P. [19], l. 1. Ω.] In MS., oo.
P. [22], l. 8. And make the man Adam.] A marginal note on the verso of fol. 74 informs us that Adam was created on the tenth of the calends of April.
P. [27], l. 24. For to hide.] Dr. Marriott, the editor of A Collection of English Miracle Plays, 8vo. Basel, 1838, quotes a play entitled, The Travailes of the three English Brothers, 4to. Lond. 1607, to show that an exact representation of the primitive state of our forefathers in the garden of Eden was exhibited on the English stage “as late as the close of the sixteenth century.” This is an absurd misrepresentation, and has been founded on an erroneous interpretation of a passage in the play above-mentioned, which is spoken by Kemp, the actor, in a conversation with Sir Anthony Sherley. According, however, to one of the stage directions in the Chester Mysteries, Adam and Eve stabunt nudi et non verecundabuntur; so that, joined with the present passage in the Coventry Mysteries, there is at least some ground for believing that such was actually the case at an earlier period.[11]
Dr. Marriott’s mistake has been already noticed by the Rev. A. Dyce, in his interesting introduction to Kemp’s Nine Daies Wonder, reprinted for the Camden Society, p. xv; and I take the opportunity of introducing in this place some particulars relating to Kemp, which throw a new light upon his history, more especially in relation with the above-mentioned play, and proves that the introduction of the comic actor, and his interview with Sherley, was strictly founded upon fact. The authors of the play, indeed, assert in their prologue their intention of
“Clothing our truth within an argument,
Fitting the stage and your attention;
Yet not so hid but that she may appeare
To be herselfe, even truth.”
But dramatic critics have not given much credit to these professions of honesty. Mr. Dyce even doubts the fact of Kemp having made a journey on the continent, and considers the notice in The Returne from Pernassus of his “dancing the morrice over the Alpes,” to be only a “sportive allusion to his journey to Norwich.” In his Nine Daies Wonder, however, he announces his intention of setting out shortly on a “great journey,” and in his dedication he seems to allude to a projected journey to Rome. I have recently discovered a passage in a contemporary diary, which proves that Kemp actually met with Sir Anthony Shirley at Rome, and that his “great journey” was not a very profitable speculation. It is as follows:—“1601, Sept. 2. Kemp, mimus quidam, qui peregrinationem quandam in Germaniam et Italiam instituerat, post multos errores et infortunia sua reversus: multa refert de Anthonio Sherly equite aurato, quem Romæ (legatum Persicum agentem) convenerat.”—MS. Sloan. 392, fol. 401. William Parry, who was with Shirley in Russia, returned to England in the middle of September, 1601, as we learn from the account published by Hackluyt; and it is therefore very probable that Kemp was the first who brought the news of his proceedings in Persia and Russia. An account of Shirley’s adventures was published at London in 1613, and a very circumstantial relation by Manwaring is in MS. Sloan. 110, but neither of these contain the slightest notice of Kemp’s interview with the ambassador. What we have given above is, however, quite sufficient to establish its truth, and “the travell to Rome with the return in certain daies,” mentioned in Rowley’s Search for Money, 1609, doubtlessly alludes to the same circumstance: and would also seem to imply that he had accomplished his homeward journey in a short time. Mr. Rimbault has also kindly favoured me with a copy of the following song from an old MS. in his possession by Thomas Weelkes, entitled, Ayres or fantasticke spirites, which was printed with some variations in 1608:
“Since Robin Hood, Maid Marian,