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 having their houses burgled in 1615 (Jeaffreson, ii. 108) and where the registers of St. Leonard's (Stopes, 139) record Richard's children: Richard (bur. 16 August 1607), Julia or Juliet (bapt. 2 January 1603, bur. 12 September 1608), Frances (bapt. 16 September and bur. 19 September 1604), Anne (bapt. 8 August 1607), Winifred (bapt. 10 October 1613, bur. 14 October 1616), a second Julia (bapt. 26 December 1614, bur. 15 August 1615), William (bapt. 6 November 1616), and a posthumous Sara (bapt. 5 August 1619, bur. 29 April 1625). 'Richard Burbadge, player' was himself buried on 16 March 1619. He had died, not as Camden records in his Annals on 9 March, but on 13 March, after making the day before a nuncupative will (Collier, iii. 293), witnessed by his brother and by Nicholas Tooley and Richard Robinson of the King's men, in which he left his wife Winifred sole executrix. She subsequently married Richard Robinson, and was still alive, as was Burbadge's son William, in 1635 (Sharers Papers). According to the gossip of the day he left 'better than £300 land to his heirs' (Collier, iii. 297).

Burbadge had a high reputation as a player, both in life and after death. A note of 13 March 1602 by John Manningham (Diary, 39) records how his impersonation of Richard III touched the heart of a citizen's wife, and how Shakespeare prevented him at a resultant assignation. John Davies of Hereford coupled him with Shakespeare in 1603 (Microcosmos) among players whom he loved 'for painting, poesie', and in 1609 (Civile Warres of Death and Fortune) amongst those whom Fortune 'guerdond not, to their desarts'. He is introduced in propria persona into 2 Return from Parnassus (1602) and into Marston's induction to The Malcontent (1604). Probably he is the 'one man' of the London stage with whom the player in Ratseis Ghost (1605; cf. ch. xviii) is advised 'to play Hamlet for a wager'. Jonson, in Bartholomew Fair (1614), v. iii, makes Cokes ask the master of the puppets, 'which is your Burbage now? your best Actor. Your Field?' He was apparently the model for the Character of an Actor in the Characters of 1615 (App. C, No. lxi). And other evidences of his fame can be traced down to Restoration days in Richard Corbet's Iter Boreale, in Sir Richard Baker's Chronicle and Theatrum Redivivum, and in Richard Flecknoe's Short Discourse of the English Stage and his Euterpe Restored (cf. Collier, iii. 279; Stopes, 121; Shakespeare's Centurie of Prayse, N.S.S., 128, 250).

Shortly after Burbadge's death, on 20 May 1619, the Earl of Pembroke wrote to Lord Doncaster in Germany of a great supper given the same night by the Duke of Lennox to the French ambassador, and adds that the company were now at the play, 'which I being tender-*harted could not endure to see so soone after the loss of my old acquaintance Burbadg' (E. J. L. Scott in Athenaeum (1882), i. 103). Several epitaphs and elegies upon Burbadge are preserved. The shortest—'Exit Burbadge'—was printed in Camden's Remaines (1674), 541. Another is by Middleton (Collier, iii. 280, 296). A third, which begins

Some skillfull limner helpe mee, yf not soe, Some sad tragedian, to expresse my woe,