By Neil Carson
Henslowe's 'diary' is a different resource of knowledge concerning the daily working 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 hard to decipher. Neil Carson's research is predicated on a way more thorough correlation of Henslowe's entries than has been tried prior to, breaking down into transparent tabular shape the most goods of source of revenue and expenditure and drawing conclusions in regards to the administration approaches of the firms, the pro relationships of actors and playwrights and the ways that performs have been written, rehearsed and programmed. earlier hypothesis has brushed off Henslowe himself as ignorant, disorderly and greedy. Carson indicates him to were a benign and effective businessman whose keep an eye on over the actors' expert actions used to be less broad than has frequently been intended.
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Additional resources for A Companion to Henslowe's Diary
22v-23), and would be unlikely to open a duplicate one. These writers seized on Chambers' observation that during the first seven weeks of playing (24 January—14 March) there is a rough correlation between the first two and last three columns on a weekly basis which disappears after the players cease borrowing from their landlord. They conclude that for the duration of these entries, Henslowe was responsible for collecting all the receipts, listing the half gallery income in the first two columns, and entering the door receipts due the players in the last three.
There is fairly general agreement that this change must reflect an alteration in Henslowe's relationship to the company, but no consensus as to what that change might be. Wallace (1910: 361) followed by Baldwin (1927b: 71) suggested that the first two figures represent pounds and shillings and record half the gallery income, while the last three columns (representing pounds, shillings and pence) record the outer door receipts. ) on the grounds that the players' income would not go through Henslowe's hands, and that there is not the kind of correlation between the two amounts which we would expect if they were both collected on the same day.
The system is described as follows: yf the said Def[endan]t were at charges for the provyding of apparell . . the same was vppon his owne offer . . e. the players'] moytie of the gains for the severall standinges in the galleries of the said howse [the Swan] . . which [they] have faithfullye performed from tyme to tyme. (Wallace 1910: 352) The statement is interesting for several reasons. It is the earliest description we have of the method of financing production expenses out of the gallery receipts which became common in the seventeenth century.