Shakespeare at the Globe, 1599-1609

by Bernard Beckerman

GENERAL INDEX

Above, the, [89-92], [106], [230-231]
Acting, effect of sightlines on, [128-129];
style of, [214]
Adams, John C., The Globe Playhouse, [22], [65], [69], [71], [89-90], [92],
[94], [101-102], [159], [202], [214], [230]
Admiral’s men, Lord, [3-6], [9-10], [12-13], [15-18], [20], [95]
Admiral-Prince’s men, [4]
Aeschylus, [47]
Albright, V. E., The Shakesperian Stage, [65], [214]
Alexander, Peter, Shakespeare’s Life and Art, [xii]
Alleyn, Edward, [vii], [x], [9], [12], [131]
Annals of the English Drama (Harbage), [xi], [xii]
Antigone (Sophocles), [31], [59]
Arcadian Rhetorike, The (Fraunce), [114-117], [119]
Archer, William, [65]
Aristotle, Poetics, [29], [31-32], [39], [49], [58]
Armin, Robert, [123], [133], [134]
Art of Rhetorique, The (T. Wilson), [114-115], [117], [119]
Arte of English Poesie, The (Puttenham), [28-29]
As Merry As May Be, [20]
Asides, staging of, [162], [183], [186-192]
Bacon, Sir Francis, [120], [140-143], [146]
Baldwin, Thomas W., The Organization and Personnel of the
Shakespearean Company, [22], [128], [133-136];
Shakespeare’s Five-Act Structure, [26], [29], [40]
Barnardo and Fiametta, [7], [11]
Barnes, Barnabe, [xiii], [82], [164].
See also [The Devil’s Charter]
Battle of Alcazar, The (Peele), [147], [176-177], [179]
Beaumont, Francis, [ix]
Beds, use of, [78-79], [82-83], [86], [210]
Bentley, Gerald E., [ix], [14]
Black Book (T. M.’s), [xiii]
Blackfriars Theatre, [vii], [ix], [x], [xii], [13-14], [21], [24], [71], [94], [133], [210]
Blind Beggar of Alexandria, [11]
Boas, F. S., [xiv]
Booth, Edwin, [132]
Bourgeois Gentilhomme, Le, [112]
Boy actors, [134]
Bradbrook, Muriel C., Themes and Conventions of Elizabethan Tragedy, [26], [30-31], [51], [58]
Bright, Timothy, A Treatise of Melancholie, [139], [143-144]
Brown, John R., [111]
Brute, [10]
Bryan, George, [124]
Bulwer, John, Chirologia and Chironomia, [114]
Burbage, James, [vii-viii], [105], [122]
Burbage, Richard, [x], [1], [4], [18], [96], [123], [133-134], [136]
Cambises, [121], [125], [127]
Campbell, Lily B., Shakespeare’s Tragic Heroes, [139], [141]
Campbell, Oscar J., [xii]
Castiglione, Baldassare, The Courtier, [117]
Catastrophe, [26], [39]
Cecil, Sir Robert, [18]
Certain Small Workes (Daniel), [xi]
Chairs, use of, [77-78], [83]
Chamberlain-King’s men, [vii], [xiii], [4], [22].
See also [Chamberlain’s men], [Globe company], and [King’s men]
Chamberlain’s men, Lord, [viii], [xi], [xiii], [3-5], [13-14], [18-19], [93],
[95], [113], [124], [130].
See also [Chamberlain-King’s men], [Globe company], and [King’s men]
Chambers, E. K., [65];
The Elizabethan Stage, [xiii], [9], [12], [133], [158], [174], [219];
William Shakespeare, [x-xii]
Chapman, George, [25]
Character Problems in Shakespeare’s Plays (Schücking), [45], [47]
Character types, [148-154]
Charles I, King, [21]
Charlton House, [167]
Charron, Pierre, [143]
Children of Paul’s, [xiii]
Children of the Queen’s Revels, [ix], [xiv], [3], [96], [133]
Chinon of England, [11]
Chirologia and Chironomia (Bulwer), [114]
Chronicle History of the London Stage, A (F. G. Fleay), [13]
Cicero, [25]
Cleopatra (Daniel), [xi]
Climactic plateau (climax), [39-44], [55]
Coeffeteau, F. N., A Table of Humane Passions, [143]
Commedia dell’arte, [112-113], [129], [148], [215]
Condell, Henry, [96], [123], [133]
Cooke, Alexander, [123], [133]
Cope, Sir Walter, [18-19]
Cornwallis, Sir William, [143]
Court, performances at, [xi], [xiii], [3-4], [15], [19-21], [23], [218-219]
Courtier, The (Castiglione), [117]
Cowley, Robert, [123], [133-134]
Crack Me This Nutte, [7], [11]
Craig, Hardin, [30];
The Enchanted Glass, [138-139], [145]
Curtain, the, [viii], [ix]
Cymbeline, [xii], [94]
Cyprian Conqueror, The, [117]
Damon and Pithias (R. Edwardes), [139]
Daniel, Samuel, Cleopatra, [xi]
Davenant, William, The Witts, [21]
Day, John, [20]
Defence of Poesie, The (Sidney), [24], [58], [66]
Dekker, Thomas, [9];
Fortunatus, [17], [19-20];
The Gull’s Hornbook, [vii], [97];
The Honest Whore I, [145].
See also [Satiromastix]
Derby’s company, [3]
DeWitt, John, [94], [99-101], [169]
Diary (Henslowe), [3-5], [8-10], [12-17], [19-22], [217]
Directions for Speech and Style (Hoskins), [118]
Disguise, staging of, [197-200], [226-228]
Disguises, The, [6], [11]
Doran, Madeleine, Endeavors of Art, [27-28], [30]
Downer, Alan, [124]
Downton, Thomas, [9]
Dramatic Records of Sir Henry Herbert, The, [13], [21]
Dramatic theory, Elizabethan, [24-25]
Draper, John W., The Humors and Shakespeare’s Characters, [139], [154]
Dutton, John, [122]
Edmans, John, [134]
Edward I (Peele), [6]
Edwardes, Richard, Damon and Pithias, [139]
Electra (Sophocles), [59]
Elizabeth, Queen, [xii], [18-20], [22], [104]
Elizabethan Acting (Joseph), [113-114], [132]
Elizabethan Stage, The (E. K. Chambers), [xiii], [9], [12], [133], [158],
[174], [219]
Elizabethan World Picture, The (Tillyard), [139]
Elizabeth’s Servants, Lady, [14]
Elyot, Sir Thomas, The Governour, [116], [119], [141]
Enchanted Glass, The (H. Craig), [138-139], [145]
Enclosure, the, [74], [82-88], [94], [106], [175], [179], [185], [194-196], [211-212]
Endeavors of Art (Doran), [27-28], [30]
Episodic pattern, [48-51]
Epitasis, [26], [40]
Essex, Earl of, [xii], [130]
Every Man in His Humour (Jonson), [93]
Excellent Actor, An, [129]
Fair Em, [147]
Farewell scenes, staging of, [204-205]
Faustus, Doctor (Marlowe), [14], [17]
Fergusson, Francis, The Idea of a Theater, [29]
First Night of Twelfth Night, The (Hotson), [x], [23]
Fleay, F. G., A Chronicle History of the London Stage, [13]
Fleetwood, William, [139]
Fletcher, John, [ix]
Fletcher, Laurence, [123], [133]
Foakes, R. A., [111], [138], [145]
Forest, Louise, [138], [144]
Forman, Simon, [xii]
Fortunatus (Dekker), [17], [19-20]
Fortune, the, [vii], [x], [4], [14], [20], [69], [94], [101-102]
Four PP. (J. Heywood), [124]
Fraunce, Abraham, The Arcadian Rhetorike, [114-117], [119]
Friar Bacon & Friar Bungay (R. Greene), [18], [20]
From Art to Theatre (Kernodle), [102-105], [158], [216]
Fuller, Thomas, [122]
Gallery over the stage, [95], [98]
Garden of Eloquence, The (Peacham), [118-119]
Ghost scenes, staging of, [200-204]
Gilburne, Samuel, [133-134]
Globe company, [viii], [xii], [14], [16], [23], [35], [134];
acting style of, [146], [156], [214];
actors of, [122];
finances of, [22];
organization of, [132], [135];
repertory of, [15];
role distribution in, [136];
shares in, [4].
See also [Chamberlain-King’s men]
Globe playhouse, [vii], [ix], [xii], [xiii], [4-5], [13-14], [22-24], [100-101];
construction of, [viii-ix], [2];
design of, [vii], [102], [106], [108];
opening date of, [ix], [x], [xii], [133];
stage of, [xiv], [95], [210];
sitting on stage of, [96]
Globe Playhouse, The (J. C. Adams), [22], [65], [69], [71], [89-90], [92],
[94], [101-102], [159], [202], [214], [230]
Globe Restored, The (Hodges), [69], [94], [101-102], [158], [230-231]
Godfrey, Walter, [101]
Goffe, Robert, [123]
Gorki, Maxim, Yegor Bulichev and Others, [61]
Gosson, Stephen, Playes Confuted in Five Actions, [122]
Governour, The (Elyot), [116], [119], [141]
Granville-Barker, Harley, [65], [106];
Prefaces to Shakespeare, [41]
Gray, H. D., [x]
Greeting scenes, staging of, [204-205]
Greg, W. W., [9], [13], [131], [217]
Grosse, Samuel, [133-134]
Gull’s Hornbook, The (Dekker), [vii], [97]
Haines, C. M., [176]
Harbage, Alfred, [109], [117];
Annals of the English Drama, [xi], [xii];
Shakespeare and the Rival Traditions, [ix];
Shakespeare’s Audience, [22]
Hardwick Hall, [167-168]
Harper, Sir William, [105]
Harvey, Gabriel, [x]
Hatfield House, [167]
Hathway, Richard, [20]
Heavens, machinery in the, [93-94], [106]
Hedda Gabler (Ibsen), [40], [60]
Heminges, John, [x], [4], [123], [133]
Heminges vs. Witter & Ostler, [4]
Henry IV, Part I, King, [14], [129]
Henry V, King (Shakespeare), [viii], [xi], [xii], [68]
Henry V (Anonymous), [11]
Henry VIII, [104], [165]
Henslowe, Philip, [vii], [x];
Diary, [3-5], [8-10], [12-17], [19-22], [217];
Papers, [75], [79], [94-95], [125], [217]
Herbert, Sir Henry, The Dramatic Records of, [13], [21]
Hertford’s men, [4]
Heywood, John, [124]
Heywood, Thomas, [9], [10]
Hilliard, Nicholas, [165]
Histrio-mastix, [121], [123]
Hoby, Thomas, [117]
Hodges, C. Walter, The Globe Restored, [69], [94], [101-102], [158], [230-231]
Honest Whore I, The (Dekker and Middleton), [145]
Hope, the, [94], [102]
Horestes, [121]
Hoskins, John, Directions for Speech and Style, [118]
Hosley, Richard, [73], [82], [84], [89], [92], [99]
Hotson, Leslie, [xi];
The First Night of Twelfth Night, [x], [23];
Shakespeare’s Motley, [125];
Shakespeare vs. Shallow, [xii];
Shakespeare’s Wooden O, [95-97]
Humors and Shakespeare’s Characters, The (Draper), [139], [154],

[241], [242]
Hunter, Sir Mark, [176]
Idea of a Theater, The (Fergusson), [29]
Income of players, [21-22]
Ion (Euripides), [32]
Isle of Dogs, The, [3], [5]
James I, King, [x], [15], [20], [22], [104], [133]
Jeronimo, The First Part of, [xiv], [96], [204]
Jew of Malta, The, [8], [14]
John, King, [168]
Johnson, Samuel, [26], [47]
Jones, Inigo, [103]
Jonson, Ben, [xiii], [3], [9], [17], [21], [25-26], [28], [44], [49], [58], [61], [68-69], [87],
[120], [151], [172];
Every Man In His Humour, [93];
The New Inn, [26].
See also [Every Man Out of His Humour], Sejanus, and Volpone
Joseph, Bertram, Elizabethan Acting, [113-114], [132]
Judge-figure in finale, [36-38], [208]
Katherens, Gilbert, [105]
Keen, Frances, [23]
Kemp, Will, [viii], [xii], [135-136]
Kernodle, George R., From Art to Theatre, [102-105], [158], [216]
King’s men, [ix], [x], [xiii], [xiv], [13-14], [21], [24], [94], [133-134].
See also [Chamberlain-King’s men], [Chamberlain’s men], and [Globe company]
Kittredge, G. L., [xi], [xii], [195], [230]
Knack to Know an Honest Man, A, [147]
Knight, G. Wilson, Principles of Shakespearean Production, [39-40];
Wheel of Fire, [58], [61]
Kreider, Paul, Repetition in Shakespeare’s Plays, [197]
Kyd, Thomas, [15], [48], [92]
“Law of reentry,” [176]
Lawrence, W. J., [40], [71], [201]
Leicester’s company, [122]
Leir, King, [151]
Localization of action, [64-68], [72-73], [220]
Longshank, [6], [11]
Lord Mayor’s Show, [103-105]
Love’s Labour’s Lost, [18]
Love’s Labour’s Won, [xi]
Lowin, J., [96-97], [123], [133], [134-135]
Lucas, F. L., [45]
McManaway, J. G., [xii]
Malone, Edmond, [13], [21], [75]
Manly, John M., [30]
Mansions, use of, [95]
Marivaux, Pierre, [112-113]
Marlowe, Christopher, [15], [92], [124];
Doctor Faustus, [14], [17];
The Jew of Malta, [8], [14];
Tamberlaine, [6], [7], [14]
Marston, John, [xiv], [96].
See also [The Malcontent]
Merchant Tailors Company, [105]
Meres, Francis, Palladis Tamia, [x], [xi], [xii]
Messalina title page, [98-99]
Messenger scenes, staging of, [205-206]
Middleton, Thomas, [20];
The Honest Whore I, [145]
Midsummer Night’s Dream, A, [130]
Mildmay, Sir Humphrey, [21]
Mirror, image of art as a, [27-29], [59]
Mirror pattern, [51-53]
Molière, [21], [112], [136]
Moscow Art Theatre, [112], [132]
Moulton, R. G., Shakespeare as a Dramatic Artist, [40], [41]
Much Ado About Nothing, [xi-xii], [136], [150], [153]
Nagler, Alois, Shakespeare’s Stage, [96], [99]
Nashe, Thomas, [3]
Newington Butts, [5], [13], [18]
New Inn, The (Jonson), [26]
New plays, introduction of, [9], [11-13]
New World’s Tragedy, A, [11]
Northern Lass, The, [21]
Observation scenes, staging of, [183], [193-197]
Oedipus (Sophocles), [31]
On Producing Shakespeare (Watkins), [163-164], [175], [214]
Oresteia (Aeschylus), [47]
Organization and Personnel of the Shakespearean Company, The
(Baldwin), [22], [128], [133-136]
Orlando Furioso (Greene), [131-132], [147]
Orsino, Virginio, Duke of Bracciano, [23], [96]
Ostler, William, [133]
Palladis Tamia (F. Meres), [x-xii]
Palsgrave’s company, [14]
Papers (Henslowe), [75], [79], [94-95], [125], [217]
Peacham, Henry, Garden of Eloquence, The, [118], [119]
Peele, George, The Battle of Alcazar, [147], [176], [179];
Edward I, [6]
Pembroke’s men, [3]
Peripeteia, [32]
Phaethon, [18], [20], [79]
Phillips, Augustine, [4], [123], [130], [133]
Philoctetes (Sophocles), [31]
Platter, Thomas, [x], [14], [97]
Plautus, [25], [48]
Playes Confuted in Five Actions (Gosson), [122]
Plays and Masques at Court (Steele), [219]
Plutarch, [74], [214]
Poel, William, [214]
Poetaster (Jonson), [xiii]
Poetics (Aristotle), [29], [31-32], [39], [49], [58]
Polyphemus, [10]
Pope, Thomas, [4], [123-124], [133]
Prefaces to Shakespeare (Granville-Barker), [41]
Prince’s men, [14]
Principles of Art History (Wölfflin), [27]
Principles of Shakespearean Production (Knight), [39-40]
Privy Council, [3], [5], [19]
Promos and Cassandra (Whetstone), [139]
Properties, stage, [74-82], [158-174] passim, [221-225]
Puttenham, George, The Arte of English Poesie, [28-29]
Pythagoras, [11]
Queen of Bohemia’s company, [14]
Queen’s men, [121], [122]
Ramus, P., [114], [119]
Ranking-figure, [38], [210], [212]
Red Bull, the, [4], [92], [95], [158]
Repetition in Shakespeare’s Plays (Kreider), [197]
Resolving figure, [211-212]
Return from Parnassus, II, The, [136]
Revivals, system of, [8], [17-18]
Reynolds, George F., [63], [65], [72-73], [175], [214], [216];
The Staging of Elizabethan Plays at the Red Bull, [92], [95], [158], [174]
Rich, John, [134]
Richard II, King, [14], [130]
Richard III, King, [61], [136], [158], [165], [168]
River pattern, [48], [50-51]
Romeo and Juliet, [viii]
Rose, the, [5-7], [22]
Roxana title page, [97-99], [180]
Royal entries, [103-104]
Sands, James, [134]
Scaffolds on stage, [79-80], [82]
Schücking, L. L., Character Problems in Shakespeare’s Plays, [45], [47]
Seleo and Olempo, [7]
Selimus, [126], [147]
Seneca, [48]
Seven Days of the Week, [6], [11]
Seven Deadly Sins, [123],133
Shakespeare (?), Ned, [134]
Shakespeare and the Audience (Sprague), [186]
Shakespeare and the Nature of Man (Spencer), [139]
Shakespeare and the Rival Traditions (Harbage), [ix]
Shakespeare as a Dramatic Artist (Moulton), [40], [41]
Shakespeare’s Audience (Harbage), [22]
Shakespeare’s Five-Act Structure (Baldwin), [26], [29], [40]
Shakespeare’s Life and Art (Alexander), [xii]
Shakespeare’s Motley (Hotson), [125]
Shakespeare’s Stage (Nagler), [96], [99]
Shakespeare Studies (Stoll), [58]
Shakespeare’s Theater (Thorndike), [66], [175]
Shakespeare’s Tragic Heroes (L. B. Campbell), [139], [141]
Shakespeare’s Wooden O (Hotson), [95-97]
Shakespeare vs. Shallow (Hotson), [xii]
Shakesperian Stage, The (Albright), [65], [214]
Sidney, Sir Philip, The Defence of Poesie, [24], [58], [66]
Simultaneous setting, [158-160], [164]
Sir Clyomon and Sir Clamydes, [121], [125-126]
Sir Thomas More, [121]
Sly, William, [96-97], [123], [133], [135]
Smith, Irwin, [73]
Smith, Warren, [79-80], [186], [230]
Smith, Wentworth, [20]
Soliloquies, staging of, [183-186]
Southern, Richard, [84], [101]
Spanish Tragedy, The (Kyd), [14], [17]
Spencer, Theodore, Shakespeare and the Nature of Man, [139]
Sprague, A. C., Shakespeare and the Audience, [186]
Stage doors, use of, [70-71]
Staging of Elizabethan Plays at the Red Bull, The (Reynolds), [92], [95], [158], [174]
Stanislavsky, C., [215]
Steele, Mary S., Plays and Masques at Court, [219]
Stoll, Elmer E., Shakespeare Studies, [58]
Stools, use of, [77-78]
Strange News Out of Poland, [9]
Strange’s men, [17]
Streetcar Named Desire, A (Williams), [60], [149]
Streete, Peter, [ix], [x], [105]
Swan drawing, [72], [94], [97-102], [169]
Symbolism in staging, [216]
Tableaux vivants, [102-103]
Table of Humane Passions, A (Coeffeteau), [143]
Tables, use of, [76-77], [82-83]
Talaeus, Audomarus, [119]
Tambercame II, [18]
Tamberlaine, I & II (Marlowe), [6-7], [14]
Tarleton, Richard, [122], [123]
Tents, use of, [81]
Terence, [26], [40], [48]
Theatre, the, [vii-ix], [71], [128]
Théâtre-Libre, the, [112]
Themes and Conventions of Elizabethan Tragedy (Bradbrook), [26],
[30-31], [51], [58]
Thome Strowd, II, [10]
Thorndike, Ashley, Shakespeare’s Theater, [66], [175]
Three Ladies of London (R. Wilson), [147]
Three Lords and Three Ladies of London, The (R. Wilson), [147]
Tillyard, E. M. W., The Elizabethan World Picture, [139]
Titus Andronicus, [viii]
Tooley, Nicholas, [123], [133]
Tourneur, Cyril, [xiii]
Toy to Please Chaste Ladies, A, [6-8], [11]
Traps, use of, [92-93], [106], [201-202]
Treatise of Melancholie, A (Bright), [139], [143-144]
Troublesome Reign of King John, The, [147]
True Tragedy of King Richard III, The, [126]
Two Angry Women of Abington, II (Porter), [10]
Underwood, John, [133]
Van Buchell, Arend, [100]
Walker, Albert, [125], [153-154]
Warning for Fair Women, A, [81], [94], [147], [200], [203]
Watkins, Ronald, On Producing Shakespeare, [163-164], [175], [214]
Watson, C. B., [37]
Weather, The (J. Heywood), [124]
Webster, John, [xiv], [45], [96].
See also [The Malcontent]
Wheel of Fire (Knight), [58], [61]
Whetstone, George, Promos and Cassandra, [139]
Whitehall Palace, [x], [96]
Wilkins, George, [xiii].
See also [Miseries of Enforced Marriage]
William Shakespeare (E. K. Chambers), [x-xii]
Wilson, J. Dover, [x]
Wilson, Jack, [134]
Wilson, Robert, [122], [123];
Three Ladies of London and The Three Lords and Three
Ladies of London, [147]
Wilson, Thomas, The Art of Rhetorique, [114-115], [117], [119]
Winter’s Tale, The, [15]
Wits, The, [98], [180]
Witts, The (Davenant), [21]
Wölfflin, Heinrich, Principles of Art History, [27]
Wollaton Hall, [167-168]
Woman Killed with Kindness, A (T. Heywood), [10]
Woman of Andros (Terence), [26]
Wonder of a Woman, [7], [11]
Worcester-Queen’s men, [4]
Worcester’s men, [3-4], [10], [12-13], [16], [133]
Worde, Wynken de, [104]
Yegor Bulichev and Others (Gorki), [61]

TRANSCRIBER’S NOTE

The table at the start of [Appendix C] was very wide in the original book. It has been modified by splitting each row into two rows, each one less than 75 characters wide.

Obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources.

Except for those changes noted below, all misspellings in the text, and inconsistent or archaic usage, have been retained.

[Pg 112]: ‘a Francatrippa’ replaced by ‘a Franca Trippa’.
[Pg 152]: ‘[Sig. El^r]’ replaced by ‘[Sig. E1^r]’.
[Pg 217]: ‘[22]’ replaced by ‘(22)’ to avoid confusion with the footnote notation.
[Pg 243]: ‘written to that’ replaced by ‘written so that’.
[Pg 246]: ‘staging of V, iii,’ replaced by ‘staging of, viii,’.
[Pg 247]: ‘focus 172-173;’ replaced by ‘of focus 172-173;’.