172 shroving merrymaking

173 your Highness, when I was prentice ed. (your Highnes, in time past Q1; you, when I was prentise Q2; you when I was prentise Q3)

174 I bare the water-tankard a reference to the custom of apprentices carrying water from the conduits to their masters’ workshops; see note to 17.42.

178-9 stopple of my tankard bung of my water-tankard (referred to in line 174)

183-4 Yet . . . made (Q3; in prose Q1)

1 Philip Henslowe, Henslowe’s Diary, ed. R. A. Foakes, 2nd ed., 2001, p. 122.

2 All citations of Shakespeare are from Stephen Greenblatt, Walter Cohen, Jean E. Howard, and Katharine Eisaman Maus, eds., The Norton Shakespeare, 1997.

3 Harold Bloom, Shakespeare: Invention of the Human, 1998.

4 Neither Wittenberg nor Martin Luther had any special relation to the craft of shoemaking. One of Luther’s most vigorous supporters in the early sixteenth century, however, was a shoemaker from Nuremberg named Hans Sachs, who composed numerous popular songs, poems, and schwanke (or merry tales) about Luther; see William Edward Winks, Lives of Illustrious Shoemakers, 1883, pp. 255-7. But it is too much of a stretch to assume any link between this shoemaking Hans and Dekker’s.

5 For a discussion of how modern capitalist notions of value emerged from competing Christian attitudes to objects, see Peter Stallybrass, ‘The Value of Culture and the Disavowal of Things’, in Henry S. Turner, ed., The Culture of Capital: Property, Cities and Knowledge in Early Modern England, 2002, pp. 257-92.

6 Henslowe, pp. 319-21.

7 Thomas Dekker, The Gull’s Horn Book, 1812, pp. 140-1.

8 Mikhail Bakhtin, Rabelais and his World, trans Hélène Iswolsky, 1984.

9 Karl Marx, ‘The Fetishism of Commodities and the Secret Thereof’, Capital, Volume One, in Robert C. Tucker, ed., The Marx-Engels Reader, 2nd ed., 1975, pp. 319-29.

10 See Andrew Gurr, Playgoing in Shakespeare’s London, 2nd ed., 1996, esp. pp. 151-8, 165-9. See also David Bevington, ‘Theatre as Holiday’, in David L. Smith, Richard Strier, and David Bevington, eds., The Theatrical City: Culture, Theatre and Politics in London 1576-1649, 1995, pp. 101-16.

11 See Margaret R. Somers, ‘The “misteries of property”: Relationality, Rural-Industrialization, and Community in Chartist Narratives of Political Rights’, in John Brewer and Susan Staves, eds., Early Modern Conceptions of Property, 1995, pp. 62-92.

12 At the time the play was performed, London artisans had recently rioted against immigrant workers. For a discussion of the utopian fantasy of Hans’s acceptance by the other shoemakers, see David Scott Kastan, ‘Workshop and/as Playhouse: Comedy and Commerce in The Shoemaker’s Holiday, in David Scott Kastan and Peter Stallybrass, eds., Staging The Renaissance, 1991, pp. 151-163.

13 On the relations of women to labour and commerce in the play, see Ronda Arab, ‘Work, Bodies, and Gender in The Shoemaker’s Holiday, Medieval and Renaissance Drama in England 13, (2001), 182-212.

14 For instances of Eyre’s oath, see 1.166-7, 1.215, 4.65, 7.33-4, 17.34, 21.15; for Margery’s refrain, see 1.155, 1.157, 4.50, 7.39, 7.111, 7.113-4, 7.141-2, 10.18, 10.23-4, 10.46, 10.64, 10.86, 20.33.