London’s Tempe

Annotations

trees
Trees are not literally planted, so the word likely refers to any structure or figure, natural or artificial, of branched form (OED tree, n.6.b). Trees thus points to the land presentations that are planted around London by Dekker and Christmas.
James Cambell
James Cambell (1570-1642), the Lord Mayor and subject of Dekker’s pageant. In the original text, Dekker played on the wording of Cambell’s name to establish a direct connection with the pageant’s title, much as Anthony Munday did with his father’s name in his 1609 show for Thomas Cambell. Campe-bell, for Dekker, corresponds with Beau Champ, which is French for beautiful field. I have used Cambell as the spelling of the lord mayor’s surname, which is in keeping with the Oxford National Dictionary of Biography, but I have retained Campe-bell wherever it is clear that Dekker is establishing this play on words.
Quando magis dignos licuit spectare triumphos?
The Latin roughly translates to when were more worthy, valued triumphs seen? Hoy notes that the phrase is adapted from Ovid’s felices, quibus, o, licuit spectare triumphos (Ex Ponto 11.2.91), which loosely translates to, when were more fruitful, O, valued triumphs seen? (Hoy 4.48). However, the Latin phrase actually originates from Martial’s nineteenth epigram in his fifth book of epigrams (Martial 3).
these few leaves of paper … glittering only for a day,
Dekker rhetorically downplays his role as dramatist by referring to the printed book as these few leaves to praise the glory of the mayor, but by mentioning the fact that the event only lasted a day, he highlights the printed pageant book’s commemorative purpose and lasting nature. This address to the lord mayor also allows readers to situate themselves in either Cambell’s shoes or those of his entourage of sheriffs, aldermen, and others as they read through the printed book. Readers receive the privileged view of the spectacles and can thereby relive what London’s lord mayor was meant to have experienced.
faces
A pun on the faces of the book’s pages and the faces of the actors in the presentations or the crowds in attendance. Another possible reference is the face of a given presentation, if we are asked to see them as living only for a day.
bounty of their purse
Fairholt lists the total cost of the pageant as £180 (35), but this was the amount given to Dekker and Christmas to put on the show. The actual total figure taken from their records was £537 11s 10d (Gordon and Robertson 119), which includes the sum of £180 given to Dekker and Christmas as well as several other fees associated with the pageant. This value is considerably more than was allocated to Cambell’s father’s 1609 show, which was not a tremendous success.
strings
The reference to the strings of the mayor’s bosom or heart aligns him with Apollo in the final pageant before the feast, as Apollo plays a lute and this is the only string instrument in the show. This early reference distinguishes his music from that of the Cyclopes who use hammers to make music instead. The vogue for the lute rather than the harp that Jennifer Linward Wood identifies in later shows like London’s Tempe makes the mythological figure of Apollo of Renaissance England’s present rather than an imagined past and thereby connects the god more directly to the mayor (117).
father
Sir Thomas Cambell (?-1614) was James Cambell’s father and had also held the title of lord mayor. The customary items of the lord mayor that James Cambell receives, and which Dekker subsequently mentions, thus entail an additional hereditary value in this show.
confluence
The word literally refers to a crowd of people, but is also the junction and union of two or more streams or moving fluids (OED confluence, n.1.a), foreshadowing the water shows that correlate Cambell with Oceanus. Much as Oceanus brings the various nautical networks to a confluence at London, Cambell’s merchant adventurers use them for trade.
Whilst I … my service running.
Dekker is deploying the common modesty topos. Underlying this suggestion that his efforts and writings are insignificant by comparison to the mayor’s greatness is perhaps another meaning concerning the amount of payment Dekker and Christmas received for the pageant. They asked for £200, but they were only given £180. We know that Dekker struggled with money for most of his life and the references to sand correspond with the allusions to Tagus, whose sands were golden and who is later mentioned in Oceanus’ pageant. The idea might be that he is spending all of the money the Ironmongers gave him, especially since the day’s occasions are brought forth with much cost.
walking beams
Aligns the person in question (ultimately the mayor) with the sun and thus Titan and Apollo, who are said to represent different diurnal positions of the sun, in the final pageants.
variety of music
From the Ironmongers’ records we know that Dekker and Christmas were in charge of arranging music for this pageant (Gordon and Robertson 115). No records of what was played survive, but drummers, fifers, and trumpeters were employed, all of which signal militaristic processions. We also know that Apollo plays a lute in the final pageant and that the Cyclopes play music on their anvil in the Lemnian forge pageant.
lord … all one
Lord could refer to God, Charles I, or both. The line communicates authority’s importance no matter whether it is a lord mayor or the lord, so the dual-meaning of lord is likely intended. The ambiguity reinforces the importance of the lord mayor by associating him with these figures of higher power.
Troynovant
Latin for New Troy.
collars of S’s
In Troia-Nova Triumphans, Dekker also lists it as collars of Esses (Dekker 556), denoting the band of S’s the mayor wore.
mace, sword, nor cap of maintenance
All parts of the lord mayor’s traditional attire that were also worn by Cambell’s father in 1609.
Edward Confessor
Edward, the Confessor, King of England (1042-1066). Dekker draws attention to the ruler’s creation of the portreeve. Hoy draws upon Stow to illuminate how the words Porte and gerefe mean respectively town and guardian (Hoy 4.48). The word Portreeve thus denotes what Edward deemed London’s chief ruler, after himself (Dekker, Britannia’s Honour 355).
Richard I
Richard I, King of England (1157-1199), and known as Richard the Lionheart.
ealdorman
Dekker distinguishes the modern spelling aldermen from ealdorman based upon early definitions of this distinction, as found in Richard Verstegan’s A Restitution of Decayed Intelligence (1605) or John Cowell’s The Interpreter (1607). However, the OED specifies that recent historical writers have used the late West-Saxon and Kentish ealdorman; but the general O.E. form was aldormann (OED alderman, n.1). I have preserved the spelling to highlight the earlier discrepancy, but I make this note to stress the inaccuracy of Dekker’s and other early understandings of Old English.
Saxons’ time
Dekker’s mention here of Saxons’ time should be taken as referring to the group of Germanic conquerors from Saxony prior to the Norman invasion of 1066, from whom the language of Old English in part derives. Mary Rambaran-Olm has written extensively on the misguided and dangerous understandings that later emerge around seeing Saxons (as well as the erroneous term Anglo-Saxon) as autochthonous to England and establishing a native English identity. Most recently, she addresses the hegemonic view that the only migration that matters is the Saxon migration (and later Norman one); everything happening apart from this narrative is culturally insignificant (Rambaran-Olm 387). Dekker deriving his understanding from early lexicons (see previous note) highlights early signs of this tendency, especially given how the show makes deliberate efforts to signal the supremacy of London and England over other nations and thereby establish the lineage through a false autochthonous affiliation. While this idea is still nascent in the historiography of the show, a change is clearly underway to create a false sense of ancestry, which would take a fuller shape in the next century. Take Joseph Nicol Scott’s definition of Sunday from A New Universal Etymological English Dictionary (1755), for example, which distinguishes the Saxons’ pagan worship of the sun from early modern subjects’ worship of the Christian god, but simultaneously labels them our Saxon ancesters.
Alwine
Alwine refers to the Earl of East Angle and kinsman to King Edgar (Hoy 4.49). Dekker spells Alwine as Alwin, but I have opted to change the spelling to differentiate this historical figure clearly from Richard Fitz Alwin.
Edgar
Little is recorded of Edgar’s reign. This dearth of material has led to the king being the focus of many legends and stories shaped around the time of his rule (Williams). Dekker and Stow’s references to Alwine could be one of these fictions.
sheriffs
Dekker’s spelling shreiffes does not exist according to the OED or LEME, so I am led to believe that the spelling is an error on the compositor’s part, who accidentally reversed the order of the “r” and the “e”. As a result, I have modernized the spelling, as there is no clear variation in meaning.
Edward I
Hoy asserts that Dekker was mistaken (Hoy 4.49-50). Fabyan, however, states that Edward III carried through the changes to governance that Dekker mentions (Fabyan 4.49).
Middlesex
Middlesex is a county in England.
Henry VII
Hoy again refers to Stow to show that Henry VII was the first king to knight the lord mayor in 1501 and thus began the ritual of travelling along the Thames to Westminster for the purpose of this ceremony (Hoy 4.50). Water pageantry is especially prominent in this show, given recent naval affairs and references to trade. Its mention again more explicitly here, especially after Dekker has already said that Thames drank no such costly healths to London, as he does now, accentuates this fact.
Sir John Shaa
Sir John Shaa was the first lord mayor to be knighted. Dekker spells his name Shaw, but I have used Shaa as per MoEML and MASL, though the ODNB uses both spellings.
Guildhall
The Guildhall is where the company would feast at the end of the day and is where the final pageants took place, making it London’s tempe or fair field.
to the waterside
The traditional route of the lord mayor’s procession (Manley 226).
Westminster
Westminster Palace, at court, where the mayor gives his oath to the king.
Grocers’ Hall
The Grocers’ Hall belongs to the Grocers, one of the twelve livery companies.
Merchant Taylors’
The Merchant Taylors’ Hall belongs to the Merchant Taylors, one of the twelve livery companies.
small roots … kingdom
The tree metaphor that is mentioned on the title page continues here. A gradual progression in history, age, and status is linked to natural growth, suggesting that Cambell and Londoners are in full bloom.
Thus you see
Dekker rhetorically shifts his readers’ gaze back to the present moment after having drawn attention back to the trees (with historic roots into present cedars); the confluence of people (as streams) into the train and crowd (as river) for this day; and connected all of this imagery with imperial supremacy and legacy. He then directs his readers to gaze upon the pageants printed hereafter with this supersessional history in mind to glorify the 1629 mayor, show, and company.
The First
Bergeron suggests that the presentation takes place before the group arrives at Westminster and was followed by the third on land (Bergeron 175), but Booth’s account clearly denotes that the pageant was delivered very close to Whitehall, since the King, Queen and other Great Ones hung out of the windows, seeing these pageants (Lusardi and Gras 22).
king of the sea
Given England’s recent naval failures in the Anglo-French War (1627-1629), such a figure—the God of all oceans—declaring the Thames as the marvel of the world likely serves to strengthen the country’s nationalism and to confirm its wealth, security, and prosperity at home, on its own waters, while still conveying supremacy through English trade that spans the oceans corresponding with the god’s name.
marine chariot
The first of many chariots referenced or represented in the show. The idea of a rider and his or her reins harks back to Sidney’s Astrophil and Stella (Sonnet 49; Ringler 189). The metaphor encourages people to harness their passions, the (sea)horses, in the seat of reason, the chariot.
wild seahorses
The adjective wild reinforces the passions which the rider must control.
curls of gold
Compare with Cupid’s hair, later in the Lemnian Forge pageant, as this character is also presented as in need of restraint.
carelessly
The word could either suggest that Oceanus cares little for his appearance or pertains to his lack of anxiety or concern, but his hair more likely symbolizes the water networks he represents rather than metaphorically commenting on his person. Although his lack of care for his hair could be perceived to indicate an untamed nature, it likely corresponds with the various bodies and networks of water that Oceanus represents.
antique
David Bevington notes the variant spellings of the words antic and antique. He states, ‘Anticʼ, ‘antikeʼ, ‘antickeʼ, and ‘antiqueʼ are reasonably interchangeable in early modern English (Bevington 151). He goes on to specify that antic, taken from the Italian antico, means grotesque, whereas antique bears a more ancient and classical meaning. For Oceanus it is possible to choose antic, given his carelessness concerning his hair. However, Oceanus manages to rein in the seahorses, and the rest of his vestments suggest a regal or refined quality. I therefore preserve Dekker’s antique with the understanding that the carelessness of his hair reflects that of water networks outside the Thames that London is no longer interested in venturing upon for naval matters.
stuff
Clothing.
watchet
Light blue, tending towards green (OED watchet, A.n.1, B.adj.c). Hoy also states, [t]he symbolic meaning of the color was ‘fayned stedfastnesseʼ (Linthicum, pp. 28-9) (Hoy 2.147).
bases
Hoy defines base as a plaited skirt made of cloth or velvet that reached from the waist to the knee and was popular during the Tudor era (Hoy 4.50).
rein
Rein carries both the literal meaning of Oceanus reining in the seahorses from the chariot and of him reigning over them as sovereign of the sea. The action of reining up the seahorses corresponds with reigning over the lower recesses of the body politic.
these
A cue for the actor playing Oceanus to point towards the seahorses.
Thamesis
Latin for Thames.
Tethys
According to mythology, Tethys was not only Oceanus’ wife but also his sister. The fact that Thames is labelled as their son likely means that Dekker is not referring to Tethys with such an image in mind and instead draws from Spenser’s Faerie Queene Book IV as Hoy suggests (Hoy 4.50).
our unfathomed … roars
Establishes a contrast being the ordered music associated with London and the tempestuous roaring of a chaotic world.
navies overthrown
The English navy had recently been overthrown by the French. Although a peace treaty had been signed by this point, the defeat is likely to have still been a serious wound to the country’s national image.
pell-mell
Confusion or disorder and sometimes a hand-to-hand fight (OED pell-mell, C.n). The latter definition seems more appropriate to the pirates, but the former is also possible.
Turks’ slavish
The reference to slavery and Turks plausibly perpetuates recent xenophobia. In 1628, a sermon entitled A returne from Argier was printed with a preface to its reader recounting a man taken by Turkish Pyrats, made a slave on the ship, and was eventually converted from Christianity or turned Turke (A2r). The references to piracy, naval affairs, and religion surrounding this stanza in the speech suggest a connection with this printed text.
Dunkirksʼ
A town in France on the Straits of Dover, 22 m. E. of Calais and 174 N. of Paris Lying on the boundary between the Spanish Provinces and France, and close to England, it was held from time to time by each of these powers (Sugden 159).
At the time, Dunkirk was under Spanish rule. Hoy notes that its broader significance is as a safe haven for pirates and that the word is often used by Dekker to signify a kind of band or company so ill-assorted that it can absorb anything, a sort of ultimate wantonness (Hoy 2.37).
The Dutchman’s … lightning
The line highlights the ongoing conflict between the Dutch and the Spanish. Leslie Thomson’s article on the stage purposes of thunder and lightning as a sign of intervention in human affairs by the demonic or divine likely aligns this military business with action the English do not want to enter (14). The ambivalent religious connotations also carefully distinguish the forces so that the Dutch could potentially be in league with the divine.
height’ning
Contraction added to stress meter.
consort
Both a musical composition in which several instruments work harmoniously together and a reference to one’s partner, typically in marriage.
The reference seems to suggest that several pieces play a forlorn melody or that Tethys, already mentioned, sings such unhappy tunes. I contend that both meanings are at play.
But here!
The actor’s sudden exclamation highlights the transition from the rest of the world to the Thames’ prowess.
old Thame
Dekker’s spelling has been preserved here to signal the personified figure of the river rather than the body of water itself.
beams of kings
The line refers back to Dekkerʼs mention of the beams that are emitted from the mayor on this day at the outset of his pageant book. See note on walking beams.
Jove’s court
Jove thus represents Charles I, given that these presentations were most likely staged in close proximity to Westminster according to Booth’s account. Jove will also appear in a later pageant, which continues this association.
this hall
Westminster Palace.
The words’ immediacy supports Booth’s account that the presentation is performed in the waters just outside of court before the fleet disembarks (Lusardi and Gras 22).
Lactia via
Milky Way (Lat.). Ovid’s Metamorphoses 1.168-169 (Hoy 4.50). Dekker is referring to the Thames as this celestial pathway.
Being paved … pearl
They set out from the Guildhall in the morning, so the sun would likely be shining brightly upon the waves at this point, giving them a pearly look.
the Rhine
From Booth’s account we know that the Dutch witnessed the day’s events, so it would be fitting to begin with the Rhine.
the wild board has tusked up his vine.
This bizarre line has some topical associations with Catholicism, as Richard Field describes the Pope as a wild Boare who hath layd wast the Vineyard of the Lord (V4v). This association in relation to the previous remark about the Rhine possibly criticizes Dutch trade with the Spanish. But preceding this line marks an obstacle to Oceanus’ ability to journey to the Rhine, so Dekker is likely drawing this connection with the Spain.
Volga
River in Russia.
curled head … pillows
Hoy refers to Dekker’s Brittannia’s Honor and Artillery Garden where Dekker refers to the speed of the river, and he also draws upon Fletcher’s remark on Volga hiding his seven curl'd heads from The Loyal Subject (4.51). Dekker, however, only refers to a single curled head, which associates Volga with Cupid in the show. The golden arrows Cupid fires aimlessly in this later pageant correspond with the lavish rich pillows on which Volga rests his head. Moreover, in The Seven Deadly Sins, Dekker refers to the seuen-headed Nylus who is associated with the seven sins (G2v). The reference to seven pillows here allows Dekker to return to his earlier simile anew so as to link the curly haired and wanton Cupid with the river whose hair Dekker has styled similarly, possibly due to its appearance when geographically represented on a map.
Ganges, Nilus, long-haired Euphrates
The Ganges and the Niles are rivers located in Egypt. The reference to the Euphrates river stretching from Iraq to Turkey is possibly referred to as long-haired because of how long the river is, but like Oceanus’ hair, it could connote an untamed nature and might be commenting negatively upon the region’s inhabitants.
Tagus
River in Spain and Portugal, whose golden sands Dekker refers to in his epistle and mentions to the mayor later near the end of Jove’s speech to Vulcan. The reference to golden hands that clasp perhaps indicates that wealth and greed through what the English perceived as corrupt trade practices have taken hold of the Portugese and Spanish. This portrait suggests a different relationship with water than the English have with the Thames in this pageant. Both images are preoccupied with power, but whereas the English control the Thames, the water networks bind Spain and Portugal as prisoners to sinful indulgence.
For all … play
Cambell was 59 years of age when he became lord mayor. The Thames as old yet energetic bolsters the image of Cambell as an older but powerful lord mayor.
gondoletts
A small gondola (OED gondolet, n).
That grand … Neptune
An annual Venetian tradition that is today called la Sensa and still practiced, according to contemporary travel guides.
Sugden refers to it as The Marriage of the Adriatic (Sugden 544) and Hoy also sources its mention in Wonder of a Kingdom 3.1.82-84, where he notes Coryate, in page 219 of his Crudities (1611), referring to it as the Bucentoro (3.293). The term minion in reference to Venice portrays the city as obliged to marry the dominant, masculine Neptune. The use of gondoletts instead of gondolas emphasizes the insignificance of the public performance in comparison to the lord mayor’s barges. The use of words like hurled negatively portray the event as disorganized and non-majestic, thereby emphasizing the propaganda of the English mayoral show.
lantscip
John Florio, in his translation of Montaigne’s Essays (1611), writes of the grotesca as ‘anticke or landskip worke of painters ʼ […] The word came from the Dutch, landschap, a technical term for the genre of painting natural scenery (Lerer 151).
Caesarʼs
Bowers has kept the old spelling of Cæasar, but I have taken the additional “a” to be an error since I cannot find any variant spelling of Caesar in the OED to support maintaining this spelling. Fairholt emends it to read Cæsar (Fairholt).
Caesar’s court
A continuation of the Roman theme, clearly a reference to Charles I.
we
A likely reference to himself and Tethys, signalling the next presentation.
sweating
Suggesting labour.
guarding
To attend, accompany, or escort (to a place) as a guard (OED guard, v.1.d).
capitol
A citadel on the head or top of a hill. esp. The great national temple of Rome (OED Capitol, 1). Here, it refers to Westminster.
The Second Presentation
It is atypical to divide the water pageantry into two distinct shows. However, the alignment of Tethys with the East India Company and her later joining Oceanus who recounts chaotic military affairs on oceans and seas abroad shows a renewed focus regarding London’s role in the world’s water networks. Trade, associated here with the mayor, overtakes naval conquest (given recent battles) as the new focus, and the symbolic union of Oceanus (the oceans) and Tethys (the East India Company) conveys this redirected attention.
sea lion
There are two sea lions on the East India Company’s crest. There is also a lion on Cambell’s coat of arms.
East India Company
Established in 1600, James Cambell and his father before him were both merchant adventurers that had significant roles in the East Indian Company.
mayor of the Staple
Hoy, citing Stow, notes that Staple here refers to the first and most ancient English Company of Merchants, trading in Wools (Hoy 4.52). E.E. Rich notes that the title Mayor of the Staple refers to an earlier royal title that changed after 1353 when instead of this Royal official, there were appointed fifteen local men, representing the mercantile element in the English ports (122). It is possible that Dekker is alluding to this earlier designation, but it is also likely that given Stow’s reference to Feldynge as mayor of the Staple at Westminster that Dekker is merely drawing a stronger connection between Cambell and the space at which the pageant transpires.
the French Company
The Company of French Merchants.
Cambell was an active member in the company. The recent peace treaty between England and France strengthens the importance of Cambell’s association with both the East India and French Companies.
the Eastland Company
The Eastland Company was established in 1579 and traded with Scandanavia, Russia, and various other countries in the Baltic Sea.
cut out of wood
Dekker notes the materiality of Christmas’s craft here, as he does later with the ostrich. The fact that the Ironmongers requested to keep only the seahorses and ostrich but not the sea lion perhaps speaks to Tracey Hill’s point that the shows serve to prioritize the livery company. The decision to keep the Ironmongers’ traditional ostrich but not the sea lion associated with the East India Company reflects these anxieties (20).
progress
Going on, progression; ourse or process (of action, events, narrative, time, etc.) (OED progress, n.3.a).
twin
To be coupled; to join, combine, unite; to be parallel or equal, to agree. spec. Of a town or city: to become twinned with (another) (OED twin, v.2.2.b). The word communicates a union of two gods and two nations, seeing as how Tethys is symbolically linked with the French company. The union takes on additional significance with the presence of King Charles and the French Queen Henrietta. Their twinning thus suggests an end to previous conflicts between England and France.
antic
C.f. note on antique.
sea tire
A covering, dress, or ornament for a womanʼs head; a head-dress (OED tire, n.1.3). Given that it is encompassed by a coronal, we are led to believe this is a head-garb rather than a tiara or crown. This potential exoticism might strengthen Tethys’ association with trade.
two new sheriffs
sheriffs
Spelled shrieves in the quarto. I have proceded with a modernized spelling since this spelling holds no different meaning from that of sheriffs. Moreover, the OED does not list shrieves as coming into existence until 1682 (OED). LEME lists the earliest occurence as Joshua Poole’s The English Parnassus (1657), and the headword has no definition listed (Poole, Shrieve). While Dekker’s spelling shows that it was in use prior to this date, we have no reason to believe it carried any additional significance.
The Third
Bergeron notes that the presentation was performed upon landing at Westminster (Bergeron 175); however, Booth’s account has the mayor arrive at Westminster, take the necessary oaths, and then proceed on land whereupon they see this presentation. This pageant therefore likely took place at St Paul’s before or after the mayor heard a sermon.
ostrich
One could make an argument that the quarto’s original spelling, Estridge, bears significant meaning, as Bevington suggests it might in different contexts (152). It could refer to the now extinct species of the species of ostrich, but there is nothing in Booth’s drawing or Dekker’s text to suggest that it is this species of the bird. The carving also survives in the Ironmongers’ Hall today, and it resembles the living ostrich we are familiar with today.
horseshoe
There are a few references to horses (Apollo’s horses and Oceanus’ seahorses) in the presentations. The Cyclopes also claim that they make horseshoes for Apollo’s horses. The idea of fitting them with shoes possibly communicates taming wild behaviour. Hoy draws upon Munday’s 1618 mayoral show to explain that the Ostrich bites the horseshoe because they were thought to naturally digest steel and iron (Hoy 4.53).
Indian boy
The Indian boy is ultimately an icon and manifestation of white supremacy. Hill posits that the boy might be a Black child because of Booth’s illustration, but as she notes earlier, his drawings contain discrepancies with respect to the pageant book and company records (145). Since the bird is described as being cut out of timber but the boy is not, we can assume an actor plays him, but regardless of whether it is a Black child or a white boy in blackface, the Indian boy is a manifestation of the emergent British empire’s competing and conflicting conceptions of an Indian boy rather than an actual Indian boy. As the note below on his attire further elucidates, the Indian boy is a conglomeration of racialized misunderstandings and white commercial interests localized in a white author’s creation for a white company and recorded in the drawings of a white diplomat. This white editor, however, stresses that the exoticism of this pageant, which suggests Black children were not Londoners, is at odds with the Black lives Imtiaz Habib historicizes in the English archives and London throughout the early modern era (15).
long tobacco pipe
Tobacco was one of the East India Company’s exports. The pipe’s length refers to the convention usage of clay pipes with long stems during the period. Dekker and Middleton’s Moll Cutpurse smokes such a pipe in The Roaring Girl.
dart
A pointed missile weapon thrown by the hand; a light spear or javelin; also applied to pointed missiles in general, including arrows, etc (OED dart, n.1.a). From Booth’s illustration, it could be an arrow, given the inclusion of a bow, but the sketch could also be inaccurate.
attire
Hill has commented on how Booth’s drawing is inaccurate: the boy’s accessories actually suggest the Americas more than India (20). As the previous note on the boy suggests, the depictions of him in Dekker’s show and Booth’s account represent an inaccurate exoticization.
a Turk … musketeer
Booth illustrates only the Turk and the Persian. This choice leads one to question whether the subsequent references to the pikeman and musketeer are clarifying the weaponry the Turk and Persian carry (listing these as other titles they hold) or if there are indeed meant to be four distinct figures. Given Dekker’s specificity that there are four corners to the square, I have opted to see these as four distinct characters or persons in Dekker’s pageant and have therefore capitalized their names. As previously noted, Hill has indicated that Booth’s illustrations are flawed.
The Fourth
This performance likely takes place at the Cross in Cheapside, as pageants in mayoral shows regularly do. The earlier reference to Cheapside and a firmament of stars perhaps alludes either to the stars that the Cyclopes nail or to those that Ambition attempts to reach. It is also likely that a canopy accompanies Jove to signal the heavens relative to the mundane Lemnian Forge.
Lemnian Forge
Although Vulcan’s forge was located with the other gods, his Greek counterpart, Hephaestus, was cast out of Olympus to the isle of Lemnos, hence the Lemnian Forge. The use of the Roman names draws upon the Mars and Venus narratives from Ovid while the Lemnos reference associates the forge with terrestrial rather than heavenly affairs.
Vulcan
Vulcan married Venus, the god of love, who had amorous relations with Mars, the god of war. Venus and Mars are also mentioned in this pageant.
Pyracmon … Sceropes
Hoy’s reference to the Aeneid, VIII.425 portrays these three Cyclopes as fashioners of Arrowes of Ignorance and contempt, to shoote at Learning (Hoy 4.53). Cupid shoots the arrows directly up into the air, which makes this allusion to Virgil fitting. This depiction likely symbolizes the folly of previous military affairs abroad.
habit
Bowers emends this word to read habits; however, given the OED’s definition of habit being [a] set or suit of clothes, dress (OED habit, n.I.1.b) and that all the Cyclopes wear the same articles of clothing, I find it more suiting to retain the spelling of habit, despite the lack of agreement between the subject (habit) and its verb (are), which could also refer to multiple items of clothing making up a singular habit. Fairholt also retains the quarto’s spelling of habite (Fairholt).
thunder and lightning
If there is thunder and lightning, then the suggestion might be that the music being played is not beautiful or peaceful. The thunder and lightning also refers back to the Dutch thunder and Spanish lightning from Oceanus’ speech, associating the forge further with the subterranean Greek equivalent. See note on The Dutchmanʼs … lightning.
concordant
If the consort plays unhappy music, then it results in unified sorrow, whereas if they are harmonious with a proper purpose, then they flourish.
Tubal-Cain
Tubal-cain (Sumer). Tubhal-Kayin (Hebrew). God of the forge and inventor of implements. Son of Lumha (Ea). Near East (Leach 631).
Hoy cites Genesis 4:21 here and contends that Dekker has confused him with his half-brother Jubal, who is actually the creator of music (Hoy 4.53). Hoy might be correct that Dekker is wrong; however, Dekker’s error seems to reflect a common misunderstanding in the time period. The Treasury of Ancient and Modern Times describes him as Tuball, or Tubal-Kaine, that inuented the Art of Musick (H5r). The connection Dekker makes between the Cyclopes and the figure of Tubal Cain plays into a hierarchy of musical originators in the period as well. In the stage play The Travels of Three English Brothers, for example, the figure of the Jew claims that this sweete Musique is heauens rethorique, The Arte was first reueald to Tuball Cain, Good Hebrew (F2r). The link between Tubal Cain and Jewishness, however, is emphasized here when the Jew continues by asserting that all other associations with the origins of music (such as Pythagorus with the Greeks or Orpheus with the Thracians) are false: All errors, Tuball, Tuball, Hebrew Tuball (F2r), which creates a hegemonic distinction between Tubal Cain and other originators of music that is ironically meant to be the inverse for the Christian audience. Dekker seems to play on this power dynamic in the show by linking the bombastic music of the Cyclopes with Tubal Cain and establishing their hammers as producing a lesser form of music when compared to the stringed instruments of Apollo, which are connected with the mayor in the dedicatory epistle.
knick-a-knock
The word knick has Dutch origins and means to lightly snap or crack as one would with their fingers, whereas knock means to strike, as one would with a hammer (OED knick, n.1). Described as a smith’s best chime, Dekker draws a contrast between this ideal sound and the noise of the Cyclopes.
thwick-a-thwack
Also used in The Virgin Martyr (Hoy 4.53), it is defined as [t]he repetition or exchange of thwacks (OED thwick-thwack, n), thereby eliminating the knick and instead producing two knocks. The grace of the movement is thus lost. Hoy’s note to The Virgin Martyr also includes a lengthy note on the phrase’s history as originating as a scrap from Richard Stanyhurst’s attempts at onomatopoeia in the ‘poetical devicesʼ appended to his translation of the Aeneid, I-IV, which were later ridiculed by authors such as Nashe and Peele among others (Hoy 3.223-224). This background emphasizes the grace and elegance these words lack. As mentioned in the introduction, Kara Northway has brilliantly connected the use of this notorious translation of Virgil’s epic poem with an effort on Dekker’s part to disuade the mayor from emulating the poor past example of his father, who was mayor in 1609 (Northway 181).
horses … sun
The line evokes the chariot of Apollo and continues the show’s metaphorical use of chariots to convey iron’s role in governance.
sun
The word is probably pronounced as soon in order to rhyme with moon in the following line. The actors could still stress the meaning of sun by motioning towards it. For an audience familiar with the mythological creatures, the meaning would also be implicit.
dragons … moon
London’s crest has two dragons on it. Reprinted four years after London’s Tempe, Stow’s A Survey of London (1633) features a printed illustration of London’s crest.
our dame’s
Venus, Vulcan’s spouse.
coach … sparrows
Hoy notes that Venus’ carriage was drawn by sparrows, which were thought to be lecherous birds (Hoy 4.53). Such a reference complements the idea of riders controlling their passions, given that Venus as the Goddess of Love lets hers run rampant. Indeed, the final two lines of this stanza suggest wanton or foolish desires, whereas the two that precede them convey restraint and order.
etc.
It is likely that in order to avoid writing it out each time, Dekker includes etc. to mark that the final five lines of the previous stanza repeat each time. It is also possible that the compositors in the print shop adopted this habit to conserve type. In his reading of the smiths’ song, the late Stanley Plumly opts to repeat the refrain.
Jove’s roaring cannons
Recalling the reference to Jove that alludes to Charles I in Oceanus’ speech, this line likely implies the ongoing war with Spain.
Mars
The god of war is notably absent from any of the presentations, though he is mentioned here, possibly alluding to England’s lingering militaristic presence in the Netherlands.
gauntlet … spear
In Metamorphoses, Ovid refers to Mars’ armour as being for adornment rather than defence (Ovid 12.87-91). Like Cupid’s arrows, this reference could suggest the pointless nature of recent military endeavours.
Gorgon shield
Used to defend against the gorgons—three female mythical creatures, whose glare could turn their victims to stone.
nail the stars
Likely alluding to the firmament of stars Dekker writes about at the outset of the pageant book. The reference thus suggests that this pageant was performed in or near Cheapside.
The Globe’s case, and the Axletree,
While the capitals have been preserved here to carry out the metaphor initiated in the previous line with the stars, Globe’s case likely refers to an ammunition supply for military affairs abroad, given the definition of a Case shott from Henry Mainwaring’s Nomenclator Navalis (Mainwaring). The Axletree here is both that of the world and the common military device that relied upon iron hoistings.
frozen zone
Winter, or the cooling period—likely in a basin of water—after the metal has been hammered into form on the anvil.
Hob-nails
A nail with massive head and short tang, used for protecting the soles of heavy boots and shoes (OED hobnail, n.1).
man ’i ’th moon
Either a reference to John Lyly’s Endymion, The Man in the Moon, which features Endymion questing after the love of Cynthia (the moon), or to the common medieval and Elizabethan folklore tale of the man in the moon, who carries a bundle of thorntwigs and is accompanied by a dog (Simpson and Roud). The reference to hob-nails in the same line suggests the latter rather than the former, given the implications that he has heavy boots or shoes for laborious activity.
sparrow-bills
Nails (Hoy 4.53).
shoon
An alternative plural of shoe (OED shoon, n.1.a, c). I have retained the original spelling in order to preserve the rhyme. Given the lack of association of Pan with shoes, particularly since the god was part human and part goat, this passage refers to his hooves. Dekker is likely referring to Silvanus, given his mention of the deity in The Gull’s Horn-Book: Sylvanus, I invoke thy assistance; thou that first taughtest Carters to wear hob-nails (B3r). The Oxford Companion to World Mythology identifies that the Romans often associated him with Pan, but Silvanus was commonly depicted as an older man.
Whose … ours?
Bowers preserves the quarto’s printing of this phrase alongside the repeated refrain as a single line in the text. I have opted to include the phrase as a separate line from the refrain of Thwick-a-thwack, etc that follows it because it makes more sense for this added line to stand out on its own and for the regular Thwick-a-thwack, etc to follow it. The pride in their work that has been featured over the previous four refrains of the chorus, as well as in the one containing this line, is contrasted by the chorus that follows this refrain, wherein they portray themselves as slaves to a tyrannical Venus.
pans
Both Fairholt and Bowers emend the text’s pennes to pannes, which suggests a continuation of the domestic theme established with kettles and pots. While the OED notes that pennes is a plural form of penny, the listings are both from pre-seventeenth-century forms (OED penny, n.). Furthermore, the reference to pens as writing devices does not work here since pennes refers to quills, which were not made out of iron. This edition therefore favours Fairholt’s and Bowers’ emendation, especially since it completes the rhyme with “bans”.
brawls and bans
In contrast to the mutual love of Oceanus and Tethys, we are presented with Venus who scolds her husband and his employees. Both women are silent, but Tethys is obviously portrayed as ideal in her silence while Venus is described as a loud, violent, chaotic embodiment of women. Therefore, although Dekker is keen to present an image of Oceanus and Tethys that, as I have argued elsewhere, is more ameliorative than that of other pageant writers (Kaethler 74), this positive and mutual union is later contrasted with the misogyny Dekker directs toward Venus in this pageant.
scratches
The verb portrays Venus as a violent ruler of the shop, who runs it like a monstrous tyrant. The animalistic imagery negatively portrays Venus as a bestial woman that needs to be tamed. While her aggressive behaviour is implemented to ensure that things are in their correct places (see the Cyclopesʼs speech), her hostility is closely linked with tyranny rather than harmonious governance.
a curled yellow hair
The fact that a yellow curly set of hair rests on his head suggests both that it is artificial to the boy actor playing Cupid and that this artificiality links the hair with the manes attached to the sculpted seahorses in Oceanus’ opening pageant. The inference, then, is that Cupid here also represents passions that should be restrained by Vulcan (his father), but he is instead allowed to shoot lavish arrows carelessly and without guidance from his father or even himself (given the blindfold). Unlike the patriarch Oceanus who reins in the seahorses, Vulcan indulges Cupid’s behaviour.
lawn
A kind of fine linen, resembling cambric; pl. pieces or sorts of this linen (OED lawn, n.1.1). This costuming follows the proverb that love is blind, but adopts it in an ableist framework to mock Cupid’s inability to direct his arrows.
changeable silk mantle
The word changeable could refer to various (OED changeable, a.4) colours. Hoy notes a different definition from the OED that suggests a more elaborate costume that changes colour under different aspects (OED changeable, a.3.a; Hoy 2.133). However, looking to LEME, we find that John Rider defines Praetexta or a praetexta toga in his Bibliotheca Scholastica as a garment of changeable silke. This garment may correspond with the Scutulata vestis that he mentions were mixed with purple silke for noble mens children to weare (Rider, A garment).
Golden and silver
Contrasted with the gold and silver attire of Oceanus and Tethys, Cupid’s frivolous and pointless use of this unlimited arsenal connotes equally misguided military affairs of recent history that need to be reconsidered and whose resources need to be redirected home. The fact that these precious metals are associated with Oceanus and Tethys earlier might also indicate that the crown should halt these expenses by bringing troops home. The two gods associated with them arrive from abroad to London on the Thames, so they redirect wealth home where the drama contends it should belong.
reached up
Cupid is likely stationed on a higher platform on the presentation’s stage space.
antique
C.f. note on antique. I have chosen antique in this case due to Jove’s god-like position in the upper level of the presentation.
His appearance is rich and reverend.
reverend
Whereas Oceanus’ beard is carelessly spread (link), Jove’s is reverend. The presentation’s stage space, with Jove on the upper scaffold, also establishes a moral symbolism of the space with heaven above and earth below. Having just come from court, the pageant reinforces the lord mayor’s duty to court and king, given the earlier references to Charles as Jove (see Oceanusʼs speech and the Cyclopesʼs speech).
mace … fire
The mace derives from Ovid’s Metamorphoses, wherein the cyclopes fashion another fiery mace for Jove but with less lightning and force, which connects with Jove’s request that they shift their priorities and alter their song (Ovid, Book 3).
Stop your hammers
The line signals a contrast between heavenly words and earthly sounds, as Vulcan must ask them to hault their music and song to hear Jove.
slip-string
One who deserves to be hanged; a rogue or rascal (OED slip-string, n.).
two dozen
The reference to twenty-four more golden and silver arrows for no apparent purpose emphasizes the wasteful use of these precious materials, but it also serves to direct attention away from gold and silver and toward iron.
A golden … fan
The line reinforces that Venus regulates the shop. A concentration on the wanton desires of Cupid and Venus is set in opposition to Jove’s needs.
smugs
Blacksmiths (OED smug, n.1).
play
Jove’s description of their work as play establishes a binary of good work in opposition to bad play, which also refers back to the song they play.
holiday
Given Dekker’s The Shoemaker’s Holiday, the reference could be a reminder to the Lord Mayor that these presentations are to be enjoyed but that he must also be diligent in his governance following this day.
What then?
While I have earlier opted to frame the dialogue between Jove and Vulcan as continuous (see Joveʼs speech and Vulcanʼs speech), here I have isolated Vulcan’s words as a single line. My reasoning is that the former combination of speech parts into single lines preserves the ten syllable structure of the individual lines, whereas including these words as part of either the previous or the later line would both disrupt the metre and the rhyme of the passage. Furthermore, the line breaks the conversation and signals a long monologue that Jove will deliver.
to dust their hammers’ beat
Although this could read as to dust their hammers beat (suggesting that through beating the hammers, they are dusting them), Jove requests that the forge be utilized for new purposes, so the previous music or beat is what needs to be dusted here.
the gallant roars
The line resembles Oceanus’ mention of the wider world roaring (link). The line thus picks up on the imagery of The Campe in which the religious concerns of soldiers are the same for those living in the city. In other words, pride and ambition can turn Londoners into monstrous tyrants.
roarers
Those loud, boisterous youths who cause a public disturbance (OED roarer, n.1.1.b).
drink oaths … gall
These oaths contrast with the pure oath the mayor has just taken at Westminster. The connection between drinking and galling insinuates that the roarers drink alcohol and then fight one another.
heat
Both Fairholt and Bowers change this to beat, but it seems perfectly logical to keep it as heat. The dash followed by and might suggest that since Jove immediately tells them to blow fires to flames, he has told them to do something else first. However, I think it could be there to reinforce the need for fire, especially since Vulcan was the god of fire. Moreover, the Cyclopes have been beating the anvil, and Jove’s question (Is’t not time?) implies a change in action rather than a continuation of what has preceded it. Heat could also be produced through successive blows to the anvil.
these broods … names
The word broods likely refers to Englishmen since brood means offspring and in this context, given that Dekker links Jove with Charles I in the pageant, it takes on a national significance. On the one hand, it likely refers to the roaring gallants Jove mentions earlier, who quarrel in civic disputes. However, it also connotes the English soldiers fighting in the Netherlands. The implication is that the fire supplies the iron to the soldiers while tempering the civic brawlers.
Yes Jove … time
See note on play for reasoning.
text up
Inscribe (Hoy 4.54).
Tagus’ golden sand
Ovid describes the sand as gold (Metamorphoses, 2.251). As noted previously, Dekker concludes his dedicatory epistle with an allusion to this sand, possibly requesting more fiscal compensation.
main hinge
The axis of the earth; the two poles about which the earth revolves, and, by extension, the four cardinal points (OED hinge, n.I.3).
axletree
The imaginary or geometrical line which forms the axis of revolution of any body, e.g. the earth, a planet, the heavens (OED axle-tree, n.4.a).
gold’s darling … boy
The contrast between the iron boy and the golden boy establishes an ideal rugged masculinity. The reference to golden boy could refer back to Cupid’s yellow hair and golden arrows, especially with his attire described as armour when it is hardly that of a soldier.
courts
Fairholt and Bowers emend the quarto’s cours to read courts, and I have chosen to abide by their decision. Although cours could both mean the [o]nward movement in a particular path (OED course, n.I.2.a) and might be a pun on the French word for heart, the passage’s context—referring to gates and iron—leads me to conclude that courts makes more sense, as they would be enclosed by such materials.
kay
Key. I have kept the quarto’s original spelling to maintain the rhyme with away.
a file inferior
A file likely means a small body of men typically no more than twelve in number. The definition typically has military connotations. A file inferior thus exemplifies the governing prowess of Cambell and his troupe by comparison (OED file, n.2.II.7.c).
the sun’s … hill
A reference to the location of the next presentation, London’s Tempe. It is possible that gilt hill corresponds through onomatopoeia with Guildhall. This choice would make sense, given that it shifts the focus away from naval and other military affairs (as well as trade) abroad in order to celebrate the livery companies. This promotes the civic boosterism that Hill argues the mayoral shows recentre attention upon to compensate for a gradual loss of power (Hill 27).
On to’t … sing
It is likely that the actor playing Jove guards Cambell to the next presentation, much like Oceanus does to the next segment of the water presentations (The Second Presentation).
ring
The word literally refers to the ring of the hammers against the anvil, but it likely also alludes to a marriage ring, given the relationship between Vulcan and Venus as well as the prior mention Oceanus makes to a golden ring in the Venetian custom (see Oceanusʼs speech).
Le Beau Champe
French for beautiful field. See note on Cambell’s name from the title page for more information.
terms
Arch. A statue or bust like those of the god TERMINUS, representing the upper part of the body, sometimes without the arms, and terminating below in a pillar or pedestal out of which it appears to spring; a terminal figure (OED term, n.V.15). Terminus was the god who presided over boundaries and landmarks (OED terminus, n.3.a).
pendants with arms
The word pendant here likely refers to a downwardly projecting ornamental knop or terminal (OED 3 pendant, n.I.1.c) that contain what are likely representations of coats of arms, possibly those of Cambell, his two sheriffs, and the Ironmongers, as these are the four coats of arms presented throughout the day.
Tempe
The valley between Mounts Olympus and Ossa through which the river Peneius runs.
lion’s head … crest
The lion also recalls the sea lion from the water pageantry.
thus break
These words are printed at the end of the following line in the quarto. I have followed Bowers’ decision to position the words here instead to preserve the metre and rhyme scheme.
coach … gold
Dekker establishes Titan and Apollo as the same character, who changes his name when he descends to the earthly sphere. In other words, we can take this to be Apollo’s chariot of the sun, the horses of which were previously mentioned as being shoed by the Cyclopes. The fact that the horses have been designated to their mangers perhaps speaks to the shift in attention from military conquest abroad to commerce brought or presently at home.
The chariot … pace
The line readdresses the need for the lord mayor to guide his passions in order to govern the civic body properly. It also makes it clear that all the chariot riders thus far, including Titan, are models for the mayor to emulate.
zodiac
The twelve zodiacs were thought to correspond with the twelve livery companies (Manley 278).
A shrub … shine
Continuing the theme of Londoners as trees, the poor are here compared to shrubs, and it is the lord mayor’s duty as gardener to tend to all life in London, great and small.
those rooms you feast in
This line gives further credence to the earlier suggestion that London’s Tempe or the gilt hill is the Guildhall, where the mayor and his train would dine.
Ceres
Dekker tells us who Flora is, but Ceres is the Roman goddess of agriculture, of the growth of plant life, of crops. Mother of Proserpine. Same as Demeter (Leach 523).
Pomona
Roman goddess of fruit trees. Wife of Vertumnus (Leach 544).
fairest
The use of fairest rather than fair here could offer further evidence that it is the Guildhall, given that this tempe or place is prized above all other locations or fields in London.
The Sixth and Last Presentation
Based upon preliminary translations of the later portions of Booth’s account that were not included in Gras and Lusardi’s article, there is a strong likelihood that the two pageants were in quick succession and in close proximity to the Guildhall. A translation is forthcoming that will accompany this edition.
seven liberal sciences
Hoy states, In Munday’s Himatia-Poleos appear ‘the seauen liberall Sciences (all attired like graceful Ladies)ʼ (1614, B2v) (Hoy 4.152). Their silent roles would be in keeping with this depiction, as they would be played by boy actors, none of whom have speaking roles thus far. They are grammar, logic, rhetoric, music, geometry, astronomy, and arithmetic.
emblems
Emblems have a long-standing tradition in mayoral shows. Sarah Briest builds upon the earlier work of Bergeron and Hill on the topic, noting that the emblems referred to in the shows do not equate to the emblem book’s pairing of text and image (10-11). However, dramatists would be unable to reproduce this dynamic in street performances where visibility was limited for most spectators. It is possible as well that the emblems the liberal sciences bear contain some text, and the pairing of speech and spectacle could represent an alternative early modern understanding of emblem that emerged.
twelve silver columns
Booth’s illustration does not include these. The use of twelve here, however, links them with the twelve livery companies who would dine at the Guildhall, where this pageant ostensibly took place.
On … kingdoms
None of this is represented in Booth’s illustration.
golden
The use of golden and earlier silver columns reminds us of Oceanus and Tethys as well as Cupid. The ongoing use of this imagery moves from fluidity and frivelousness toward adamant columns here, thereby promoting that this wealth remains at London with the livery companies. The localism of the show is thus visually communicated.
the four monarchs of the world
There are two possibilities here. Either they correspond to the four monarchic kingdoms depicted in Ania Loomba’s introduction to Middleton’s The Triumphs of Honour and Virtue (Asia, Africa, Europe, America) or they are Charles’ four kingdoms: England, Scotland, France, and Ireland (Loomba 1715-1716). The former would suggest British supremacy over the world. All the waters flow towards the most magnificent Thames in the presentation and London is presented as the seat of trade over Venice. On the other hand, the latter works to strengthen British nationalism and the benefits of a recent peace treaty with France. Hoy makes reference to Petrus Plancius’ work, which outlines five Princes of the world (China, Persia, Turke, Ethiopia, Russia), but I am more inclined to favour my two readings simply because there are four monarchs listed rather than five (Hoy 4.54-55). I would also suggest that both of my readings are simultaneously in play, communicating England’s insular power and its global supremacy.
On his … lute
Although there seems to be some confusion again with Booth’s illustration, as the figure on high does not carry these items and instead the central figure below does, the illustration possibly signals a continuity of Titan above and Apollo below. Both speeches are short, and Dekker has already paired two brief water shows in close succession of one another, listing them as the first and second pageants. The evidence concerning the Guildhall in tandem with this earlier atypical scheme makes the proximity of these two pageants likely.
lute
The drums and fifes that begin the day are gradually subdued, allowing for this peaceful finale that brings harmony and order to London. The choice of a lute instead of a harp also signals taste more contemporary to the time, as Wood has noted (Wood 123).
Thus … his voice
The shift from verse to prose in Apollo’s speech distinguishes him from all other speaking actors. Given Dekker’s explanation that Apollo has descended from on high, it could present a change in character and a need to tune his voice to an earthly territory, implying celestial brilliance in comparison to worldly, unrhymed prose. I have been unable to find any rhyme or rhythm pattern in Apollo’s speech to suggest it was intended as verse.
my Delphos
Apollo’s son.
The reference links back to Thames being Oceanus’ son and shows New Troy to be youthful and strong.
senators this day in scarlet riding to the capitol
We know that the mayor and his train left from the Guildhall to Westminster, which has been referred to already as the capitol. It is logical to infer that Apollo is referring to having seen them depart from the Guildhall in the morning, to which they have returned now, which offers further credence that the pageant is performed at the Guildhall.
the field
Likely a reference to the Artillery Garden.
gowned citizens … gown-men
Gown here likely means an article worn by the holder of a civil or legal or parliamentary office, e.g., an alderman, a judge, magistrate (OED 3 gown, n.4.a). The later distinction between gun and gown in the next line emphasizes the gown’s civility and that military power is only regulated by this sense of civility and governance, creating warlike gown-men.
The gown and gun march in one file together
This line suggests that the Crown’s continued but refocused military ambitions abroad and the City’s strength at home are aligned. This unified message might be a way to respond to the fact that Charles had dissolved Parliament earlier this year.
honourable shore
The Guildhall for supper.
taking
Fairholt and Bowers also emend the quarto’s taken to taking. While the word is left uncorrected in the NLS copy, allowing for the argument that it should remain as taken, since the compositor did not change it, this fact does not mean it was not erroneously overlooked. The following OED definition of taking leave also supports the emendation: to obtain permission to depart (obs. rare); hence, to depart with some expression of farewell; to bid farewell (OED leave, n.1.2.a). Although the OED notes the variant form of taken leave, all the citations listed are from over two-hundred years after the printing of Dekker’s pageant and all are syntactically logical unlike Dekker’s usage. The phrase does not appear in LEME, and there is also no change in meaning between taking leave and taken leave. I have therefore emended it.
Night
This is delivered to Cambell between leaving the Guildhall and retiring home for sleep, so it is likely approaching night time by now.
for see … sun
Likely a cue for the actor to point toward the sun as it is setting.
Tethys’ Lap
The sun sets in the west, so this could be a way of referring to Tethys as a representation of the East India Company whose goods have made their return to England, much as the mayor returns to his home at the end of his day’s journey.
Master Gerard Christmas
See MoMS entry on Gerard Christmas. The Ironmongers clearly appreciated his work since they asked to keep the seahorses and the ostrich, the latter of which still resides in the Ironmongers’ Hall today.
And this … city
Hoy cites W.A. Jackson’s Records of the Court of Stationers’ Company, 1602-1640 to highlight how in previous mayoral shows the barges were disorganized, whereas this year they ostensibly moved in a controlled fashion, given the appointment of some Masters of the Watermen to direct the barges (Hoy 4.55). This reference is particularly poignant given England’s recent naval defeats. The ending serves to boast naval prowess at home despite past failures, impressing a strong national image upon the water pageantry. The reference to a captain of the city also shows militaristic leadership of an urban corpus. Dekker providing this statement also suggests that the pageant book was printed after the day’s processions.
Work … play,
Jove completes Vulcanʼs part line.

Collations

:
or
:
OR,
:
Happiness,
:
Happines.
:
beauty to
:
Bewty, to
:
paper present
:
paper, present
:
albeit
:
(Albeit
:
day,
:
day)
:
them to
:
them, to
:
society. By
:
Society: By
:
place takes
:
place, Takes
:
scarlet. It
:
Scarlet, It
:
age, to
:
age to
:
welcome; a
:
welcome, A
:
citizens adding
:
Citizens, Adding
:
state; the
:
state, The
:
people ushering
:
People, vshering
:
lordship,
:
lordship
:
man in
:
Man, in
:
day to
:
Day, to
:
behold, as the sun does, all
:
behold (as the Sunne does) All
:
him, that
:
him; That
:
year any
:
yeare, Any
:
city so
:
Citty, so
:
people, as
:
People as
:
with on the first day that
:
with, on the first Day, that
:
takes that
:
Takes, That
:
glories; no
:
Glories, No
:
in Cheapside. Thames
:
in Cheape-side: Thames
:
kings shined
:
Kinges, shined
:
maintenance. These
:
Maintenance, These
:
city. For,
:
Citty: For,
:
portreeve; the
:
Portreeue: The
:
sway. This
:
sway: This
:
mayor and
:
Maior, and
:
Alwin, in
:
Alwin in
:
justice)
:
Iustice:)
:
London had
:
London, had
:
then, as now, over
:
then (as Now) ouer
:
Then,
:
Then
:
mayor should, in
:
mayor, should in
:
justice, and
:
Iustice; And
:
Richard I,
:
Richard 1
:
Henry VII,
:
Henry 7
:
Shaw,
:
Shaw
:
waterside when
:
waterside, when
:
Westminster, where
:
Westminster,(where
:
thither, and
:
thither,) and
:
dine—all
:
dine, all
:
him—since
:
Him: since
:
kept, for
:
kept: for
:
Hall or
:
Hall, or
:
streams to
:
streames, to
:
eye upon
:
Eye, vpon
:
sea, from
:
Sea (from
:
Ocean.
:
Ocean)
:
honours due
:
Honors, due
:
festival and
:
Festiuall, and
:
vast, but quaint,
:
Vast (but Queint)
:
placed a
:
placd, a
:
bottom is
:
Bottome, is
:
gold. The
:
gold; The
:
that is
:
that, is
:
scallops and
:
Scollops, and
:
hand is a
:
hand, a
:
antic
:
Antique
:
watchet and
:
watchet, and
:
Oceanus, his speech
:
Oceanus his Speech.
:
me, Tethys, whose
:
Me (Tethys) whose
:
height’ning
:
heightning
:
as a path
:
(as a Path)
:
heaven.
:
heauen
:
could, to swell my train,
:
could (to swell my trayne)
:
But
:
(But
:
vine.
:
vine.)
:
but
:
(But,
:
employs
:
imployes)
:
but
:
-But
:
day,
:
day
:
For all his age,
:
(For all his age)
:
his new
:
his, new
:
best
:
-Best
:
where stately
:
where (stately)
:
ring that’s
:
Ring, (Thats
:
sea,
:
sea)
:
a
:
-A
:
and
:
-And
:
your
:
you
:
your
:
your
Fairholt (emend.), Bowers; (your). Hunt; (you). BL, NLS; (your).
:
sea on
:
Sea, on
:
creatures are
:
creatures, are
:
employed in regard also
:
imployed, In regard also,
:
lion, which
:
Lyon (which
:
life, rides
:
life) rides
:
Oceanus and
:
Oceanus, and
:
sea, for
:
Sea; for
:
dishevelled. On
:
Disheuelled, on
:
head is an
:
head, an
:
hand supporting
:
hand, supporting
:
lion attend a mermaid and
:
Lyon, attend a Mermaid, and
:
two, having
:
two hauing
:
Turk and a Persian, a
:
Turke, and a Persian. A
:
servants, the Cyclopes,
:
seruants (the Cyclopes)
:
anvil. Their
:
Anuile Their
:
waistcoats and leather aprons; their
:
wast coates, and lether approns: their
:
shaggy in
:
shaggy, in
:
hammer, by
:
Hammer: by
:
which Tubal Cain
:
which, Tuballcayne
:
which shut
:
which (shut)
:
Globe’s case,
:
Globes-case,
:
but we?
:
but Wee.
:
forge: on
:
Forge; on
:
armour; wings
:
armour: Wings
:
it. Golden
:
it: Golden
:
curled, a
:
curld: A
:
Here—reach
:
Here, ---reach
:
Work, my
:
Worke my
:
vices, mountain-like,
:
Vices (mountaine-like)
:
them—idiot
:
them:-- Ideot
:
stilts—ambition,
:
stilts,-Ambition,
:
roars—roarers
:
Roares,--Roarers
:
curses—Avarice
:
curses,--Avarice
:
filled—learning’s
:
fild,--Learning’s
:
hand—peace,
:
hand,--Peace,
:
Jove beat
:
Iove, beate
:
then,
:
then
:
Vulcan,
:
(Vulcan)
:
thee and
:
thee, and
:
anvil—and
:
Anuile,--and
:
Yes, Jove,
:
Yes Ioue,
:
Troy text
:
Troy, Text
:
those,
:
Those
:
Your worthy brotherhood,
:
(Your worthy Brotherhood)
:
iron to
:
Iron, to
:
home—by
:
home:--By
:
bound—war
:
bound:--Warre
:
alarms.
:
Allarmes
:
Iron earthquakes
:
Iron; Earthquakes
:
foes—knits
:
Foes:--Knits
:
love;
:
loue,
:
turn even,
:
turne, Euen,
:
For armies
:
For, Armies
:
iron are
:
Iron, are
:
gold, nor
:
gold nor
:
navigation, which on iron does stand,
:
Nauigation (which on Iron does stand)
:
gates,
:
Gates
:
fellowship was
:
Fellowship, was
:
inferior-yon’s
:
inferiour;--Yon’s
:
Cyclopes,
:
Cyclopes
:
Happiness, thereby
:
Happinesse; thereby
:
fruits, intimating
:
fruites: Intimating
:
Titan, one of the names of the sun,
:
Tytan (one of the names of the Sun)
:
splendour with
:
splendor, with
:
Estas are
:
Estas, are
:
Welcome, great praetor,
:
Welcome (great Praetor)
:
counsel—now
:
Counsell:--Now
:
all to come hereafter
:
All (to come hereafter)
:
me, the sun,
:
me (the Sunne)
:
This, if
:
This if
:
in-from
:
in:--From
:
pluck, being queen of flowers,
:
plucke (beeing Queene of Flowers)
:
Estas, spring and summer,
:
Estas (Spring and Sommer)
:
palace because
:
pallace: because
:
one’s
:
one
:
ones
:
at our four
:
at foure
:
at our foure
:
person:
:
person;
:
Lute;
:
lute.
:
censurer, perhaps,
:
Censurer perhaps,
:
sun?
:
Sunne.
:
Thus, therefore,
:
Thus therefore
:
Apollo’s
:
Apoloes
:
Apolloes
Fairholt (emend.), Bowers; (Apolloes). BL, Hunt; (Apoloes).
:
now;
:
now:
:
removed
:
remouen
:
remoued
Fairholt (remouen), Bowers; (remouen). Hunt; (remouen). NLS; (remoued).The NLS correction of remouen to remoued suggests a shift in style, as the passage is delivered as prose rather than verse. Moreover, Dekker highlights a distinction between the character of Titan (on high) and Apollo (on earth), so the change in speech and eloquence can be said to emphasize this transition.
:
here; here
:
here: Here
:
armours:
:
Armors.
:
gown
:
owne
:
Cowne
Fairholt (emend.), Bowers; (Gowne). Hunt; (owne). NLS; (Cowne).
:
Go on
:
Good
:
Go on
Fairholt (emend.), Bowers; (Go on). Hunt; (Good). NLS; (Go on).
:
glories, whilst Apollo
:
glories: whilst Apollo,
:
sciences waft
:
Sciences, waft
:
taking
:
taken
:
taken
Fairholt (taking), Bowers; (taking). Hunt; (taken). NLS; (taken).
:
Oceanus
:
Oceans
:
Oceanus
Fairholt (emend.), Bowers; (Oceanus). Hunt; (Oceans). NLS; (Oceanus).
:
defends;
:
defends,
:
our
:
or
:
our
Fairholt (emend.), Bowers; (our). Hunt; (or). NLS; (our).
:
Albeit
:
Albeiu
:
Albeit
Fairholt (emend.), Bowers; (Albeit). Hunt; (Albeiu). NLS; (Albeit)
:
rest.
:
rest,
:
Zodiac
:
Zediacke
:
Zodiacke
Fairholt (emend.), Bowers; (Zodiacke). Hunt; (Zediacke). NLS; (Zodiacke).
:
good men’s
:
goodnes
:
good mens
:
workman, Master Gerard Christmas,
:
Work-man (M. Gerard Crismas)
:
invention:
:
Inuention,
:
exact and
:
exact, and
:
times: that
:
times, that
:
order, this
:
order. This

Prosopography

Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

Kate LeBere

Project Manager, 2020-2021. Assistant Project Manager, 2019-2020. Textual Remediator and Encoder, 2019-2021. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History Conference (2020), and the Digital Humanities Summer Institute’s Project Management in the Humanities Conference (2021). While her primary research focus was sixteenth and seventeenth century England, she completed her honours thesis on Soviet ballet during the Russian Cultural Revolution. She is currently a student at the University of British Columbia’s iSchool, working on her masters in library and information science.

Mark Kaethler

Mark Kaethler is Department Chair, Arts, at Medicine Hat College; Assistant Director, Mayoral Shows, with MoEML; and Assistant Director for LEMDO. They are the author of Thomas Middleton and the Plural Politics of Jacobean Drama (De Gruyter, 2021) and a co-editor with Jennifer Roberts-Smith and Janelle Jenstad of Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge, 2018). Their work has appeared in The London Journal, Early Theatre, Literature Compass, Digital Studies/Le Champe Numérique, and Journal of the Text Encoding Initiative, as well as in several edited collections. Mark’s research interests include early modern literature’s intersections with politics; digital media and humanities; textual editing; game studies; cognitive science; and ecocriticism.

Martin Holmes

Martin Holmes has worked as a developer in the UVicʼs Humanities Computing and Media Centre for over two decades, and has been involved with dozens of Digital Humanities projects. He has served on the TEI Technical Council and as Managing Editor of the Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020. He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.

Molly Rothwell

MoEML Project Manager, 2022-present. Research Assistant, 2020-2022. Molly Rothwell was an undergraduate student at the University of Victoria, with a double major in English and History. During her time at LEMDO, Molly primarily worked on encoding the MoEML Mayoral Shows.

Navarra Houldin

Project manager 2022-present. Textual remediator 2021-present. Navarra Houldin completed their BA in History and Spanish at the University of Victoria in 2022. During their degree, they worked as a teaching assistant with the University of Victoriaʼs Department of Hispanic and Italian Studies. Their primary research was on gender and sexuality in early modern Europe and Latin America.

Rylyn Christensen

Rylyn Christensen is an English major at the University of Victoria.

Thomas Dekker

Playwright, poet, and author.

Tracey El Hajj

Junior Programmer 2019-2020. Research Associate 2020-2021. Tracey received her PhD from the Department of English at the University of Victoria in the field of Science and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019-20 President’s Fellow in Research-Enriched Teaching at UVic, where she taught an advanced course on Artificial Intelligence and Everyday Life. Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.

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Orgography

LEMDO Team (LEMD1)

The LEMDO Team is based at the University of Victoria and normally comprises the project director, the lead developer, project manager, junior developers(s), remediators, encoders, and remediating editors.

MoEML Mayoral Shows (MOMS1)

The MoMS General Editors are Mark Kaethler and Janelle Jenstad. The team includes SSHRC-funded research assistants. Peer review is coordinated by the General Editors but conducted by other editors and external scholars.

University of Victoria (UVIC1)

http://www.uvic.ca/

Metadata

Authority title London’s Tempe
Type of text Edition
Short title TEMP3
Publisher The Map of Early Modern London on the Linked Early Modern Drama Online Platform
Series MoEML Mayoral Shows anthology
Source
Edition landing page created by the LEMDO Team
Editorial declaration Prepared according to the MoMS Editorial Guidelines
Edition Released with MoEML Mayoral Shows 1.0
Encoding description Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines
Document status published, peer-reviewed
Licence/availability Intellectual copyright in this edition is held by the editor, Mark Kaethler. The XML file of the modern text is licensed for reuse under a CC BY-NC-SA 4.0 license, which means that it is freely downloadable without permission under the following conditions: (1) credit must be given to the editor, MoMS, and LEMDO in any subsequent use of the files and/or data; (2) derivatives (e.g., adapted scripts for performance) must be shared under the same CC BY-NC-SA 4.0 license; and (3) commercial uses are not permitted without the knowledge and consent of the editor, MoMS, and LEMDO. The critical paratexts are licensed under a CC BY-NC_ND 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, MoMS, and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except for quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of MoMS, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom.