies in the collective attention focused on the city as a centre of commerce
and prestige. The Great Boobee comes from a wealthy estate (
The Great Boobee1.5–8). After being unsuccessful at school, he tries farming, but is declared incompetent so he travels to London (
The Great Boobee1.13–25) for
ſome Vaſhions for to ſee(
The Great Boobee1.30). The draw toward London is its novelty. This motivation is echoed by William Fennor’s characterization of
young gallants, that never [give] over plodding with himself how he might get into the books of some goldsmith, haberdasher, silkman, woollen- or linen-draper(Fennor 443). Throughout the early modern period, London experienced rapid growth owing primarily to its important position in world trade (Sheppard 125). The lure of highly valued objects—great edifices, or finely crafted goods—attract both businessmen and recently un-landed gentlemen to the city. Fennor goes on to explain how an aspiring country gallant, dazzled by the possibility of financial success and prestige of participating in the great commerce of London, finds himself penniless after the city’s criminals are through with him (Fennor 444). The draw of London—as a city frequented by kings and port to ships from around the world—for marginally educated youths must have been enormous. Like the Great Boobee, Rowlands’
Country fooleis
by an odde conceited humor led, / To trauell and ſome Engliſh faſhions ſee(Rowlands 3). This
odde conceited humoris legible as the simple mimetic curiosity inspired by large concentrations of people. The prestige of participating in London despite humble origins—and perhaps leaving a mark in a great city—is summed up by Dekker’s mocking advice that country gallants ascending the tower of Saint Paul’s should carve their name somewhere in the monument,
or for want of a name [and literacy], the mark which you clap on your sheep(Dekker 91).
Both
The Great Boobeeand
A straunge ſighted Trauelleracknowledge the draw London’s urbs had upon curious country people, but also the challenges that the criminal element of the city presented to a newcomer’s successful integration into the communitas. Both poems dramatize the threat of conny-catching that contemporary pamphleteers address. The publication of such pamphlets and poems indicates a London audience eager to know about their own city’s criminal underworld.
The Great Boobeeand Rowlands’ poem also touch on the powerful draw London had for young country people with enough freedom to indulge their curiosity regarding the land’s greatest city and its landmarks. However, the curiosity terminates in an ultimatum: either weather the assaults of the urban communitas, or give up and go home. The optimism of the Great Boobee leans toward the first possibility. Alternately, the straunge ſighted Traueller’s flight from the city combined with his bitter denunciation of London as demonic indicts the civitas’s often inhospitable reception of inexperienced newcomers. Taken together, the two works illuminate the anxiety new arrivals to London experienced and the stereotypes established Londoners assigned them.
Notes
- Broadside ballads were a form of popular literature read and sung in the public spaces of early modern London (Hehmeyer). (BB)↑
- Francis Coles had a shop in the Old Bailey at the sign of the Half Bowl (at the sign of the Lamb from 1663 on); material evidence derived from book title pages, ballads, and colophons listing F. Coles suggests that this Francis Coles belonged to a consortium of ballad printers that included Thomas Vere, John Wright, John Clark, and others. The Francis Coles at the Vine Street (Wine Street) address was likely a different man, perhaps a son, selling from this shop in the 1660s and 1670s and perhaps earlier. The BBTI record suggests that the Francis Coles of the Old Bailey and the Francis Coles of Vine/Wine Street were the same man. The Vine/Wine address appears in an undated parodic broadside ballad rendering of Charles I’s January 1648 scaffold speech (Wing M475bA), other undated ballads (STC 16862; Wing D1566C, J804B, H3011, P2041, P3372, R32A, T1779, W164A), and titles from 1668 (Wing K733) and 1678 (Wing S3448A). (JJ)↑
- A
conny
isa dupe, a gull, the victim of a
(OED conny, n.10). Aconny-catcher
conny
is also a rabbit (OED conny, n.2.a). Thus, the termconny-catcher
invokes the metaphor of predator and prey, which is apt for the relationship between a thief and his mark. (BB)↑
References
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The Great Boobee.
The Map of Early Modern London, Edition 7.0, edited by , U of Victoria, 05 May 2022, mapoflondon.uvic.ca/edition/7.0/GREA5.htm. -
Citation
Dekker, Thomas. The Gull’s Horn-Book: Or, Fashions to Please All Sorts of Gulls. Thomas Dekker: The Wonderful Year, The Gull’s Horn-Book, Penny-Wise, Pound-Foolish, English Villainies Discovered by Lantern and Candelight, and Selected Writings. Ed. E.D. Pendry. London: Edward Arnold, 1967. 64–109. The Stratford-upon-Avon Library 4.This item is cited in the following documents:
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Fennor, William. The Counter’s Commonwealth. The Elizabethan Underworld. Ed. A.V. Judges, 1930. Reprinted by New York: Octagon, 1965. 423–487. Print.This item is cited in the following documents:
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Greene, Robert. The Second Part of Cony-Catching. The Elizabethan Underworld. Ed. A.V. Judges. 1930. Reprinted by New York: Octagon, 1965. 149–178. Print.This item is cited in the following documents:
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Citation
Hehmeyer, Paxton.The Social Function of the Broadside Ballad; or, a New Medley of Readers.
English Broadside Ballad Archive. UC Santa Barbara. http://ebba.english.ucsb.edu/page/social-function-of-the-ballad.This item is cited in the following documents:
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Oxford English Dictionary. Oxford UP. https://www.oed.com/.This item is cited in the following documents:
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Citation
Rowlands, Samuel. Humors looking glasse. London: Imprinted by Ed. Allde for VVilliam Ferebrand and are to be sold at his shop in the popes-head Pallace, right ouer against the Tauerne-dore, 1608. STC 21386.This item is cited in the following documents:
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Citation
Sheppard, Francis. London: A History. Oxford: Oxford UP, 1998. Print.This item is cited in the following documents:
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Citation
STC. Abbreviation for A Short-Title Catalogue of Books Printed in England, Scotland, and Ireland and of English books Printed Abroad, 1475–1640. Compiled. by A.W. Pollard, and G.R. Redgrave. 2nd. ed. rev. and enl. 3 vols. Began by W.A. Jackson and F.S. Ferguson; completed by Katharine F. Pantzer. London: Bibliographical Society, 1976–1991.This item is cited in the following documents:
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Citation
Wing, Donald. Short Title Catalogue of Books Printed in England, Scotland, Ireland, Wales, and British America and of English Books Printed in Other Countries, 1641–1700. 3 vols. New York: Columbia UP, 1945–1951.This item is cited in the following documents:
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Chicago citation
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The Map of Early Modern London (Edition 7.0). Victoria: University of Victoria. Retrieved from https://mapoflondon.uvic.ca/editions/7.0/TOUR1.htm.
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Provider: University of Victoria Database: The Map of Early Modern London Content: text/plain; charset="utf-8" TY - ELEC A1 - Barber, Benjamin ED - Jenstad, Janelle T1 - London’s Early Modern Tourists T2 - The Map of Early Modern London ET - 7.0 PY - 2022 DA - 2022/05/05 CY - Victoria PB - University of Victoria LA - English UR - https://mapoflondon.uvic.ca/edition/7.0/TOUR1.htm UR - https://mapoflondon.uvic.ca/edition/7.0/xml/standalone/TOUR1.xml ER -
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Kate LeBere
KL
Project Manager, 2020-2021. Assistant Project Manager, 2019-2020. Research Assistant, 2018-2020. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. She published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History Conference (2020), and the Digital Humanities Summer Institute’s Project Management in the Humanities Conference (2021). While her primary research focus was sixteenth and seventeenth century England, she completed her honours thesis on Soviet ballet during the Russian Cultural Revolution. During her time at MoEML, Kate made significant contributions to the 1598 and 1633 editions of Stow’s Survey of London, old-spelling anthology of mayoral shows, and old-spelling library texts. She authored the MoEML’s first Project Management Manual andquickstart
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Jenstad, Janelle and Joseph Takeda.
Making the RA Matter: Pedagogy, Interface, and Practices.
Making Things and Drawing Boundaries: Experiments in the Digital Humanities. Ed. Jentery Sayers. Minnesota: University of Minnesota Press, 2018. Print.
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Director of Pedagogy and Outreach, 2015–2020. Associate Project Director, 2015. Assistant Project Director, 2013-2014. MoEML Research Fellow, 2013. Kim McLean-Fiander comes to The Map of Early Modern London from the Cultures of Knowledge digital humanities project at the University of Oxford, where she was the editor of Early Modern Letters Online, an open-access union catalogue and editorial interface for correspondence from the sixteenth to eighteenth centuries. She is currently Co-Director of a sister project to EMLO called Women’s Early Modern Letters Online (WEMLO). In the past, she held an internship with the curator of manuscripts at the Folger Shakespeare Library, completed a doctorate at Oxford on paratext and early modern women writers, and worked a number of years for the Bodleian Libraries and as a freelance editor. She has a passion for rare books and manuscripts as social and material artifacts, and is interested in the development of digital resources that will improve access to these materials while ensuring their ongoing preservation and conservation. An avid traveler, Kim has always loved both London and maps, and so is particularly delighted to be able to bring her early modern scholarly expertise to bear on the MoEML project.Roles played in the project
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Janelle Jenstad is Associate Professor of English at the University of Victoria, Director of The Map of Early Modern London, and PI of Linked Early Modern Drama Online. She has taught at Queen’s University, the Summer Academy at the Stratford Festival, the University of Windsor, and the University of Victoria. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media (Routledge). She has prepared a documentary edition of John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Renaissance and Reformation,Journal of Medieval and Early Modern Studies, Early Modern Literary Studies, Elizabethan Theatre, Shakespeare Bulletin: A Journal of Performance Criticism, and The Silver Society Journal. Her book chapters have appeared (or will appear) in Institutional Culture in Early Modern Society (Brill, 2004), Shakespeare, Language and the Stage, The Fifth Wall: Approaches to Shakespeare from Criticism, Performance and Theatre Studies (Arden/Thomson Learning, 2005), Approaches to Teaching Othello (Modern Language Association, 2005), Performing Maternity in Early Modern England (Ashgate, 2007), New Directions in the Geohumanities: Art, Text, and History at the Edge of Place (Routledge, 2011), Early Modern Studies and the Digital Turn (Iter, 2016), Teaching Early Modern English Literature from the Archives (MLA, 2015), Placing Names: Enriching and Integrating Gazetteers (Indiana, 2016), Making Things and Drawing Boundaries (Minnesota, 2017), and Rethinking Shakespeare’s Source Study: Audiences, Authors, and Digital Technologies (Routledge, 2018).Roles played in the project
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Making the RA Matter: Pedagogy, Interface, and Practices.
Making Things and Drawing Boundaries: Experiments in the Digital Humanities. Ed. Jentery Sayers. Minnesota: University of Minnesota Press, 2018. Print. -
Jenstad, Janelle.
Building a Gazetteer for Early Modern London, 1550-1650.
Placing Names. Ed. Merrick Lex Berman, Ruth Mostern, and Humphrey Southall. Bloomington and Indianapolis: Indiana UP, 2016. 129-145. -
Jenstad, Janelle.
The Burse and the Merchant’s Purse: Coin, Credit, and the Nation in Heywood’s 2 If You Know Not Me You Know Nobody.
The Elizabethan Theatre XV. Ed. C.E. McGee and A.L. Magnusson. Toronto: P.D. Meany, 2002. 181–202. Print. -
Jenstad, Janelle.
Early Modern Literary Studies 8.2 (2002): 5.1–26..The City Cannot Hold You
: Social Conversion in the Goldsmith’s Shop. -
Jenstad, Janelle.
The Silver Society Journal 10 (1998): 40–43.The Gouldesmythes Storehowse
: Early Evidence for Specialisation. -
Jenstad, Janelle.
Lying-in Like a Countess: The Lisle Letters, the Cecil Family, and A Chaste Maid in Cheapside.
Journal of Medieval and Early Modern Studies 34 (2004): 373–403. doi:10.1215/10829636–34–2–373. -
Jenstad, Janelle.
Public Glory, Private Gilt: The Goldsmiths’ Company and the Spectacle of Punishment.
Institutional Culture in Early Modern Society. Ed. Anne Goldgar and Robert Frost. Leiden: Brill, 2004. 191–217. Print. -
Jenstad, Janelle.
Smock Secrets: Birth and Women’s Mysteries on the Early Modern Stage.
Performing Maternity in Early Modern England. Ed. Katherine Moncrief and Kathryn McPherson. Aldershot: Ashgate, 2007. 87–99. Print. -
Jenstad, Janelle.
Using Early Modern Maps in Literary Studies: Views and Caveats from London.
GeoHumanities: Art, History, Text at the Edge of Place. Ed. Michael Dear, James Ketchum, Sarah Luria, and Doug Richardson. London: Routledge, 2011. Print. -
Jenstad, Janelle.
Versioning John Stow’s A Survey of London, or, What’s New in 1618 and 1633?.
Janelle Jenstad Blog. https://janellejenstad.com/2013/03/20/versioning-john-stows-a-survey-of-london-or-whats-new-in-1618-and-1633/. -
Shakespeare, William. The Merchant of Venice. Ed. Janelle Jenstad. Internet Shakespeare Editions. U of Victoria. http://internetshakespeare.uvic.ca/Library/Texts/MV/.
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Stow, John. A SVRVAY OF LONDON. Contayning the Originall, Antiquity, Increase, Moderne estate, and description of that Citie, written in the yeare 1598. by Iohn Stow Citizen of London. Also an Apologie (or defence) against the opinion of some men, concerning that Citie, the greatnesse thereof. With an Appendix, containing in Latine, Libellum de situ & nobilitate Londini: written by William Fitzstephen, in the raigne of Henry the second. Ed. Janelle Jenstad and the MoEML Team. MoEML. Transcribed.
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Benjamin Barber
BB
Benjamin Barber is a PhD student at the University of Ottawa. His recently completed MA research at the University of Victoria analyzed the role of mimetic desire, honour, and violence in Heywood’s Edward IV Parts 1 and 2 and Shakespeare’s The Winter’s Tale. Barber’s current research explores the influence of Shakespearian protagonists on Lord Byron’s characterization of Childe Harold and Don Juan. He has articles forthcoming in Literature and Theology (Oxford UP) and Contagion: Journal of Violence Mimesis and Culture (Michigan State UP). He has also contributed an article to Anthropoetics: The Journal of Generative Anthropology (UCLA).Roles played in the project
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Martin D. Holmes
MDH
Programmer at the University of Victoria Humanities Computing and Media Centre (HCMC). Martin ported the MOL project from its original PHP incarnation to a pure eXist database implementation in the fall of 2011. Since then, he has been lead programmer on the project and has also been responsible for maintaining the project schemas. He was a co-applicant on MoEML’s 2012 SSHRC Insight Grant.Roles played in the project
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Abstract Author
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Author
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Conceptor
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Editor
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Encoder
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Geo-Coordinate Researcher
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Markup Editor
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Post-Conversion Editor
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Programmer
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Proofreader
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Researcher
Contributions by this author
Martin D. Holmes is a member of the following organizations and/or groups:
Martin D. Holmes is mentioned in the following documents:
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Edward Allde is mentioned in the following documents:
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Francis Coles is mentioned in the following documents:
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Thomas Dekker is mentioned in the following documents:
Thomas Dekker authored or edited the following items in MoEML’s bibliography:
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Bevington, David. Introduction.
The Shoemaker’s Holiday.
By Thomas Dekker. English Renaissance Drama: A Norton Anthology. Ed. David Bevington, Lars Engle, Katharine Eisaman Maus, and Eric Rasmussen. New York: Norton, 2002. 483–487. Print. -
Dekker, Thomas, and John Webster. Vvest-vvard hoe As it hath been diuers times acted by the Children of Paules. London: [William Jaggard] for Iohn Hodgets, 1607. STC 6540.
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Dekker, Thomas. Britannia’s Honor.
The Dramatic Works of Thomas Dekker.
Vol. 4. Ed. Fredson Bowers. Cambridge: Cambridge UP, 1961. Print. -
Dekker, Thomas. The Dead Tearme. Or Westminsters Complaint for long Vacations and short Termes. Written in Manner of a Dialogue betweene the two Cityes London and Westminster. 1608. The Non-Dramatic Works of Thomas Dekker. Ed. Rev. Alexander B. Grosart. 5 vols. 1885. Reprinted by New York: Russell and Russell, 1963. 1–84. Print.
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Dekker, Thomas. The Gull’s Horn-Book: Or, Fashions to Please All Sorts of Gulls. Thomas Dekker: The Wonderful Year, The Gull’s Horn-Book, Penny-Wise, Pound-Foolish, English Villainies Discovered by Lantern and Candelight, and Selected Writings. Ed. E.D. Pendry. London: Edward Arnold, 1967. 64–109. The Stratford-upon-Avon Library 4.
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Dekker, Thomas. If it be not good, the Diuel is in it A nevv play, as it hath bin lately acted, vvith great applause, by the Queenes Maiesties Seruants: at the Red Bull. London: Printed by Thomas Creede for John Trundle, 1612. STC 6507.
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Dekker, Thomas. Lantern and Candlelight. 1608. Ed. Viviana Comensoli. Toronto: Centre for Reformation and Renaissance Studies, 2007. Publications of the Barnabe Riche Society.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: British Library; Shelfmark: C.34.g.11.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: Huntington Library; Shelfmark: Rare Books 59055.
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Dekker, Thomas. Londons Tempe, or The Feild of Happines. London: Nicholas Okes, 1629. STC 6509. DEEP 736. Greg 421a. Copy: National Library of Scotland; Shelfmark: Bute.143.
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Dekker, Thomas. London’s Tempe. The Dramatic Works of Thomas Dekker. Ed. Fredson Bowers. Vol. 4. Cambridge: Cambridge UP, 1961. Print.
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Dekker, Thomas. The magnificent entertainment giuen to King Iames, Queene Anne his wife, and Henry Frederick the Prince, vpon the day of his Maiesties tryumphant passage (from the Tower) through his honourable citie (and chamber) of London, being the 15. of March. 1603. As well by the English as by the strangers: vvith the speeches and songes, deliuered in the seuerall pageants. London: T[homas] C[reede, Humphrey Lownes, Edward Allde and others] for Tho. Man the yonger, 1604. STC 6510
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Dekker, Thomas. The Magnificent Entertainment: Giuen to King James, Queene Anne his wife, and Henry Frederick the Prince, ypon the day of his Majesties Triumphant Passage (from the Tower) through his Honourable Citie (and Chamber) of London being the 15. Of March. 1603. London: T. Man, 1604. Treasures in full: Renaissance Festival Books. British Library.
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Dekker, Thomas. The owles almanacke Prognosticating many strange accidents which shall happen to this kingdome of Great Britaine this yeare, 1618. Calculated as well for the meridian mirth of London as any other part of Great Britaine. Found in an iuy-bush written in old characters, and now published in English by the painefull labours of Mr. Iocundary Merrie-braines. London: E[dward] G[riffin] for Laurence Lisle, 1618. STC 6515.
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Dekker, Thomas. Penny-vvis[e] pound foolish or, a Bristovv diamond, set in t[wo] rings, and both crack’d Profitable for married men, pleasant for young men, a[nd a] rare example for all good women. London: A[ugustine] M[athewes] for Edward Blackmore, 1631. STC 6516.
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Dekker, Thomas. The Second Part of the Honest Whore, with the Humors of the Patient Man, the Impatient Wife: the Honest Whore, perswaded by strong Arguments to turne Curtizan againe: her braue refuting those Arguments. London: Printed by Elizabeth All-de for Nathaniel Butter, 1630. STC 6506.
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Dekker, Thomas. The seuen deadly sinnes of London drawne in seuen seuerall coaches, through the seuen seuerall gates of the citie bringing the plague with them. Opus septem dierum. London: E[dward] A[llde and S. Stafford] for Nathaniel Butter, 1606. STC 6522.
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Dekker, Thomas. The Shoemaker’s Holiday. Ed. R.L. Smallwood and Stanley Wells. Manchester: Manchester UP, 1979. The Revels Plays.
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Dekker, Thomas. The shomakers holiday. Or The gentle craft VVith the humorous life of Simon Eyre, shoomaker, and Lord Maior of London. As it was acted before the Queenes most excellent Maiestie on New-yeares day at night last, by the right honourable the Earle of Notingham, Lord high Admirall of England, his seruants. London: Valentine Sims, 1600. STC 6523.
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Dekker, Thomas, Stephen Harrison, Ben Jonson, and Thomas Middleton. The Whole Royal and Magnificent Entertainment of King James through the City of London, 15 March 1604, with the Arches of Triumph. Ed. R. Malcolm Smuts. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford UP, 2007. 219–279. Print.
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Dekker, Thomas. Troia-Noua Triumphans. London: Nicholas Okes, 1612. STC 6530. DEEP 578. Greg 302a. Copy: Chapin Library; Shelfmark: 01WIL_ALMA.
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Dekker, Thomas. TThe shoomakers holy-day. Or The gentle craft VVith the humorous life of Simon Eyre, shoomaker, and Lord Mayor of London. As it was acted before the Queenes most excellent Maiestie on New-yeares day at night last, by the right honourable the Earle of Notingham, Lord high Admirall of England, his seruants. London: G. Eld for I. Wright, 1610. STC 6524.
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Dekker, Thomas. Westward Ho! The Dramatic Works of Thomas Dekker. Vol. 2. Ed. Fredson Bowers. Cambridge: Cambridge UP, 1964. Print.
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Middleton, Thomas, and Thomas Dekker. The Roaring Girl. Ed. Paul A. Mulholland. Revels Plays. Manchester: Manchester UP, 1987. Print.
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Munday, Anthony, Henry Chettle, Thomas Dekker, Thomas Heywood, and William Shakespeare. Sir Thomas More. 1998. Remediated by Project Gutenberg.
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Munday, Anthony, Henry Chettle, Thomas Dekker, Thomas Heywood, and William Shakespeare. Sir Thomas More. Ed. Vittorio Gabrieli and Giorgio Melchiori. Revels Plays. Manchester; New York: Manchester UP, 1990. Print.
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Smith, Peter J.
Glossary.
The Shoemakers’ Holiday. By Thomas Dekker. London: Nick Hern, 2004. 108–110. Print.
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William Fennor is mentioned in the following documents:
William Fennor authored or edited the following items in MoEML’s bibliography:
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Fennor, William. The Counter’s Commonwealth. The Elizabethan Underworld. Ed. A.V. Judges, 1930. Reprinted by New York: Octagon, 1965. 423–487. Print.
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Robert Greene is mentioned in the following documents:
Robert Greene authored or edited the following items in MoEML’s bibliography:
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Greene, Robert. The Second Part of Cony-Catching. The Elizabethan Underworld. Ed. A.V. Judges. 1930. Reprinted by New York: Octagon, 1965. 149–178. Print.
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Samuel Rowlands is mentioned in the following documents:
Samuel Rowlands authored or edited the following items in MoEML’s bibliography:
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Rowlands, Samuel. Humors looking glasse. London: Imprinted by Ed. Allde for VVilliam Ferebrand and are to be sold at his shop in the popes-head Pallace, right ouer against the Tauerne-dore, 1608. STC 21386.
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John Wright is mentioned in the following documents:
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William Ferebrand
Bookseller.William Ferebrand is mentioned in the following documents:
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John Clark
Printer.John Clark is mentioned in the following documents:
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Thomas Vere
Printer.Thomas Vere is mentioned in the following documents:
Locations
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London is mentioned in the following documents:
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Wine Street is mentioned in the following documents:
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Saffron Hill is mentioned in the following documents:
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Hatton Garden is mentioned in the following documents:
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Old Bailey
The Old Bailey ran along the outside of the London Wall near Newgate (Stow 1598, sig. U8v). It is labelled on the Agas map asOlde baily.
Old Bailey is mentioned in the following documents:
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St. Paul’s Cathedral
St. Paul’s Cathedral was—and remains—an important church in London. In 962, while London was occupied by the Danes, St. Paul’s monastery was burnt and raised anew. The church survived the Norman conquest of 1066, but in 1087 it was burnt again. An ambitious Bishop named Maurice took the opportunity to build a new St. Paul’s, even petitioning the king to offer a piece of land belonging to one of his castles (Times 115). The building Maurice initiated would become the cathedral of St. Paul’s which survived until the Great Fire of London.St. Paul’s Cathedral is mentioned in the following documents:
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Westminster is mentioned in the following documents:
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Royal Exchange
Located in Broad Street Ward and Cornhill Ward, the Royal Exchange was opened in 1570 to make business more convenient for merchants and tradesmen (Harben 512). The construction of the Royal Exchange was largely funded by Sir Thomas Gresham (Weinreb, Hibbert, Keay, and Keay 718).Royal Exchange is mentioned in the following documents:
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Bear Garden
The Bear Garden was never a garden, but rather a polygonal bearbaiting arena whose exact locations across time are not known (Mackinder and Blatherwick 18). Labelled on the Agas map asThe Bearebayting,
the Bear Garden would have been one of several permanent structures—wooden arenas, dog kennels, bear pens—dedicated to the popular spectacle of bearbaiting in the sixteenth and seventeenth centuries.Bear Garden is mentioned in the following documents:
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Smithfield
Smithfield was an open, grassy area located outside the Wall. Because of its location close to the city centre, Smithfield was used as a site for markets, tournaments, and public executions. From 1123 to 1855, the Bartholomew’s Fair took place at Smithfield (Weinreb, Hibbert, Keay, and Keay 842).Smithfield is mentioned in the following documents:
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Whitehall
Whitehall Palace, the Palace of Whitehall or simply Whitehall, was one of the most complex and sizeable locations in the entirety of early modern Europe. As the primary place of residence for monarchs from 1529 to 1698, Whitehall was an architectural testament to the shifting sociopolitical, religious, and aesthetic currents of Renaissance England. Sugden describes the geospatial location of Whitehall in noting that[i]t lay on the left bank of the Thames, and extended from nearly the point where Westminster Bdge. now crosses the river to Scotland Yard, and from the river back to St. James’s Park
(Sugden 564-565).Whitehall is mentioned in the following documents: