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Contents ( 33)
  1. THE SHOEMAKER’S HOLIDAY
  2. CONTENTS
  3. ACKNOWLEDGEMENTS
  4. INTRODUCTION
  5. FURTHER READING
  6. ABBREVIATIONS
  7. TO ALL GOOD FELLOWS, PROFESSORS OF THE GENTLE CRAFT, OF WHAT DEGREE SOEVER
  8. DRAMATIS PERSONAE
  9. THE PROLOGUE
  10. THE FIRST THREE-MAN’S SONG
  11. THE SECOND THREE-MAN’S SONG
  12. [SCENE 1]
  13. [SCENE 2]
  14. [SCENE 3]
  15. [SCENE 4]
  16. [SCENE 5]
  17. [SCENE 6]
  18. [SCENE 7]
  19. [SCENE 8]
  20. [SCENE 9]
  21. [SCENE 10]
  22. [SCENE 11]
  23. [SCENE 12]
  24. [SCENE 13]
  25. [SCENE 14]
  26. [SCENE 15]
  27. [SCENE 16]
  28. [SCENE 17]
  29. [SCENE 18]
  30. [SCENE 19]
  31. [SCENE 20]
  32. [SCENE 21]
  33. APPENDIX

15 Compare Nietzsche’s conception of ‘monumental history’; see Friedrich Nietzsche, ‘On The Uses and Disadvantages of History for Life’, Untimely Meditations, ed. Daniel Brezeale, trans. R. J. Hollingdale, 1997, 57-124, esp. 68-72.

16 Brian Walsh, ‘Performing Historicity in Dekker’s The Shoemaker’s Holiday’, Studies in English Literature 46, (2006), 323-48, esp. 338.

17 Hector appeared in numerous civic pageants, including the Coventry pageant of 1456 and entertainments featuring the Nine Worthies; Hercules was a regular attraction in the London Lord Mayor’s pageants and shows; Termagant was a stock figure in medieval morality plays; King Arthur appeared in royal pageants such as that celebrating Emperor Charles’s entrance into London in 1522; and Pharaoh was dramatized with his ‘knights’ in the Norwich city play of the ‘Tanners, Coryours, Cordwaners’. See Robert Withington, English Pageantry: An Historical Outline, 2 vols., 1920, I. pp. 150, 156, 176, 195 (Hector), II. p. 73 (Hercules), I. pp. 168, 177 (Arthur), II. p. 12 n. 3 (Pharaoh).

18 See Fernand Braudel, Civilization and Capitalism, 15th-18th Century, Volume II: The Wheels of Commerce, 1992, and Jean Favier, Gold and Spices: The Rise of Commerce in the Middle Ages, trans. Caroline Higgett, 1998.

19 ‘The Crie of Ludgate’, in A Description of Love. With certaine Epigrams, Elegies, and Sonnets. And Also Ionson’s Answer to Withers. The Second Edition, With the Crie of Ludgate and The Song of the Begger, 1620, sigs. E1v-E2.

20 ‘Crie of Ludgate’, sigs. E1v-E2.

21 ‘Crie of Ludgate’, sig. E2.

22 Thomas Dekker, The Seuen Deadly Sinnes of London: Drawne in seuen seuerall Coaches, Through the seuen seuerall Gates of the Citie Bringing the Plague with them, 1606, p. 19.

23 Dekker, Seven Deadly Sinnes, p. 20.

24 Philip Massinger, The City-Madam, ed. Cathy Shrank, 2005, 1.3.27-28.

25 See Theodore B. Leinwand, Theatre, Finance and Society in Early Modern England, 1999, especially Introduction, ‘Affective Economies’, pp. 1-12, and Chapter One, ‘Credit Crunch’, pp. 13-41.

26 For a useful account of Dekker’s time in debtors’ prison, see Marie-Therese Jones-Davies, Un peintre de la vie londonienne: Thomas Dekker (circa 1572-1632), 2 vols., 1958.

27 Anthony Parr (ed.), The Shoemaker’s Holiday, 1990, pp. xxvi-xxviii.

28 Robert L. Smallwood and Stanley Wells, eds., The Shoemaker’s Holiday, 1979, p. 47.

29 Cited in Smallwood and Wells, p. 49.

30 Charles Higham, Orson Welles: Rise and Fall of an American Genius, 2002, p. 110.

31 ‘Regional Crucible’, Time Magazine, Friday, June 16, 1967. http://www.time.com/time/magazine/article/0,9171,843957-1,00.html, accessed 17 March 2008.

32 The Shoemaker’s Holiday, opera. Answers.com. Classical Work Reviews, All Media Guide, 2006. http://www.answers.com/topic/the-shoemaker-s-holiday-opera, accessed 17 March 2008.

33 Cited in Smallwood and Wells, p. 51.

34 Parr, p. 50, note to 10.57.

35 Terry Teachout, “The Shoemaker’s Holiday’, The Wall Street Journal, February 11, 2005.

36 Martin Denton, ‘The Shoemaker’s Holiday’, nytheatre.com, http://www.nytheatre.com/nytheatre/archweb/arch2005_21.htm#509, accessed 17 March 2008.

37 Denton, ‘The Shoemaker’s Holiday’.

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