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Telling stories from the Cavendish financial accounts
Alison Wiggins

2 Money, marriage and remembrance: telling stories from the Cavendish financial accounts Alison Wiggins ‘Account books form a narrative as engaging as any tale of sea monsters or cannibals,’ so Sir Thomas Cromwell tells himself in Hilary Mantel’s fictionalised depiction.1 Mantel compellingly dramatises for us how Tudor financial accounts were sources of hidden stories, and we regularly find Mantel’s Cromwell turning to them to access alternative versions of events. This chapter performs, as it were, the inverse process to Mantel: it begins with a book of

in Bess of Hardwick
Steve Sohmer

scenes later, Sebastian will likewise try to buy his way out of a confrontation with Feste: Seb.     I prithee, foolish Greek, depart from me: There’s money for thee: if you tarry longer, I shall give worse payment. Clo.     By my troth, thou hast an open hand. These wise men

in Reading Shakespeare’s mind
Greg Wells

husband, for some money. I told her, if I liked them, I would give her the money again; she brought them forth, amongst which there was this with another of the authors, both intended for the presses. I being acquainted with Mr Hall’s hand, told her that one or two of them were her husbands, and shewed them her. She denyed, I affirmed, till I perceived she began to be offended. At last I returned her the money. (Hall 1657 : sig. A3r–A4r). This passage has caused much debate among Shakespearean scholars: how could Susanna Hall not have known her own husband

in John Hall, Master of Physicke
John Drakakis

Emanuel Loisie was secretly sent unto him by Fuentez and Ibara , to urge Lopez to dispatch the matter with all Expedition. Emanuel confessed, ‘That Count Fuentez and Ibara , when he had given them his faithfull Promise to conceal the Design, shewed him a Letter which Andrada had written in Lopez his name about making away the Queen; and that he himself was likewise sent by Fuentez to deal with Ferreira and Lopez for hastening the Queen’s Death, and to promise Money to Lopez

in Shakespeare’s resources
Martial identities and the subject of conquest in Derricke’s Image of Irelande
Maryclaire Moroney

benefiting the Old English community: ‘I am hated of all here’, said Sidney, of the nobility, for deposing their tyranny; of the merchant, who not receiving his money, becomes bankrupt; of the gentleman, who cannot get his rents through keeping of soldiers; the husbandmen cry out on me, and will do no work, for they are never paid for bearing the soldiers; the soldiers have twice refused to go into the field; when I punish one the rest are ready to mutiny. 15

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Steve Sohmer

even the pair’s mutual acquaintance is unsubstantiated. As David Bevington asked, ‘why doesn’t Shakespeare hint at a husband who abuses his wife and spends all the money she brings in from the aging great lord that keeps her, as evidently was the case with Lanier and his wife?’ 54 I suggest that Shakespeare did exactly that – but not in the

in Reading Shakespeare’s mind
The Jacobean Antony and Cleopatra
Carol Chillington Rutter

persons willing personally to advance the crown money. ‘It is thought’, commented Molino drily of the king finding himself ‘in molta strettezza di denari’, ‘that many will decline’ the invitation ( CSPV X, 261). Secretary Cecil darkly observed of the Spanish treaty finalised that same month that ‘Had the Crown not been in straits for money’ the ‘peace would not have been signed’ – and he perhaps despaired at the gifts given to the treaty's commissioners at their departure home to Spain, a diamond worth 6,000 crowns; plate to the tune of 8,000 crowns; and solid gold

in Antony and Cleopatra
Moral conversion and prodigal authorship
Rémi Vuillemin

also part of a network of intratextual echoes that activate two structuring myths: the myth of Perseus and the myth of Atalanta. 34 My last example is the organising conceit of the account book in the seventh spiritual sonnet. The metaphor of money was also used by Barnes in Parthenophil and Parthenophe in the somewhat obscure metaphor of pawning, which allowed Barnes to

in The early modern English sonnet
Abstract only
‘After I am dead and rotten’ – Spenser’s missing afterlife
Elisabeth Chaghafi

with a sample canto from The Faerie Queene (Canto ix of Book I). 26 As soon as Sidney had reached the mid-point of the canto, he ordered a puzzled servant to give fifty pounds to the poem’s author and, after reading two more stanzas, twice doubled that amount, despite the servant’s objection that the man who had brought the poem looked as though he would be happy with five pounds. At the second doubling of the amount, Sidney urged the reluctant servant to hurry up and give Spenser his money before he could read any further and ‘hold himself oblig’d to give him

in English literary afterlives
Greg Wells

and William Shakespeare References to contacts between John Hall and his father-in-law are sparse. In 1611 their names appeared (with sixty-nine others) on what is thought to be a subscription list raising money to support a bill in Parliament for repairs to the highways (Bearman 1994 : 44). The Halls would eventually inherit the 107 acres of land purchased by Shakespeare in 1602, land which would have been affected by the proposed enclosure at Welcombe in 1614. The clerk of the Stratford Corporation, Thomas Greene (a distant kinsman of Shakespeare), records a

in John Hall, Master of Physicke