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9781474479738 Living with S Living with Shakespeare Living with Shakespeare Saint Helen’s Parish, london, 1593–1598 Geoffrey Marsh For Vicky and James Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Geoffrey Marsh, 2021 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Cover, design and typeset in Minion by Biblichor Ltd, Edinburgh and printed and bound in Malta at Melita Press. A CIP record for this book is available from the British Library. ISBN 978 1 4744 7972 1 (hardback) ISBN 978 1 4744 7973 8 (webready PDF) ISBN 978 1 4744 7974 5 (epub) The right of Geoffrey Marsh to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vii Picture Credits ix Introduction: 1593, the Theatre, Shakespeare, Saint Helen’s, English and You 1 PART I: 1576, LONDON, THE THEATRE AND HUNTING FOR CHINA 1. 1576: A Starting Point 29 2. James Burbage Plans His Theatre: The Theatre 46 3. Kick-Starting the British Empire 63 PART II: THE THEATRE, 1576–1598 4. James Burbage Builds the Theatre 83 5. Trouble at the Theatre 101 6. The Early Years of the Theatre: 1576–1586 115 7. The 1594 Changes at the Theatre and Shakespeare’s New Focus 130 PART III: THE PARISH OF SAINT HELEN’S, BISHOPSGATE STREET 8. William Shakespeare and the Parish of Saint Helen’s 145 9. Searching for Shakespeare’s Lodgings in Saint Helen’s 165 10. What Attracted Shakespeare to Saint Helen’s? 180 PART IV: LIFE, DEATH AND RELIGION IN SAINT HELEN’S 11. Saint Helen’s Church: The Anchor of the Parish 203 12. A Walk Round the Interior of Saint Helen’s Church 216 13. Dreaming of English Exploration, Trade, Wealth, Colonisation and Empire 230 PART V: SHAKESPEARE’S NEIGHBOURS IN SAINT HELEN’S 14. The Radical Doctors of Saint Helen’s 255 Living with Shakespeare 15. Dr Peter Turner Visits a Patient at the Sign of the Horse Head Inn 276 16. Lawyers, Musicians, an Antiquary and More 292 17. Saint Helen’s as a Microcosmos: A Theatre of London 306 PART VI: BEWITCHMENT IN LONDON 18. Witchcraft in Thames Street 333 19. Mary Glover is Bewitched in All-Hallows-the-Less, Thames Street 349 20. An Exorcism in Shoreditch 360 PART VII: CODA: THE ADVANCEMENT OF ENGLISH 21. Honey or Cane Sugar? 377 APPENDIX 1. Introduction 393 2. What Accommodation in Saint Helen’s Would Have Appealed to Shakespeare? 394 3. Identifying the Location of Shakespeare’s Residence(s) 404 4. When Did Shakespeare Leave Saint Helen’s? 432 5. Who Was John Pryn, Pryne, Prynne, Pryme, Prymme? 444 6. Who Was John Hatton? 452 7. Who Were Thomas Wrightson, John Harvey and Israel Jorden, Jordan, Jordaine, Jordayne, Jurden? 457 8. Who Were John, Antonia and Katherine Jeffrey? 466 9. Some Other Residents of Saint Helen’s in the 1580s and 1590s 470 Bibliography 475 Index 489 vi Acknowledgements This book is the result of research on both sides of the Atlantic. In 2008, the remains of the Theatre, built in 1576 by James Burbage and John Brayne, were discovered on a redevelopment site in Shoreditch, London. In an act of great public- spiritedness, the Belvedere Trust supported a project which would allow visitors to view the foundations of the building that probably saw the première of Romeo and Juliet and many other famous plays. The Victoria & Albert Museum assisted with lending exhibits for the interpretive display which will open in 2021. As a result, I became intrigued by the question of where Shakespeare was living while he was working at the Theatre. This led me to Professor Alan H. Nelson in Berkeley and his website (https://ahnelson. berkeley.edu/) exploring the late sixteenth-century Lay Subsidy rolls for London. Anybody who has used Professor Nelson’s transcriptions and who has experience of working on other rolls will know what a great debt of gratitude historians owe to his work of making these intractable documents available online. In doing so, he has brought back to light thousands of Elizabethan Londoners, including the neighbours of Shakespeare in St Helen’s during the 1590s. His work was the fundamental starting point for this book. Those who have read 1599: A Year in the Life of William Shakespeare and 1606: The Year of Lear by Jim Shapiro along with The Lodger: Shakespeare on Silver Street by Charles Nicholl will recognise the debt this book owes to them and their demonstration that, with careful excavation, one can discover much about Shakespeare’s life in London. Chris Laoutaris, in his recent Shakespeare and the Countess: The Battle that Gave Birth to the Globe, has continued this approach and I am grateful for his advice. The central arguments of this book were presented at the 2019 Annual Conference of the Shakespeare Association of America in Washington, DC. I am very grateful for comments made there by Alan H. Nelson, William Ingram, Sally-Beth MacLean, David Kathman, Natasha Korda and others. David Kathman’s work on the parish of St Ethelburga was a vital parallel model for my examination of the records from St Helen’s. In terms of access to original materials, Jerome Farrell, archivist at the Leathersellers’ Company, has been a huge help as well as a wise critic. The staff at the London Metropolitan Archive, the Guildhall Library, the National Archives and the British Library have all helped in their customary professional manner. Also, thanks are owed to Michael Witmore and Heather Wolfe at the Folger Library in Washington. Professor Vanessa Harding was of great assistance in improving my understanding of Elizabethan records; however, any errors in interpretation are my own. Peter Elmer, Richard Wilson, vii Living with Shakespeare Peter McCullough and John Schofield helped advise on specific points. Evelyn Welch and Elizabeth Kehoe commented on earlier drafts of the text. I am grateful to the estates of T.S. Eliot and George Orwell for permission to quote from The Wasteland and Coming Up for Air. I am fortunate to work in the Department of Theatre and Performance at the V&A Museum. Nobody could hope to work with a more informed, hard-working group of specialists committed to enhancing the public’s appreciation of the UK’s extraordinary performance heritage. Flynn Allott, Ella Khalek, Carolyn Addelman, Peter Kellaway, Sophie Thomas and Sam Wassmer all helped in various ways. Sue Cawood and Cat Macdonald turned my scrawls into legible plans and diagrams. I am grateful for the support of the Marc Fitch Fund, the Hiscox Foundation and the Worshipful Company of Leathersellers, whose financial support allowed this book to include illustrations that would otherwise have been unaffordable. I would also like to thank the team at Edinburgh University Press, especially Michelle Houston, James Dale, Ersev Ersoy, Bekah Dey, Gavin Peebles and Camilla Rockwood. On a personal note, I would like to thank Harvey Sheldon, currently chairman of the Rose Theatre Trust, who introduced me to the archaeology of Bankside in 1971, where I had the good fortune to meet Sam Wanamaker. Both taught me, in different ways, that improving ‘public good’ almost always involves challenging or circumventing authority. Finally, I would like to acknowledge a huge debt to the late, great Professor Ted Rabb of Princeton University (1937–2019), who challenged me to turn some casual thoughts into a book and guided me through the ups and downs that any publication involves. As Charles Nicholl put it in The Lodger: Shakespeare on Silver Street (2007): with original spellings the demands of authenticity and readability pull in opposite directions. To modernise everything is to lose a certain richness – an orthographic brogue intrinsic to the period. On the other hand, quoting everything in archaic spelling can make things hard going for the reader. Inconsistency has seemed a lesser evil than either of these. I have generally followed his approach. In terms of spelling, ‘s’ and ‘i’ and ‘u’ and ‘v’ have been transposed as appropriate. In terms of dates, I have used ‘new’ style except where stated. All quotations of Shakespeare are from Stanley Wells and Gary Taylor (eds), William Shakespeare: The Complete Works (Oxford: Clarendon Press, 1986). viii Picture Credits Alamy: 1.4, 1.5, 1.7, 1.11, 2.1, 3.3, 8.12, 21.8; Author: I.9, I.10, I.11, I.12, 5.1, 8.1, 8.7, 8.10, 8.11, 12.3, 14.3, 16.4, 17.3, 17.5, 17.6, A.12, A.13, A.14, A.15 & tables; Belvedere Trust: 4.11, 4.12; Bodleian Library, University of Oxford: 3.1, 18.7; British Library: I.3, 10.11, 20.2, 20.3; British Museum 3.4; Kind permission of Burden Collection: I.4; Kind Permission of the Governors of Dulwich College (© David Cooper): 6.5; Dulwich Picture Gallery: 4.1; Edinburgh University Library, Special Collections: I.1, 4.4, 10.6, 10.7, 10.8, 10.9, 18.5 and page corner details; London Metropolitan Archive: 2.2, 2.3, 2.4, 7.1, 8.3, 8.4, 8.6, 8.13, 10.1, 10.2, 10.4, 10.5, 11.1, 12.6, 14.1, 14.2, 18.3, 18.6, 21.4, 21.7, A.1, A.3, A.4, A.5, A.6, A.7, A.10; National Portrait Gallery: I.13, 3.5, 3.6, 6.8; Rochester Bridge Trust: 8.9; Victoria & Albert Museum: 1.8, 6.1, 6.2, 6.3, 6.4, 10.10, 14.7, 17.1, 17.2, 17.4, 17.7, 17.8, 17.9, 17.10; Wellcome Trust Library: 2.6; Worshipful Company of Leathersellers: 8.5, A.17.
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