[380] Henslowe, i. 51; cf. Dr. Greg’s explanation in ii. 129 and my criticism in M. L. R. iv. 409. Wallace (E. S. xliii. 361) has a third explanation, that the figures represent the sharers’ takings. But (a) these would not all pass through Henslowe’s hands, (b) the amounts are often less than half the galleries, and (c) the columns are blank for some days of playing.
[381] I include Belin Dun, produced just before the separation of the Admiral’s and the Chamberlain’s, in the fifty-five; but I do not follow Dr. Greg in taking the sign ‘j’, which Henslowe attaches to Tamburlaine (30 Aug. 1594) and Long Meg of Westminster (14 Feb. 1595) as equivalent to ‘ne’. Were it so, these would furnish two, and the only two, examples of a second new production in a single week. Probably ‘j’ indicates in both instances the First Part of a two-part play. This view is confirmed by Henslowe’s note on 10 March 1595, ‘17 p[laies] frome hence lycensed’; cf. my criticism in M. L. R. iv. 408.
[382] Variously entered as ‘olimpo’, ‘seleo & olempo’, ‘olempeo & hengenyo’, &c.; but apparently only one play is meant.
[383] Alexander and Lodowick is actually entered for a second time as ‘ne’ on 11 Feb. 1597, but I have assumed this to be a mistake.
[384] It has been chiefly played by Fleay and Dr. Greg. The relations suggested are between 1 Caesar and Pompey and Chapman’s play of the same name, Disguises and Chapman’s May-day, Godfrey of Bulloigne and Heywood’s Four Prentices of London, Olympo, 1, 2 Hercules, and Troy and Heywood’s Golden, Silver, Brazen, and Iron Ages respectively. Five Plays in One and some of Heywood’s Dialogues and Dramas, The Wonder of a Woman and a supposed early version by Heywood of W. Rowley’s A New Wonder, or, A Woman Never Vexed, The Venetian Comedy and both the German Josephus Jude von Venedig and Dekker’s lost Jew of Venice, Diocletian and Dekker’s The Virgin Martyr, A Set at Maw and Dekker’s Match Me in London, The Mack and Dekker’s The Wonder of a Kingdom, Vortigern and Middleton’s The Mayor of Quinborough, Uther Pendragon and W. Rowley’s Birth of Merlin, Philipo and Hippolito and both Massinger’s lost Philenzo and Hypollita and the German Julio und Hyppolita. Full details will be found in Henslowe, ii. 165 sqq.
[385] Henslowe, i. 44, 128.
[386] Possibly identical with Mahomet, if that was Peele’s play. Dr. Greg’s identification with The Love of an English Lady strikes me as rather arbitrary.
[387] I assume that ‘valy a for’ entered on 4 Jan. 1595 is the same play. Conceivably it might be Vallingford, i. e. Fair Em, an old Strange’s play.
[388] An allusion in Field’s Amends for Ladies, ii. 1, shows that Long Meg still held the Fortune stage about 1611.
[389] Possibly identical with Longshanks.