By Neil Carson
Henslowe's 'diary' is a special resource of data in regards to the day by day operating of the Elizabethan repertory theatre. Philip Henslowe, a theatrical entrepreneur, stored files of his monetary dealings with London businesses and actors from 1592-1604. The diary itself is tough to decipher. Neil Carson's research relies on a way more thorough correlation of Henslowe's entries than has been tried earlier than, breaking down into transparent tabular shape the most goods of source of revenue and expenditure and drawing conclusions concerning the administration strategies of the corporations, the pro relationships of actors and playwrights and the ways that performs have been written, rehearsed and programmed. prior hypothesis has disregarded Henslowe himself as ignorant, disorderly and greedy. Carson exhibits him to were a benign and effective businessman whose keep watch over over the actors' expert actions was once less wide than has usually been intended.
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Extra info for A Companion to Henslowe's Diary
Furthermore, the amounts seem to be discretionary, since the final payment appears to have been calculated to bring the total to exactly £125 (ff. 35,36v). Finally, it is not at all clear whether the money belonged to Henslowe or the players. The amounts are not deducted from the actors' debt which might suggest (as it apparently did to Greg) that they represent payments for rent. But why are they so much smaller than earlier 'rental' figures? And why were they so carefully rounded off? One possibility is that the money was being held in trust by Henslowe and like Humphrey Jeffes' half-share (for which Henslowe also rendered a 'Juste acownte'), it was 'payd backe agayne vnto the companey' (f.
18 THEATRICAL LANDLORD 1594 and may be an indication that licence fees for all these works were paid in a lump sum. More likely, perhaps, it may simply indicate that the company was paid up until that time. On 31 May a curt note 'pd' may refer to some sort of payment to the Master of the Revels; that is certainly the meaning of entries on 7 November, 18 December, 30 January and at the end of February 1596, when Henslowe reported 'the master of the Revelles payd vntell this time al wch I owe hime' (f.
Not to departe frome my companey tyll this ij yeares be eanded' (f. 233). It may be that the wording reflects the uncertainty of the time (following the Privy Council's proclamation to close the theatres in the summer of 1597), but there is little doubt about how Henslowe viewed his relationship to Hearne. By 6 August the political situation may have been clearer, for on that date Henslowe recorded that 'I bownd Richard Jones . . to contenew &C playe with the company of my lord admeralles players .