¹ W. Strunk, Jr., “The Elizabethan Showman's Ape.” Mod. Lang. Notes, XXXII (1917), 215-221. T. S. Graves, “The Elizabethan Trained Ape.” Mod. Lang. Notes, XXXV (1920), 248-249.

² T. S. Graves, “The Ass as Actor,” South Atlantic Quarterly, XV (1916), 175-182.

³ Students of the drama have already called attention to several Elizabethan plays which require entries of mounted actors, but these mounts are merely incidental or for realistic or comic detail. Such, for example, are the mounts in the anonymous I Richard II, III, ii; Soliman and Perseda, I, iv; Liberality and Prodigality, passim; Summer's Last Will and Testament, 968. Dr. Graves, in “The Ass as Actor,” loc. cit., calls attention to the artificial ass in the Mask of Flowers, but indicates the probability of a real ass in Summer's Last Will and Testament. W. J. Lawrence, in “Horses upon the Elizabethan Stage” (Times Lit. Suppl., June 5, 1919), “deprecates a literal acceptance of Forman's notice of Macbeth and Banquo ‘riding through a wood‘”; he tries to explain away or ignores the other plays mentioned here. Chambers believes a hobby horse more likely, but points out that the public theater stage entrances were large enough for an animal to be ridden on and off. (Elizabethan Stage, III, 75.)

⁴ Chester Plays, V, 168.

⁵ Medieval Stage, II, 57.

⁶ Stanza 33 and following.

⁷ Chester Plays, III, 272.

⁸ Henry Morley, Memoirs of Bartholomew Fair (Lond., 1859), p. 91.

⁹ Ibid., p. 170.

¹⁰ Joseph Strutt, The Sports and Pastimes of the People of England (London, 1801). New ed. by William Hone (London, 1876), 331.

¹¹ John T. Murray, English Dramatic Companies, 1558-1642 (London, 1910), II, 69, N. 2: “This Baron Stafford had also bearwards in his patronage. They appeared with his players at Shrewsbury in 1579-80.”

¹² Cf. the following extract from the Henslowe Papers, 117: “j lyone skin; j beares skyne . . . . j dragon in fostes j lyone; ij lyone heades; j great horse with his leages; j black dogge.” Quoted by Chambers (Elizabethan Stage, I, 372), who remarks: “Animals and monsters were freely introduced. Living dogs and even horses may have been trained; but your lion or bear or dragon was a creature of skin and brown paper.” Cf. Stephen Gosson's “many a terrible monster made of broune paper” in Playes Confuted in Five Actions.

¹³ Peter Cunningham, Extracts from the Accounts of the Revels at Court, Old Shakespeare Society, Lond. 1842, 11; entry for 1571.

¹⁴ Calendar of State Papers, Spanish, 1509-25, pp. 444-445; quoted by T. S. Graves, Mod. Phil., IX, 551. On the use of a human horse “bridling” act in the English morality play, Trial of Treasure, see E. Beatrice Daw, Mod. Phil., XV, 53-55.

¹⁵ Shakespeare Jest-Books, ed. W. Carew Hazlitt (London, 1864), II, 244-245: “Tarlton in his travaile had a dog of fine qualities; amongst the rest, he would carry six-pence in the end of his tongue, of which he would brag often, and say: never was the like. Yes, saies a lady, mine is more strange, for he will beare a French crowne in his mouth. No, saies Tarlton, I thinke not. Lend me a French crowne, saies the lady, and you shall see. Truly, madame, I have it not, but if your dog will carry a crackt English crowne, here it is. But the lady perceived not the jest, but was desirous to see the dogs trick of six-pence. Tarlton threw down a teaster, and said: bring, sirra; and by fortune the dog took up a counter, and let the money lie. A gentlewoman by, seeing that, askt him how long he would hold it. An houre, saies Tarlton. That is pretty, said the gentlewoman, let's see that. Meantime she took up the six-pence, and willed him to let them see the money againe. When he did see it, it was a counter. . . . . But Tarlton would never trust to his dogs tricks more.”

¹⁶ Mention of the famous performing fleas occurs in Lovewit's remark in The Alchemist, Act 5, Sc. 1:

“Or't may be, he has the fleas that run at tilt

Upon a table, or some dog to dance.“

¹⁷ Vv. 968 ff. Fancy speaks to the audience about the beak of his bird:

“Nowe let me se about,

In all this rowte

Yf I can fynde out

So semely a snoute.“

Fancy alludes to Folly's dog as a “pylde curre,” v. 1065: “What pylde curre ledest thou in thy hande?” If this scene had any significance except clownish entertainment, a modern reader fails to see it.

¹⁸ T. S. Graves, Studies in Philol. XIX (1922), 326, n. 8.

¹⁹ Farmer, Six Anonymous Plays. 2nd series, Act 1, Sc. 1. The opening direction is: “Ragan entereth with his horn at his back and his hunting staff in his hand, and leadeth three greyhounds, or one, as may be gotten.”

²⁰ Malone Society Reprints (1913), F iii verso.

²¹ Act 3, Sc. 4.

²² Farmer, Six Anonymous Plays. 2nd series, 198.

²³ Select Collection of Old English Plays, ed. Robert Dodsley, 4th ed., Notes by W. C. Hazlitt, Lond. 1874, VIII, 187. Act 5, Sc. 1.

²⁴ Ibid., VII, 208.

²⁵ Ibid., XI, 164. Act 5, Sc. 2.

²⁶ Act 3, Sc. 3.

²⁷ In spite of Johnson's fulminations against extraneous matter being introduced in plays, he is not always guiltless of catering to sensational public taste. It may be noted here that he skilfully works his variety show material into some semblance of relation to the plot.

²⁸ Note the dog's appearance in Act 1, Sc. 1, and Act 2, Sc. 2, where Boss says that he is “a kind of Mongrill, he will carrie but not fetch, marrie hee is to be put to dauncing school for instruction.”

²⁹ Act 5, Sc. 2.

³⁰ When Gallipot hears that Mistress Gallipot is not ready to go to Hogsdon, he whiles away the time with his dog trick, commenting: “Faith, that's well—hum—pist—pist—(Spits in dog's mouth).”

³¹ Act 5, Sc. 4.

³² Dodsley, X, 247-248.

³³ The Dramatic Works of Thomas Heywood Now First Collected, ed. John Pearson, Lond. 1874, I, 230.

³⁴ The Works of John Manton, ed. A. H. Bullen, Lond. 1887, III, 13-14.

³⁵ Act 1, Sc. 1.

³⁶ Dodsley, X, 348-350. Act 4, Sc. 1.

³⁷ Act 5, Sc. 1.

³⁸ Act 4, Sc. 1.

³⁹ Morley, Memoirs of Bartholomew Fair, p. 487.

⁴⁰ Probably the “j black dogge” listed by Henslowe among his properties could accommodate an agile actor inside. See Note 12, loc. cit.

⁴¹ Act 5, Sc. 3.