Newington Butts Research Articles

The Nose Plays: Nasiform Negotiations at Newington Butts

ABSTRACT Shakespeare’s Shylock, Marlowe’s Barabas, and other Jewish characters are often thought to have been portrayed on early modern stages with a large false nose. This essay will explain how this commonplace view began as a falsified proposition by John Payne Collier in 1836, which subsequent scholarship has failed to properly dispel, instead projecting a post-Enlightenment stereotype onto early modern culture. I argue that by studying the use of the false nose in recycled fashion across contiguous plays in repertory it becomes possible to recognise that this stage property called on its audiences to negotiate its meanings from a range of possible sources, including the other plays in the same sequence. Using the repertory of the Lord Admiral’s Men and Lord Chamberlain’s Men at Newington Butts in 1594, I discuss some of the ways in which the stage nose represented villainy, risibility, and ribaldry without necessarily signifying Jewishness at this time. That Barabas could signify all of these things and also be a Jew may nevertheless have contributed to later generations identifying the nose as one of the stereotypical features of the early modern depictions of Jews on stage.

Who Performed at Newington Butts in May 1586?

While recent studies offer new information about companies that used the Playhouse at Newington Butts from 1575 to 1594, mystery remains about the identity of the company that performed there in contravention of a restraint in May 1586. Using evidence related to the movements of companies active in 1586, particularly from the Records of Early English Drama (reed), this article offers an answer based on a process of elimination. After ruling out other options, the article explains why a fragment of Leicester’s Men likely performed at Newington for a short time before joining the earl on his diplomatic campaign in Europe.

The Two Names of Newington Butts

Journal Article The Two Names of Newington Butts Get access Laurie Johnson Laurie Johnson Search for other works by this author on: Oxford Academic Google Scholar Shakespeare Quarterly, Volume 68, Issue 2, Summer 2017, Pages 192–198, https://doi.org/10.1353/shq.2017.0019 Published: 01 July 2017

ONE HUNDRED YEARS OF BARLOW LECTURES

The Barlow lectureship arose under a provision of the will of Dr Henry Clark Barlow bequeathing to University College, London, the sum of one thousand pounds in consols, the dividends of which were to be ‘applied in perpetuity to the delivery of a public annual course of lectures on the Divina Commedia, free to both sexes’. Born in 1806 at Newington Butts in Surrey, Barlow had come to Dante relatively late in life after a youth devoted mainly to medical studies, science and travel, but from about 1850, when his first paper on Dante appeared, had made him his chief pursuit and become the foremost British authority in the field of Dante criticism: his copious writings had culminated in the weighty volume of Critical historical and philosophical contributions to the study of the ‘Divina Commedia’ (London, 1864), published to mark the sixth centenary of the poet's birth, and had established his reputation in Italy itself, where he had received the title of Cavaliere del'Ordine dei SS. Maurizio e Lazzaro and played a prominent part at the 1865 Dante commemoration in Florence (which he appears to have been the first to propose holding). His will, dated 27 July 1867, which came into force at his decease in November 1876, also included the bequest that was to fornl the nucleus of the valuable Dante collection in University College Library, that of all the books, prints, drawings and other items in his own library which related to Dante With regard to the lectures, it was laid down that there should be at least twelve per year, that the lecturer should be appointed by the College for a three-year term, that the same person nlight be re-elected if the College thought proper and that the lectures were to be called ‘The Barlow Lectures on the Divina Commedia’ and advertised in The Times and The Athenaeum.

The Playhouse at Newington Butts: A New Proposal

HE playhouse at Newington Butts is such a little-known theater that it can scarcely be said to exist at all for the average student of Elizabethan drama. Our knowledge of it is confined to a very few statements about its existence, none at all about its characteristics or proprietors. We know that Henslowe entered in his Diary some receipts for the Admiral's and Chamberlain's companies, which were playing there together for a week or so in June I594, and we-know that the Privy Council sent directives to the Surrey Justices to suppress illegal playing there in the summers of I580 and I586. We know also that among the Henslowe papers at Dulwich is an undated Privy Council warrant (Chambers conjectures I592) in which a petition from Lord Strange's men to abandon Newington Butts and return to the City was approved. But aside from these four items with their scanty facts, there has been little to go on. The presence of two companies at the Butts in I594 under Henslowe's auspices led Chambers to muse that possibly the theatre had come into Henslowe's hands by that time, and C. W. Wallace claimed in I9I3 to have seen a document which confirmed that the playhouse had disappeared by

Shakspeare's theatre at Newington butts

Shakspeare's theatre at Newington butts

Morgan of Abergavenny and Newington butts

Morgan of Abergavenny and Newington butts Get access John Hobson Matthews John Hobson Matthews 1Town Hall, Cardiff Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume s8-XI, Issue 277, 17 April 1897, Page 319, https://doi.org/10.1093/nq/s8-XI.277.319b Published: 17 April 1897

Morgan of Abergavenny and Newington Butts

Morgan of Abergavenny and Newington Butts