Folger Collections related to Dramatic Performance
In hopes that we can help theater historians discover more about relevant Folger holdings through their own explorations, we have created this post on “named” collections at the Folger that relate to actors, dramatic performance, and the texts used by…
A Sophisticated Leaf
Henry V fragment. Photo by Elizabeth DeBold. There were several good guesses about this month’s Crocodile Mystery—a crease in the paper, or an off-center, pre-stamped envelope. But, Elisabeth Chaghafi was right on the money with her guess: this is a…
Collecting the world in seventeenth-century London
Guest post by Surekha Davies From at least the sixteenth century, overseas artifacts found their way into European princely and scholarly collections. There they were catalogued, analyzed, and displayed alongside natural and artificial curiosities from classical cameos to blowfish. I am…
Theatrical disturbances and actors behaving badly: what the Drury Lane Prompter’s Journal tells us about nineteenth-century theatrical life
Guest post by Dr. Sarah Burdett What was life like inside the nineteenth-century London theatre? How smoothly did performances run? And how professionally did actors behave? The Drury Lane Prompter’s Journal, 1812-1818, held at the Folger, provides an excellent resource…
News, News, News
How do you get your news today? TV? Radio? Printed newspapers? Online news sites? Social media? Today we seem to be inundated by the news 24/7 and it sometimes takes a conscious effort to step away from the barrage. News…
Time writing
Telescopium Uranicum, 1666. Folger 269- 460q item 5 Chronograms—literally, “time writing”—are dates embedded within text. As such, they are a form of hidden writing called steganography: the encoded characters maintain their own value, but are hidden within a larger text.…
Early modern legal violence: for the common good?
A guest post by Dr. Sarah Higinbotham In a 1628 sermon preached before the Assize court at Oxford, Robert Harris reminds the “Sheriffes, Iustices, Iudges” that they have taken “an oath for the common good.” He reminds them that they…
Lost at Sea
Shakespeare liked shipwrecks, including one in at least five of his plays. Sea storms and shipwrecks were a convenient way to separate characters or bring them into conflict, as well as stranding them in a strange place. In the “Age…
Dryden's Virgil, Ogilby's Virgil, and Aeneas's nose job
First, a confession: this month’s Crocodile Mystery was originally going to pose a question along the lines of “What’s weird about this image?” or “What makes this picture especially interesting?” but I gave up. I couldn’t figure out how to…
A nineteenth-century family circus
A few months ago, I wrote about the process of creating brief catalog records for the Folger’s playbill collection. Since then, I’ve completed records for playbills from London and all of Scotland, and have begun working my way through playbills…
Consuming the New World
A guest post by Misha Ewen William Petre (1575-1637) was a typical gentleman of his time. He was 22 years old and newly married when he began keeping an account book of his household expenses. Between 1597 and 1610 Petre…
"Whose least part crackt, the whole does fly": early views on Prince Rupert's Drops
Honor is like that glassy Bubble That finds Philosophers such trouble, Whose least part crackt, the whole does fly, And Wits are crack’d to find out why. Samuel Butler, Hudibras, Part II, Canto II, lines 385-89. In the second part…