1 See Lawrence Manley, Literature and Culture in Early Modern London (Cambridge, 1997), pp. 212–93.

2 Survey, I, 345; John Stow, Annals of Great Britain (1615), p. 859.

3 See P. G. Phial as, ‘Middleton’s Early Contact with the Law’, Studies in Philology, 51 (1955), 186–94.

4 G. B. Shand, ‘The Elizabethan Aim of The Wisdom of Solomon Paraphrased’, in K. Friedenreich, ‘Accompaninge the Players’: Essays Celebrating Thomas Middleton, 1580–1980 (New York, 1983), pp. 67–77.

5 David Bergeron discusses Middleton’s use of similar material for very different ends in ‘Middleton’s Moral Landscape: A Chaste Maid in Cheapside and The Triumphs of Truth’ in Friedenreich, pp. 133–46.

6 For a discussion of Middleton’s relationship with King James see W. Power, ‘Thomas Middleton vs. King James I’, N&Q, 202 (1957), 526–34.

7 E. L. Buckingham, ‘Campion’s Art of English Poesie and Middleton’s Chaste Maid in Cheapside’, PMLA, 43 (1928), 784–91.

8 Shanti Padhi, ‘Middleton’s Wittol in A Chaste Maid, and Guzman de Alfaranche’, N&Q, n.s. 31 (1984), 234–6.

9 A. H. Gilbert, ‘The Prosperous Wittol in Giovanni Battista Modio and Thomas Middleton’, Studies in Philology, 41 (1944), 235–7.

10 See T. S. Eliot, ‘Thomas Middleton’, Selected Essays (1951), pp. 161–70; A. C. Swinburne, ‘Thomas Middleton’, Thomas Middleton, ed. H. Ellis, I (1887), xviii–xix; L. C. Knights, Drama and Society in the Age of Jonson (1937); Margot Heinemann, Puritanism and Theatre: Thomas Middleton and Opposition Drama Under the Early Stuarts (Cambridge, 1980); Alexander Leggatt, Citizen Comedy in the Age of Shakespeare (Toronto, 1973), pp. 138–43; Brian Gibbons, Jacobean City Comedy, 2nd edn (1980), pp. 127–30; S. Wigler, ‘Thomas Middleton’s A Chaste Maid in Cheapside: The Delicious and the Disgusting’, American Imago, 33 (1976), 197–215; Gail Kern Paster, ‘Leaky Vessels: The Incontinent Women of City Comedy’, Renaissance Drama, 18 (1987), 43–65; Anthony Covatta, Thomas Middleton’s City Comedies (Lewisburg, 1973), p. 161; Swapan Chakravorty, Society and Politics in the Plays of Thomas Middleton (Oxford, 1996), p. 105.

11 See Samuel Schoenbaum, ‘A Chaste Maid in Cheapside and Middleton’s City Comedy’, in Studies in the English Renaissance Drama, ed. Josephine W. Bennett et al. (New York, 1959), pp. 287–309.

12 R. Levin, The Multiple Plot in English Renaissance Drama (Chicago, 1971), pp. 194–202.

13 R. Chatterji, ‘Theme, Imagery and Unity in A Chaste Maid in Cheapside’; Renaissance Drama, 8 (1965), 105–26.

14 Unless otherwise stated, references to Middleton’s works apart from A Chaste Maid are to the eight-volume edition by A. H. Bullen (1885–86).

15 As well as those already mentioned, writers who comment on this aspect of the play include U. M. Ellis-Fermor, The Jacobean Drama (1961), pp. 135–8, and R. B. Parker, ‘Middleton’s Experiments with Comedy and Judgement’, in Jacobean Theatre, ed. J. R. Brown and B. Harris (1960), pp. 179–99.

16 Thomas Dekker, The Owl’s Almanac (1618), p. 8. For evidence that whores frequented the vicinity of Bunhill see E. H. Sugden, A Topographical Dictionary to the Works of Shakespeare and his Fellow Dramatists (Manchester, 1925), pp. 83–4.

17 See Shakespeare, As You Like It, ed. Alan Brissenden (Oxford, 1993), pp. 229–31.

18 Barker, p. 86; Knights, p. 224.

19 Commenting on the maturity of the verse in another play, Hengist, King of Kent (1616–1620), R. C. Bald remarked that ‘the change from the earlier to the later style is first observable in A Chaste Maid in Cheapside, which comes at the very end of his early comic period’ (Middleton, Hengist King of Kent, ed. R. C. Bald (New York, 1938), p. xv).

20 N. S., ‘A Chaste Maid in Cheapside’, Manchester Guardian, 29 November 1956.

21 See R. A. Foakes, Illustrations of the English Stage 1580–1642 (1985), pp. xiv–xv, 52–5.

22 David Richman, ‘Directing Middleton’s Comedy’ in Friedenreich, p. 79.

23 See Middleton, A Game at Chesse, ed. R. C. Bald (Cambridge, 1929), pp. 34, 171–3.