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 entitled to free admission to the house. The poets received their fees from Henslowe in instalments, drawing £1 or so in 'earnest' when the commission was given, and as each batch of sheets was handed in, and the balance when the play was finished. This plan proved disastrous to them. The instalments often found them in a debtor's prison, and some of them became mere bond-slaves. Thus both Henry Porter and Henry Chettle were reduced to making agreements which pledged them to write for no other company than the Admiral's. The device is familiar to the modern publisher. Robert Daborne's correspondence with Henslowe is eloquent of the straits to which a hack playwright might be brought. Daborne was a man of good family, and had lawsuits about his 'estate', which added to his embarrassments. He had been interested in the management of the Queen's Revels, and it may have been the absorption of this company by the Lady Elizabeth's men that brought him into contact with Henslowe. His letters preserved at Dulwich run from April 1613 to July 1614. During this period he was engaged upon at least four plays. The history of one of them, the tragedy of Machiavel and the Devil, may be taken as typical. On 17 April 1613 he signed an agreement to complete it by the end of May for an 'earnest' of £6 down, £4 on completion of three acts, and £10 'vpon delivery in of y^e last scean perfited'; and for the observance of the agreement he gave a bond of £20. On 25 April he wrote to borrow £1 from Henslowe, explaining that he was 'vpon y^e sodeyn put to a great extremity in bayling my man committed to Newgate vpon taking a possession for me', and had unfortunately taken 'less money of my kinsman a lawier that was with me then servd my turn'. On 3 May he got another £1, although the three acts were not yet finished; another on 8 May;

know what exactly the 'overplus' assigned to the poet was calculated upon.]
 * [Footnote: the Master of the Revels (cf. p. 370), not that of the poet. Nor do we