The chief Elizabethan dramatists, excluding Shakespeare
ACT V
[SCENE I.][4397]
_Enter two_ Lords.
_1 Lord._ Columbo’s death doth much afflict the king.
_2 Lord._ I thought the Cardinal would have lost his wits At first, for ’s nephew; it drowns all the talk Of the others that were slain.
_1 Lord._ We are friends. I do suspect Hernando had some interest, 5 And knew how their wounds came.
_2 Lord._ His flight confirms it, For whom the Cardinal has spread his nets.
_1 Lord._ He is not so weak to trust himself at home To his enemy’s gripe.
_2 Lord._ All strikes not me so much As that the duchess, most oppressed lady, 10 Should be distracted, and before Columbo Was slain.
_1 Lord._ But that the Cardinal should be made Her guardian, is to me above that wonder.
_2 Lord._ So it pleas’d the king; and she, with that small stock Of reason left her, is so kind and smooth 15 Upon him.
_1 Lord._ She ’s turn’d a child again: a madness, That would ha’ made her brain and blood boil high, In which distemper she might ha’ wrought something—
_2 Lord._ Had been to purpose.
_1 Lord._ The Cardinal is cunning; and howe’er 20 His brow does smile, he does suspect Hernando Took fire from her, and waits a time to punish it.
_2 Lord._ But what a subject of disgrace and mirth Hath poor Celinda made herself by pride, In her belief Columbo was her servant! 25 Her head hath stoop’d much since he died, and she Almost ridiculous at court.
_Enter_ CARDINAL, ANTONELLI, _and_ Servant.
_1 Lord._ The Cardinal Is come into the garden, now—
_Car._ Walk off.— [_Exeunt_ Lords.] It troubles me the duchess by her loss Of brain, is now beneath my great revenge. 30 She is not capable to feel my anger, Which, like to unregarded thunder spent In woods, and lightning aim’d at senseless trees, Must idly fall, and hurt her not, not to That sense her guilt deserves: a fatal stroke, 35 Without the knowledge for what crime, to fright her When she takes leave, and make her tug with death, Until her soul sweat, is a pigeon’s torment, And she is sent a babe to the other world. Columbo’s death will not be satisfied, 40 And I but wound her with a two-edg’d feather. I must do more: I have all opportunity, (She by the king now made my charge,) but she’s So much a turtle, I shall lose by killing her, Perhaps do her a pleasure and preferment; 45 That must not be.
_Enter_ CELINDA _with a parchment_.
_Anton._ [_stopping her._]—Is not this she, that would be thought to have been Columbo’s mistress?—Madam, his grace is private, And would not be disturb’d; you may displease him.
_Cel._ What will your worship wager that he shall 50 Be pleas’d again before we part?
_Anton._ I’ll lay this diamond, madam, ’gainst a kiss, And trust yourself to keep the stakes.
_Cel._ ’T is done. [_Comes forward._]
_Anton._ I have long had an appetite to this lady; But the lords keep her up so high—this toy 55 May bring her on.
_Car._ This interruption tastes not of good manners.
_Cel._ But where necessity, my lord, compels, The boldness may meet pardon, and when you Have found my purpose, I may less appear 60 Unmannerly.
_Car._ To the business.
_Cel._ It did please Your nephew, sir, before his death, to credit me With so much honourable favour, I Am come to tender to his near’st of blood, Yourself, what does remain a debt to him. 65 Not to delay your grace with circumstance. That deed, if you accept, makes you my heir Of no contemptible estate.—[_Aside._] This way _He reads._ Is only left to tie up scurrile tongues And saucy men, that since Columbo’s death 70 Venture to libel on my pride and folly; His greatness and this gift, which I enjoy Still for my life, (beyond which term a kingdom’s Nothing,) will curb the giddy spleens of men That live on impudent rhyme, and railing at 75 Each wandering fame they catch.
_Car._ Madam, this bounty Will bind my gratitude, and care to serve you.
_Cel._ I am your grace’s servant.
_Car._ Antonelli!—_Whisper._ And when this noble lady visits me, Let her not wait. 80
_Cel._ What think you, my officious sir? His grace Is pleas’d, you may conjecture: I may keep Your gem; the kiss was never yours.
_Anton._ Sweet madam—
_Cel._ Talk if you dare; you know I must not wait; And so, farewell for this time. [_Exit._] 85
_Car._ ’T is in my brain already, and it forms Apace—good, excellent revenge, and pleasant! She’s now within my talons: ’t is too cheap A satisfaction for Columbo’s death, Only to kill her by soft charm or force. 90 I ’ll rifle first her darling chastity; ’T will be after time enough to poison her, And she to th’ world be thought her own destroyer. As I will frame the circumstance, this night All may be finished: for the colonel, 95 Her agent in my nephew’s death, (whom I Disturb’d at counsel with her,) I may reach him Hereafter, and be master of his fate. We starve our conscience when we thrive in state. _Exeunt._
[SCENE II.][4398]
_Enter_ Secretary [ANTONIO] _and_ PLACENTIA.
_Ant._ Placentia, we two are only left Of all my lady’s servants; let us be true To her, and one another; and be sure, When we are at prayers, to curse the Cardinal.
_Pla._ I pity my sweet lady. 5
_Ant._ I pity her too, but am a little angry; She might have found another time to lose Her wits.
_Pla._ That I were a man!
_Ant._ What would’st thou do, Placentia? 10
_Pla._ I would revenge my lady.
_Ant._ ’T is better, being a woman; thou may’st do Things that may prosper better, and the fruit Be thy own another day.
_Pla._ Your wit still loves To play the wanton.
_Ant._ ’T is a sad time, Placentia; 15 Some pleasure would do well: the truth is, I Am weary of my life, and I would have One fit of mirth before I leave the world.
_Pla._ Do not you blush to talk thus wildly?
_Ant._ ’T is good manners 20 To be a little mad after my lady; But I ha’ done. Who is with her now?
_Pla._ Madam Valeria.
_Ant._ Not Celinda? There’s a lady for my humour! A pretty book of flesh and blood, and well 25 Bound up, in a fair letter too. Would I Had her with all the errata!
_Pla._ She has not An honourable fame.
_Ant._ Her fame! that’s nothing; A little stain; her wealth will fetch again The colour, and bring honour into her cheeks 30 As fresh;— If she were mine, and I had her exchequer, I know the way to make her honest; Honest to th’ touch, the test, and the last trial.
_Pla._ How, prithee? 35
_Ant._ Why, First I would marry her, that’s a verb material; Then I would print her with an _index_ _Expurgatorius_; a table drawn Of her court heresies; and when she’s read, 40 _Cum privilegio_, who dares call her whore?
_Pla._ I’ll leave you, if you talk thus.
_Ant._ I ha’ done; Placentia, thon may’st be better company After another progress; and now tell me, Didst ever hear of such a patient madness 45 As my lady is possest with? She has rav’d But twice:—an she would fright the Cardinal, Or at a supper if she did but poison him, It were a frenzy I could bear withal. She calls him her dear governor.—
_Enter_ HERNANDO _disguised, having a letter_.
_Pla._ Who is this? 50
_Her._ Her secretary!—Sir, Here is a letter, if it may have so Much happiness to kiss her grace’s hand.
_Ant._ From whom?
_Her._ That’s not in your commission, sir, To ask, or mine to satisfy; she will want 55 No understanding when she reads.
_Ant._ Alas! Under your favour, sir, you are mistaken; Her grace did never more want understanding.
_Her._ How?
_Ant._ Have you not heard? Her skull is broken, sir, 60 And many pieces taken out; she’s mad.
_Her._ The sad fame of her distraction Has too much truth, it seems.
_Pla._ If please you, sir, To expect awhile, I will present the letter.
_Her._ Pray do.— _Exit_ PLACENTIA. 65 How long has she been thus distemper’d, sir?
_Ant._ Before the Cardinal came to govern here, Who, for that reason, by the king was made Her guardian. We are now at his devotion.
_Her._ A lamb given up to a tiger! May diseases 70 Soon eat him through his heart!
_Ant._ Your pardon, sir. I love that voice; I know it too a little. Are not you—be not angry, noble sir, I can with ease be ignorant again, And think you are another man; but if 75 You be that valiant gentleman they call—
_Her._ Whom? what?
_Ant._ That kill’d—I would not name him, if I thought You were not pleas’d to be that very gentleman.
_Her._ Am I betray’d?
_Ant._ The devil sha’ not 80 Betray you here: kill me, and I will take My death you are the noble colonel. We are all bound to you for the general’s death, Valiant Hernando! When my lady knows You are here, I hope ’t will fetch her wits, again. 85 But do not talk too loud; we are not all Honest[4399] i’ th’ house; some are the Cardinal’s creatures.
_Her._ Thou wert faithful to thy lady. I am glad ’T is night. But tell me how the churchman uses The duchess. 90
_Enter_ ANTONELLI.
_Ant._ He carries angels in his tongue and face, but I Suspect his heart: this is one of his spawns.— Signor Antonelli.
_Anton._ Honest Antonio!
_Ant._ And how, and how—a friend of mine—where is 95 The Cardinal’s grace?
_Her._ [_Aside._] That will be never answered.
_Anton._ He means to sup here with the duchess.
_Ant._ Will he?
_Anton._ We’ll have the charming bottles at my chamber. 100 Bring that gentleman; we’ll be mighty merry.
_Her._ [_Aside._] I may disturb your jollity.
_Anton._ Farewell, sweet— [_Exit._]
_Ant._ Dear Antonelli!—A round pox confound you! This is court rhetoric at the back-stairs. 105
_Enter_ PLACENTIA.
_Pla._ Do you know this gentleman?
_Ant._ Not I.
_Pla._ My lady presently dismist Valeria, And bade me bring him to her bed-chamber.
_Ant._ The gentleman has an honest face.
_Pla._ Her words 110 Fell from her with some evenness and joy.— Her grace desires your presence.
_Her._ I’ll attend her. _Exit_ [_with_ PLACENTIA].
_Ant._ I would this soldier had the Cardinal Upon a promontory, with what a spring The churchman would leap down! It were a spectacle 115 Most rare, to see him topple from the precipice, And souse in the salt water with a noise To stun the fishes; and if he fell into A net, what wonder would the simple sea-gulls Have, to draw up the o’ergrown lobster.[4400] 120 So ready boil’d! He shall have my good wishes. This colonel’s coming may be lucky; I Will be sure none shall interrupt ’em.
_Enter_ CELINDA.
_Cel._ Is Her grace at opportunity?
_Ant._ No, sweet madam; She is asleep, her gentlewoman says. 125
_Cel._ My business is but visit. I’ll expect.[4401]
_Ant._ That must not be, although I like your company!
_Cel._ You are grown rich, Master Secretary.
_Ant._ I, madam? Alas!
_Cel._ I hear you are upon another purchase. 130
_Ant._ I upon a purchase!
_Cel._ If you want any sum—
_Ant._ If I could purchase your sweet favour, madam.
_Cel._ You shall command me, and my fortune, sir.
_Ant._ [_Aside._] How’s this? 135
_Cel._ I have observ’d you, sir, a staid And prudent gentleman—and I shall want—
_Ant._ Not me?
_Cel._ A father for some infant: he has credit I’ th’ world.—[_Aside._] I am not the first cast lady 140 Has married a secretary.
_Ant._ Shall I wait upon you?
_Cel._ Whither?
_Ant._ Any whither.
_Cel._ I may chance lead you then— 145
_Ant._ I shall be honour’d to obey. My blood Is up, and in this humour I’m for anything.
_Cel._ Well, sir, I’ll try your manhood.
_Ant._ ’Tis my happiness; You cannot please me better.
_Cel._ [_Aside._] This was struck I’ the opportunity.
_Ant._ I am made for ever. [_Exit_, _following her_.] 150
[SCENE III.][4402]
_Enter_ HERNANDO _and_ DUCHESS.
_Her._ Dear madam, do not weep.
_Duch._ Y’ are very welcome; I ha’ done; I wo’ not shed a tear more Till I meet Alvarez, then I’ll weep for joy. He was a fine young gentleman, and sung sweetly; 5 An you had heard him but the night before We were married, you would ha’ sworn he had been A swan, and sung his own sad epitaph. But we’ll talk o’ the Cardinal.
_Her._ Would his death Might ransom your fair sense! he should not live 10 To triumph in the loss. Beshrew my manhood, But I begin to melt.
_Duch._ I pray, sir, tell me,— For I can understand, although they say I have lost my wits; but they are safe enough, And I shall have ’em when the Cardinal dies;— Who had a letter from his nephew, too, 15 Since he was slain?
_Her._ From whence?
_Duch._ I know not where he is. But in some bower Within a garden he is making chaplets, And means to send me one; but I’ll not take it; I have flowers enough, I thank him, while I live.
_Her._ But do you love your governor? 22
_Duch._ Yes, but I’ll never marry him; I am promis’d Already.
_Her._ To whom, madam?
_Duch._ Do not you Blush when you ask me that? Must not you be 25 My husband? I know why, but that’s a secret. Indeed, if you believe me, I do love No man alive so well as you: the Cardinal Shall never know ’t; he’ll kill us both; and yet He says he loves me dearly, and has promis’d 30 To make me well again; but I’m afraid, One time or other, he will give me poison.
_Her._ Prevent him, madam, and take nothing from him.
_Duch._ Why, do you think ’t will hurt me?
_Her._ It will kill you.
_Duch._ I shall but die, and meet my dear-lov’d lord, 35 Whom, when I have kist, I’ll come again and work A bracelet of my hair for you to carry him, When you are going to Heaven; the posy shall Be my own name, in little tears, that I Will weep next winter, which congeal’d i’ th’ frost, 40 Will show like seed-pearl. You’ll deliver it? I know he’ll love, and wear it for my sake.
_Her._ She is quite lost.
_Duch._ I pray give me, sir, your pardon: I know I talk not wisely; but if you had The burthen of my sorrow, you would miss 45 Sometimes your better reason. Now I’m well; What will you do when the Cardinal comes? He must not see you for the world.
_Her._ He sha’ not; I’ll take my leave before he come.
_Duch._ Nay, stay; I shall have no friend left me when you go. 50 He will but sup; he sha’ not stay to lie with me. I have the picture of my lord abed; Three are too much this weather.
_Enter_ PLACENTIA.
_Pla._ Madam, the Cardinal.
_Her._ He shall sup with the devil.
_Duch._ I dare not stay; The red cock[4403] will be angry. I’ll come again. 55 _Exeunt_ [DUCHESS _and_ PLACENTIA.]
_Her._ This sorrow is no fable. Now I find My curiosity is sadly satisfied.— Ha! if the duchess in her straggled wits Let fall words to betray me to the Cardinal, The panther will not leap more fierce to meet 60 His prey, when a long want of food hath parch’d His starved maw, than he to print his rage, And tear my heart-strings. Everything is fatal; And yet she talk’d sometimes with chain of sense, And said she lov’d me. Ha! they come not yet. I have a sword about me, and I left 65 My own security to visit death. Yet I may pause a little, and consider Which way does lead me to ’t most honourably. Does not the chamber that I walk in tremble? What will become of her, and me, and all 71 The world in one small hour? I do not think Ever to see the day again; the wings Of night spread o’er me like a sable hearse-cloth; The stars are all close mourners too; but I 75 Must not alone to the cold silent grave, I must not.—If thou canst, Alvarez, open That ebon curtain, and behold the man, When the world’s justice fails, shall right thy ashes, And feed their thirst with blood! Thy duchess is Almost a ghost already, and doth wear 81 Her body like an useless upper garment, The trim and fashion of it lost.—Ha!
_Re-enter_ PLACENTIA.
_Pla._ You need not doubt me, sir.—My lady prays You would not think it long; she in my ear 85 Commanded me to tell you, that when last She drank, she had happy wishes to your health.
_Her._ And did the Cardinal pledge it?
_Pla._ He was not Invited to’t, nor must he know you are here.
_Her._ What do they talk of, prithee? 90
_Pla._ His grace is very pleasant _A lute is heard._ And kind to her; but her returns[4404] are after The sad condition of her sense, sometimes Unjointed.
_Her._ They have music.
_Pla._ A lute only, 94 His grace prepar’d; they say, the best of Italy, That waits upon my lord.
_Her._ He thinks the duchess Is stung with a tarantula.
_Pla._ Your pardon; My duty is expected. _Exit._
_Her._ Gentle lady!— A voice too!
SONG _within_.
_Strep._ Come, my Daphne, come away, 100 We do waste the crystal day, ’Tis Strephon calls. _Dap._ What says my love? _Strep._ Come, follow to the myrtle grove, Where Venus shall prepare New chaplets for thy hair. 105 _Dap._ Were I shut up within a tree, I’d rend my bark to follow thee. _Strep._ My shepherdess, make haste, The minutes slide too fast. _Dap._ In those cooler shades will I, 110 Blind as Cupid, kiss thine eye. _Strep._ In thy bosom then I’ll stay; In such warm snow who would not lose his way? _Chor._ We’ll laugh, and leave the world behind, And gods themselves that see, 115 Shall envy thee and me, But never find Such joys, when they embrace a deity.
_Her._ If at this distance I distinguish, ’tis not Church music; and the air’s wanton, and no anthem 120 Sung to’t, but some strange ode of love and kisses. What should this mean?—Ha? he is coming hither. [_Draws his sword._] I am betray’d; he marches in her hand. I’ll trust a little more; mute as the arras, My sword and I here. 125 _He_ [_conceals himself behind the arras, and_] _observes_.
_Enter_ CARDINAL, DUCHESS, ANTONELLI, _and_ Attendants.
_Car._ Wait you in the first chamber, and let none Presume to interrupt us.— _Exeunt_ [ANTONELLI _and_ Attendants.] She is pleasant; Now for some art, to poison all her innocence.
_Duch._ I do not like the Cardinal’s humour; he Little suspects what guest is in my chamber. 130
_Car._ Now, madam, you are safe. [_Embraces her._]
_Duch._ How means your lordship?
_Car._ Safe in my arms, sweet duchess.
_Duch._ Do not hurt me.
_Car._ Not for the treasures of the world! You are My pretty charge. Had I as many lives As I have careful thoughts to do you service, 135 I should think all a happy forfeit, to Delight your grace one minute; ’tis a Heaven To see you smile.
_Duch._ What kindness call you this?
_Car._ It cannot want a name while you preserve So plentiful a sweetness; it is love. 140
_Duch._ Of me? How shall I know’t, my lord?
_Car._ By this, and this, swift messengers to whisper Our hearts to one another. _Kisses her._
_Duch._ Pray, do you come a wooing?
_Car._ Yes, sweet madam; You cannot be so cruel to deny me. 145
_Duch._ What, my lord?
_Car._ Another kiss.
_Duch._ Can you Dispense with this, my lord?—(_Aside._) Alas; I fear Hernando is asleep, or vanish’d from me.
_Car._ [_Aside._] I have mock’d my blood into a flame; and what My angry soul had form’d for my revenge, 150 Is now the object of my amorous sense. I have took a strong enchantment from her lips, And fear I shall forgive Columbo’s death, If she consent to my embrace.—Come, madam.
_Duch._ Whither, my lord?
_Car._ But to your bed or couch, 155 Where, if you will be kind, and but allow Yourself a knowledge, love, whose shape and raptures Wise poets have but glorified in dreams, Shall make your chamber his eternal palace; And with such active and essential streams 160 Of new delights glide o’er your bosom, you Shall wonder to what unknown world you are By some blest change translated. Why d’ ye pause, And look so wild? Will you deny your governor?
_Duch._ How came you by that cloven foot?
_Car._ Your fancy Would turn a traitor to your happiness. 165 I am your friend; you must be kind.
_Duch._ Unhand me, Or I’ll cry out a rape.
_Car._ You wo’ not, sure?
_Duch._ I have been cozen’d with Hernando’s shadow; Here’s none but Heaven to hear me.—Help! a rape! 170
_Car._ Are you so good at understanding? Then, I must use other argument. _He forces her._ [_Hernando rushes from the arras._]
_Her._ Go to, Cardinal. _Strikes him_; _exit_ DUCHESS.
_Car._ Hernando? Murder! treason! help!
_Her._ An army sha’ not rescue thee. Your blood 175 Is much inflam’d; I have brought a lancet wi’ me Shall open your hot veins, and cool your fever.— To vex thy parting soul, it was the same Engine that pierc’d[4405] Columbo’s heart.
_Car._ Help! murder! [_Stabs him._]
_Enter_ ANTONELLI _and_ Servants.
_Anton._ Some ring the bell, ’t will raise the court; 180 My lord is murder’d! ’T is Hernando. _The bell rings._
_Her._ I’ll make you all some sport.—[_Stabs himself._]—So; now we are even. Where is the duchess? I would take my leave of her, and then bequeath my curse among you. _He falls._
_Enter_ KING, DUCHESS, VALERIA, Lords, _and_ Guard.
_King._ How come these bloody objects? 185
_Her._ With a trick my sword found out. I hope he’s paid.
_1 Lord._ [_Aside._] I hope so too.—A surgeon For my lord Cardinal!
_King._ Hernando?
_Duch._ Justice! oh, justice, sir, against a ravisher! 190
_Her._ Sir, I ha’ done you service.
_King._ A bloody service.
_Her._ ’T is pure scarlet.
_Enter_ Surgeon.
_Car._ [_Aside._] After such care to perfect my revenge, Thus bandied out o’ th’ world by a woman’s plot!
_Her._ I have preserv’d the duchess from a rape. 195 Good night to me and all the world for ever. _Dies._
_King._ So impious!
_Duch._ ’T is most true; Alvarez’ blood Is now reveng’d; I find my brain return, And every straggling sense repairing home. 200
_Car._ I have deserv’d you should turn from me, sir. My life hath been prodigiously wicked; My blood is now the kingdom’s balm. Oh, sir, I have abus’d your ear, your trust, your people, And my own sacred office: my conscience 205 Feels now the sting. Oh, show your charity, And with your pardon, like a cool soft gale, Fan my poor sweating soul, that wanders through Unhabitable climes, and parched deserts. But I am lost, if the great world forgive me, 210 Unless I find your mercy for a crime You know not, madam, yet, against your life, I must confess, more than my black intents Upon your honour; you’re already poison’d.
_King._ By whom? 215
_Car._ By me, In the revenge I ow’d Columbo’s loss; With your last meat was mixt a poison, that By subtle, and by sure degrees, must let In death.
_King._ Look to the duchess, our physicians!
_Car._ Stay; 221 I will deserve her mercy, though I cannot Call back the deed. In proof of my repentance, If the last breath of a now dying man May gain your charity and belief, receive 225 This ivory box; in it an antidote, ’Bove that they boast the great magistral medicine: That powder, mixt with wine, by a most rare And quick access to the heart, will fortify it Against the rage of the most nimble poison, 230 I am not worthy to present her with it. Oh, take it, and preserve her innocent life.
_1 Lord._ Strange, he should have a good thing in such readiness.
_Car._ ’T is that, which in my jealousy and state, Trusting to false predictions of my birth, 235 That I should die by poison, I preserv’d For my own safety; wonder not, I made That my companion was to be my refuge.
_Enter_ Servant _with a bowl of wine_.
_1 Lord._ Here’s some touch of grace.
_Car._ In greater proof of my pure thoughts, I take 240 This first, and with my dying breath confirm My penitence; it may benefit her life, But not my wounds. [_He drinks._] Oh, hasten to preserve her; And though I merit not her pardon, let not Her fair soul be divorc’d. 245 [_The_ DUCHESS _takes the bowl and drinks_.]
_King._ This is some charity; may it prosper, madam!
_Val._ How does your grace?
_Duch._ And must I owe my life to him, whose death Was my ambition? Take this free acknowledgment; I had intent, this night, with my own hand 250 To be Alvarez’ justicer.
_King._ You were mad, And thought past apprehension of revenge.
_Duch._ That shape I did usurp, great sir, to give My heart more freedom and defence; but when Hernando came to visit me, I thought 255 I might defer my execution; Which his own rage suppli’d without my guilt, And when his lust grew high, met with his blood.
_1 Lord._ The Cardinal smiles.
_Car._ Now my revenge has met With you, nimble duchess! I have took 260 A shape[4406] to give my act more freedom too, And now I am sure she’s poison’d with that dose I gave her last.
_King._ Thou’rt not so horrid?
_Duch._ Ha! some cordial.
_Car._ Alas, no preservative Hath wings to overtake it; were her heart 265 Lock’d in a quarry, it would search and kill Before the aids can reach it. I am sure You sha’ not now laugh at me.
_King._ How come you by that poison?
_Car._ I prepar’d it, Resolving, when I had enjoy’d her, which 270 The colonel prevented, by some art To make her take it, and by death conclude My last revenge. You have the fatal story.
_King._ This is so great a wickedness, it will Exceed belief.
_Car._ I knew I could not live. 275
_Surg._ Your wounds, sir, were not desperate.
_Car._ Not mortal? Ha! were they not mortal?
_Surg._ If I have skill in surgery.
_Car._ Then I have caught myself in my own engine.
_2 Lord._ It was your fate, you said, to die by poison. 280
_Car._ That was my own prediction, to abuse Your faith; no human art can now resist it: I feel it knocking at the seat of life; It must come in; I have wrackt all my own To try your charities: now it would be rare, 285 If you but waft me with a little prayer; My wings that flag may catch the wind; but ’tis In vain, the mist is risen, and there’s none To steer my wand’ring bark. _Dies._
_1 Lord._ He’s dead.
_King._ With him Die all deceived trust.
_2 Lord._ This was a strange 290 Impiety.
_King._ When men Of gifts and sacred function once decline From virtue, their ill deeds transcend example.
_Duch._ The minute’s come that I must take my leave, too. Your hand, great sir; and though you be a king, 295 We may exchange forgiveness. Heaven forgive, And all the world! I come, I come, Alvarez. _Dies._
_King._ Dispose their bodies for becoming funeral. How much are kings abus’d by those they take To royal grace, whom, when they cherish most By nice indulgence, they do often arm 301 Against themselves! from whence this maxim springs: None have more need of perspectives[4407] than kings. _Exeunt._
EPILOGUE
_Within._ Master Pollard! Where’s Master Pollard, for the epilogue? _He is thrust upon the stage, and falls._
_Epi._ [_rising._] I am coming to you, gentlemen; the poet Has help’d me thus far on my way, but I’ll Be even with him. the play is a tragedy, The first that ever he compos’d for us, 5 Wherein he thinks he has done prettily. _Enter_ Servant. And I am sensible.—I prithee look, Is nothing out of joint? Has he broke nothing?
_Serv._ No, sir, I hope.
_Epi._ Yes, he has broke his epilogue all to pieces. 10 Canst thou put it together again?
_Serv._ Not I, sir.
_Epi._ Nor I; prithee be gone. [_Exit_ Serv.]—Hum!—Master poet, I have a teeming mind to be reveng’d.— You may assist, and not be seen in’t now, 15 If you please, gentlemen, for I do know He listens to the issue of his cause; But blister not your hands in his applause; Your private smile, your nod, or hem! to tell My fellows that you like the business well; 20 And when, without a clap, you go away, I’ll drink a small-beer health to his second day; And break his heart, or make him swear and rage He’ll write no more for the unhappy stage. But that’s too much; so we should lose; faith, shew it, 25 And if you like his play, ’t ’s as well he knew it.
ADDITIONAL NOTES ON THE PLAYS
ENDYMION
_Endymion_ was published in 1591, and the title-page states that it had been played “before the Queenes Maiestie at Greenwich on Candlemas day at night, by the Chyldren of Paules.” It is fairly certain that this performance took place on Feb. 2, 1586. The present text is based on Bond’s reprint of the quarto of 1591, with slight additions from the version included by Blount in his _Sixe Court Comedies_, 1632. Like most of Lyly’s plays, _Endymion_ is an allegory of the court, with a mythological basis. Very little, however, is here borrowed from the myth of the Moon-goddess and her lover, and the plot is evidently invented with a view to carrying contemporary allusions. Beginning with Halpin’s paper in 1843, many attempts have been made to read the riddle, the latest and most ingenious being that of M. Feuillerat, who identities Cynthia with Elizabeth, Tellus with Mary of Scots, and Endymion with her son, James VI. The credit of having disproved the Endymion-Leicester identification is shared with M. Feuillerat by Dr. P. W. Long, who seeks to read the play as mainly an allegory of Heavenly Beauty (Cynthia) and Earthly Beauty (Tellus), an interpretation perhaps not wholly incompatible with the more personal solution.
THE OLD WIVES TALE
_The Old Wife’s Tale_, as the title should appear in modern spelling (the reference being, of course, to Madge), was first published in 1595, and on this quarto, as reprinted by Gummere, the present text is based. The precise date of production has not been definitely ascertained, but it was probably not far from 1590. Source, in the usual sense of the term, the play can hardly be said to have; it is a medley of a dozen themes from current English folk-tales. Realistic in diction, romantic in subject-matter, the play was a notable innovation in its day; and through the peculiar irony of the satire on romance, Peele introduced a new and subtler form of humor into English comedy. Both in its main theme, and in its use of the induction, this drama is an interesting forerunner of _The Knight of the Burning Pestle_.
FRIAR BACON AND FRIAR BUNGAY
This play was first printed in quarto in 1594, and that edition (Q₁), as printed by Collins and Gayley, forms the basis of the present text. The existence of a second quarto, said to have been issued in 1599, has been rendered highly doubtful by Gayley. Later editions appeared in 1630 (Q₃) and 1655 (Q₄). The date of production was probably 1589-90. That part of the plot dealing with the marvelous exploits of Friar Bacon is drawn from _The Famous Historic of Friar Bacon_, a late sixteenth-century account of the legends that had gathered round the name of the Oxford Franciscan, Roger Bacon (born 1214). The love story is Greene’s own. It seems probable that this comedy was conceived as a foil to Marlowe’s tragedy of _Doctor Faustus_, some of the scenes approaching an actual parody, and stress being laid on the superiority of the English to the German necromancer.
TAMBURLAINE
Both parts of _Tamburlaine_ were entered in the Stationers’ Register on Aug. 14, 1590, and they appeared together in octavo in 1590, and again in 1592. The alleged existence of editions of 1593, 1597, and 1600 is unsupported by evidence; and the third edition seems to be that of 1605 (part i.) and 1606 (part ii.) printed from the first. The issue of 1590 is the basis of the present text. The first part of the play was probably produced three years before, in 1587, and the second part in the following year. All the early editions are anonymous, nor does there survive any pre-Restoration statement as to the authorship; yet so convincing is the internal evidence that the ascription to Marlowe may be regarded as indubitable.
The main source of part i. is Fortescue’s _Foreste_, 1571, a translation of Pedro Mexia’s _Silva de varia lecion_, 1543. Additional details were derived from _The Notable History of the Saracens_ by Thomas Newton, 1575, and from Petrus Perondinus, 1553. The title-role was first acted by the gigantic Edward Alleyn.
DOCTOR FAUSTUS
Allusions to contemporary events in the Low Countries fix the limits for the date of _Doctor Faustus_ as 1585 and 1590; and the evidence of style places it after _Tamburlaine_. A ballad which seems to be inspired by the play was licensed in February, 1589, so that it is generally agreed that the first production of the play fell in the winter of 1588-89. “A booke calld _the plaie of Doctor Faustus_” was entered in the Stationers’ Register on Jan. 7, 1601, but if an edition was published in that year, no copy has survived. The earliest extant edition is that of 1604 (Q₁), on which the present text is based. This version was reprinted in 1609 and 1611; and in 1616 appeared an enlarged form, followed in the later quartos of 1619, 1620, 1624, and 1631. An edition issued in 1663 has many additions and excisions, but none with any claim to authority. The question of the authorship of the amplifications in the quarto of 1616 is still under discussion, but recent opinion tends to the view that, except for a few scattered lines, the additions may well be the work of William Birde and Samuel Rowley, engaged by Henslowe in 1602 for this purpose. Marlowe’s knowledge of the Faust legend is derived from the German _Faustbuch_, published at Frankfurt by Johann Spies in 1587, which he probably knew through an English translation.
THE JEW OF MALTA
The earliest mention of this play occurs in Henslowe’s _Diary_, where a performance is noted as taking place on February 26, 1592, and it is implied that the tragedy was not then new. Its composition is conjecturally placed about 1590. On May 17, 1594, it was entered on the Stationers’ Register, but no edition had come down to us earlier than a corrupt quarto of 1633, which is thus our sole authority for the text. As to the source from which Marlowe drew his material, nothing definite is known. Kellner (_Englishe Studien_, X. 80) has elaborated a parallel between the career of Marlowe’s hero and that of a sixteenth-century Portuguese Jew, Michesius, who is mentioned by a number of historians; but such accounts as have been found could have furnished only suggestions.
This play was one of the most popular on the Elizabethan stage, Henslowe recording thirty-six performances before June 21, 1596.
EDWARD II
When _The troublesom Reign and Lamentable Death of Edward the Second_ was entered in the Stationers’ Register on July 6, 1593, the play had been already on the stage for some time; and it is probable that it was first produced in 1591 or 1592. No copy issued in 1593 is extant, and the earliest surviving quarto belongs to 1594. On this, the best of the early prints, the present text is based. Other editions followed in 1598, 1612, and 1622. Marlowe’s main source for the historical basis of the play was Holinshed, Fabyan’s and Stowe’s _Chronicles_ having also supplied some minor details. Chronological accuracy is often disregarded, yet in its main lines the action in substantially faithful to history. The play is Marlowe’s ripest production, and we are fortunate in having the text preserved in a purer state than that of any of his other plays.
In the four plays by Marlowe, Tucker Brooke’s reprints of the early editions haye been used.
THE SPANISH TRAGEDY
The most definite indication of the date of this, one of the most popular of all Elizabethan plays, is found in an allusion in the Induction to Ben Jonson’s _Bartholomew Fair_ (1614), where it seems to be implied that _The Spanish Tragedy_ was then twenty-five or thirty years old. This gives us the years 1584-89 as limits, and the absence of any reference to the Armada, in a play laid in Spain, has led critics to place it before 1588. The year 1586 may, perhaps, be fairly conjectured as coming within a year of the date of composition. In 1592 it was being successfully performed; and on October 6 of that year it was entered for publication. The first edition has disappeared entirely; and the earliest extant is an undated quarto in the British Museum. Other quartos appeared in 1594 and 1599; and in the edition of 1602 are first found the additions made to the play by Ben Jonson, and included in the later quartos of 1610, 1615, 1618, 1623, and 1633. The present text is based on the B. M. quarto for Kyd’s part of the play, and on that of 1602 for the additions, which are pointed out in the foot-notes; and I have availed myself of the collations of both Manly and Boas. All the early editions are anonymous; and the ascription of the play to Kyd is made on the authority of a passage in Heywood’s _Apology for Actors_, 1612.
BUSSY D’AMBOIS
The first quarto of _Bussy D’Ambois_ appeared in 1607, and a second in 1608. In 1641 a third quarto appeared, which claimed to be “much corrected and amended by the author before his death,” and this was reissued in 1646 and 1657. The present text is based on Boas’s reprint of the quarto of 1641. The date of the production of the play is uncertain. Certain entries in Henslowe’s _Diary_ point to 1598, but if the play was on the stage as early as this, it must have been revised before its publication in 1607. _Bussy D’Ambois_ belongs to the group of Chapman’s plays dealing with almost contemporary French politics. D’Ambois himself was born in 1549, and was murdered by Monsoreau’s retainers in 1579. The earliest extant accounts of his career are later in date than the play, and the precise sources of Chapman’s information have not yet been found. But from the later descriptions it is clear that the action of the play, and the view given of the hero’s character, are substantially historical.
EVERY MAN IN HIS HUMOUR
This play, the first example of the “comedy of humours,” was performed in 1598 with great success. It was published in quarto in 1601, and in this version the characters bear Italian names, and the scene is laid in Italy. It was revised about 1606, and this second version, with the names and scene made English and with many other changes, was published in the folio of 1616. The present text is based directly on the folio. The plot, which seems to have been entirely of Jonson’s invention, is constructed with a view to those classical standards of comedy, which Jonson sought to uphold against the prevailing romantic license.
SEJANUS, HIS FALL
_Sejanus_ was first performed in 1603, but, as Jonson admits, failed to please the audience. It was published in 1605, and again in the folio of 1616. On this latter the present text is based. It is not necessary to discuss the sources of this impressive tragedy, since Jonson has supplied us in his ample foot-notes with documentary evidence for nearly every fact in the play. These notes have been reproduced in the present edition, through the first scene, which is probably as far as the modern reader will care to study them. The delineation of Tiberius is one of the most successful attempts in our literature to recreate a highly complex historical character.
VOLPONE, OR THE FOX
_Volpone_ was performed in 1605 or 1606 at the Globe theatre and at both Oxford and Cambridge, and in 1607 was printed in quarto. It was included in the folio of 1616, on which the present text is based. The main plot is founded on an episode in the _Satiricon_ of Petronius Arbiter; but the parts of Celia and of Sir Politic and Lady Would-be are of Jonson’s own invention. The song, “Drink to me only with thine eyes,” is practically a translation from Philostratus, and “Come, my Celia” is imitated from Catullus. The comedy is a terrible satire on some of the most sordid aspects of human nature, and the superb skill with which it is constructed barely suffices to counteract the depressing effect of the types of character it displays.
THE ALCHEMIST
_The Alchemist_, which may, perhaps, be regarded as Jonson’s supreme masterpiece in comedy, was performed in 1610, and published in quarto in 1612. The present text is based on that of the folio of 1616. It has been frequently stated that for the plot of this play Jonson was indebted to Plautus, but the borrowing is very slight. In the _Mostellaria_ there is a scene which might have suggested the opening dialogue of _The Alchemist_, and another which bears a slight resemblance to Face’s attempt to hoodwink his master in V. i. In the _Poenulus_, a man speaks Punic, and is misunderstood somewhat as Surly’s Spanish is misunderstood in IV. iii. But the plot as a whole is Jonson’s own, and the alchemical and astrological matter is drawn from a wide acquaintance with current treatises on these subjects. Attempts have been made to identify Subtle and Face with the famous Dee and Kelley, but identification is much too strong a word. Hathaway has pointed out a more striking correspondence with the activities of Simon Forman, a notorious quack of Jonson’s day. _The Alchemist_ has been credited with a considerable effectiveness in clearing London of the type of impostors which it ridicules and exposes so trenchantly and amusingly.
THE SHOEMAKERS’ HOLIDAY
This, the first of Dekker’s comedies, was acted in 1599, and printed in the following year. On the text of this quarto, as reprinted by Warnke and Proescholdt, the present text is based. The story of the partly historical Simon Eyre was found by Dekker in one of the tales in Thomas Deloney’s _Gentle Craft_, 1597; but the main interest of the play lies in its picture of London tradespeople in the author’s own day, and for this Dekker needed no literary source.
THE HONEST WHORE
From a passage in Henslowe’s _Diary_ it appears that Middleton had some share in the first part of _The Honest Whore_, but it is not supposed that he wrote any considerable portion of it. The second part is wholly Dekker’s, and is generally regarded as superior to the first. The first edition of part i. appeared in 1604, of part ii. in 1630. Pearson’s reprint, on which the present text is based, follows the 1605 quarto of part i. and the 1630 of part ii. A copy of the 1635 quarto of the double play has been used to check Pearson’s text. No source of the plot has been discovered. The play is a highly characteristic product of the time, both in its picture of the vices of the city, and in its sound and straightforward, if somewhat coarse, handling of the moral issues involved. The character of Friscobaldo, in part ii., afforded Hazlitt the theme for what he himself justly regarded as one of his finest pieces of critical interpretation.
THE MALCONTENT
_The Malcontent_ was first issued in 1604; and in the same year a second quarto appeared with the title-page, “The Malcontent. Augmented by Marston. With the Additions played by the Kings Maiesties servants. Written by Ihon Webster. 1604. At London Printed by V. S. for William Aspley, and are to be sold at his shop in Paules Church-yard.” The title-page of the first edition gives John Marston as author; the date and publisher are the same. The second edition, on which the present text is directly based, contains, as new matter, the Induction and a number of additions, marked in the present text by brackets and specified in the foot-notes. Its title-page has proved highly misleading; the facts seem to be that Webster supplied the Induction when the play was revived by the King’s men; and that the other additions are restorations of passages from Marston’s original play which had been cut for acting purposes. Stoll, who has made this clear, places the composition of the play in 1600, and has given the tragi-comedy a new importance, in addition to its intrinsic vigor and effectiveness, by arguing forcibly for it as an influence on the characters of Shakespeare’s Jaques and Hamlet. The source of the plot has so far not been discovered.
A WOMAN KILLED WITH KINDNESS
This tragedy, one of the earliest and most pathetic examples of domestic drama, was first published in 1607; and the present text is based on Pearson’s reprint of this quarto. The play was acted in 1603, as appears from an entry in Henslowe’s _Diary_. The title, like those of several other plays by Heywood, was a proverbial phrase. Creizenach (IV. 264) states that Heywood borrowed the two plots of this drama from Margaret of Navarre and from Bandello. The thirty-second tale in the _Heptameron_ does indeed tell of a husband who refrained from killing a wife taken in adultery, but the resemblance is far from close.
THE KNIGHT OF THE BURNING PESTLE
_The Knight of the Burning Pestle_ was printed in quarto in 1613, and on Murch’s reproduction of this edition the present text is based. A second and a third quarto were issued in 1635, and the play was included in the second folio edition of Beaumont and Fletcher in 1679. The date of composition is uncertain, but recent opinion tends to place it about 1610. It cannot be said that there is as yet a general agreement as to the respective snares of the two authors in this comedy, but according to the most careful examination of the question so far made, that of Dr. Murch, most of the play should be ascribed to Beaumont, Fletcher having probably written only the three love scenes, I. i. 1-60; III. i.; and IV. iv. 18-93. In spite of the similarity between the satirical purpose of this play and of _Don Quixote_, it has not been shown that the authors had any knowledge of the work of Cervantes, or that they could read Spanish. (The first English translation of _Don Quixote_ appeared in 1612.) In the mock-heroic part of the play, the object of the satire was the type of play founded upon medieval romance and popular at that time among the tradespeople of London; and of this type, Heywood’s _Four Prentices of London_ seems to have been especially in view. Koeppel has pointed out the resemblance between the coffin scene in Act IV. and an episode in Marston’s _Antonio and Mellida_ (1602). The love-plot is too commonplace to have a definitely assignable source, and the scenes between Merrythought and his wife, like those of the Induction, are, one may be sure, due to direct observation of contemporary life and manners.
PHILASTER
The first quarto of _Philaster_, issued in 1620, seems to have been unauthorized, and to have been made up in part from a report taken down at a performance. At the beginning and end it is quite different from the other quartos. The second quarto, 1622, as reprinted by Thorndike, is the basis for the present text, with occasional readings from the later quartos and the folio of 1679. The play was probably written about 1608-10. The respective shares of the two authors are difficult to assign. Oliphant and Thorndike give to Fletcher I. i. 99-360; II. ii.; II. iv. 69-203; passages in III. ii.; V. iii.; and V. iv.; the rest to Beaumont; the prose scenes with less assurance. Macaulay gives little beyond V. iii., iv. to Fletcher. This distribution is made mainly on the grounds of the characteristics of the metre; it does not exclude the probability of intimate collaboration in plot and characterization. The story of the play seems to have been original, though several of the motives are common enough. There is marked indebtedness to _Hamlet_, and much resemblance to _Cymbeline_, though Thorndike has argued plausibly for the view that in the latter case Shakespeare was the borrower.
THE MAID’S TRAGEDY
As in the case of _Philaster_, the first quarto of the _The Maid’s Tragedy_ (1619) is corrupt and unauthorized. The second quarto (1622), with Thorndike’s collations of the first and third (1630), is the basis for the present text. The date of composition is probably about 1609-11. There is more agreement here than in the case of _Philaster_ as to the respective shares of the joint authors. Most critics give Fletcher II. ii; IV. i; V. i. 1-111; V. ii; the rest to Beaumont, with the exception of I. ii, which is uncertain. Macaulay gives II. ii. also to Beaumont. The source of the plot has not been found, though minor resemblances have been noted, such as that of the duel between Aspatia and Amintor, to the fight between Parthenia and Amphialus in Sidney’s _Arcadia_, book iii, and that of the quarrel between Melantius and Amintor to that between Brutus and Cassius in _Julius Caesar_.
THE FAITHFUL SHEPHERDESS
The first quarto of _The Faithful Shepherdess_ is undated, but it was certainly issued before May, 1610, and the play had been unsuccessfully produced not long before, perhaps in 1608 or 1609. The present text is based on the first edition, and is dependent on the collations in the Glover and Waller edition of Beaumont and Fletcher. Fletcher’s chief model in this pastoral seems to have been Guarini’s _Pastor Fido_, and some few details are borrowed from Spenser; but the plot itself seems to be original. The play, as Fletcher confesses in his address _To the Reader_, was unsuccessful on the stage, but the beauty of its lyric and descriptive poetry has given it, in spite of its weak dramatic quality, a distinguished place in literature. It is notable also as having in part suggested Milton’s _Comus_.
THE WILD-GOOSE CHASE
_The Wild-Goose Chase_, we are told by the publisher of the first folio edition of Beaumont and Fletcher, was lost when that volume was compiled; it reappeared later, and was issued separately, in folio, in 1652. A second edition appeared in the folio of 1679. The present text is based on the reprint of Waller, following, however, the edition of 1652 in preference to that of 1679. The comedy is known to have been acted as early as 1621. No source for the plot seems as yet to have been found. Farquhar based on it his comedy of _The Inconstant_, a fact which points to the obvious relationship between the Fletcherian comedy, of which this is a typical example, and the drama of the Restoration.
THE DUCHESS OF MALFI
The first edition of _The Duchess of Malfi_ appeared in quarto in 1623, and was followed by others in 1640, 1678, and 1708. The present text follows chiefly the Harvard copy of the first quarto, with occasional readings supplied by Sampson’s collation of the other editions. The date of first performance cannot be later than 1614, since the actor who created the part of Antonio died in that year. The main plot is taken from Painter’s _Palace of Pleasure_, vol. II, Nov. 23 (1567). Painter translated his story from Belle-Forest’s paraphrase (1565) of the twenty-sixth novella of Bandello (1554). The story appears in many places, and had been dramatized by Lope de Vega. Crawford (_Notes and Queries_, Sept. 17-Nov. 12, 1904) has shown many incidental and even literal borrowings from Sidney’s _Arcadia_. Among the elements in the play not found in Painter are the underplot of Julia and the Cardinal, the scenes of torture, and the most of the fifth act. Some of these are derived from the tradition of the tragedy of revenge, especially as represented by Shakespeare, Marston, and Tourneur; but, in spite of frequent echoes, this impressive tragedy, almost the last of its kind, derives its vitality mainly from the powerful and sombre imagination of Webster.
A TRICK TO CATCH THE OLD ONE
This comedy was licensed October 7, 1607, and published in quarto in 1608. A second edition appeared in 1616. The present text is based directly on the copy of the first quarto in the Boston Public Library, with the aid of the readings from the second quarto given by Bullen. The plot is supposed to have given Massinger a suggestion for _A New Way to Pay Old Debts_, but where Middleton found it, if he did not originate it, is not known. This play is an excellent example of Middleton’s comedies of intrigue and manners, full of bustle and fun, more careful of theatrical effect than of moral or aesthetic consistency.
THE CHANGELING
_The Changeling_ was performed as early as 1623, but did not appear in print till 1653. On a copy of this quarto in the Harvard Library the present text is based. The source of the tragic plot is the fourth history in book i. of John Reynolds’s _Triumph of God’s Revenge against Murder_ (1621), but the prose narrative is not followed closely. The under-plot, which gives its title to the play, may be original. Miss Wiggin assigns to Rowley the whole under-plot, and the opening and closing scenes of the main plot. Symons finds the greatness of the play as a whole due to the collaboration of the two authors, and beyond the powers of either alone (Cf. Camb. Hist. of Eng. Lit., vi. 76-7).
A NEW WAY TO PAY OLD DEBTS
This play, Massinger’s masterpiece in comedy, appeared in quarto in 1633, and on the Harvard Library copy of this edition the present text is based. The play was acted before 1626, and Fleay places it as early as 1622. Few plays of this whole period have held the English stage so continuously or so long as this. The central idea of the plot seems to have been taken from Middleton’s _A Trick to Catch the Old One_; but there is almost as great a difference in the dramatic method between the two plays as there is in moral tone. Massinger’s didacticism here finds eloquent expression, without destroying theatrical effectiveness. Prototypes of Sir Giles Overreach and Greedy have been found in the notorious monopolist, Sir Giles Mompesson and his tool, Michael.
THE BROKEN HEART
The only early edition of _The Broken Heart_ was published in 1633, and the present text is based on a copy of this quarto in the Boston Public Library. There is no evidence as to the date of composition except the hitherto unnoted fact that _The Garland of Good Will_, mentioned in IV. ii. 15, was published in 1631. The prologue seems to imply that the plot of the play is founded on fact, and Sherman has argued plausibly that the reference is to the story of Penelope Devereux, Sidney’s “Stella,” whose second husband Ford had eulogised in his first publication, _Fame’s Memorial_ (1606). It is certain that Ford was interested in both Sidney and Stella, and there are many correspondences between their situation and that of Orgilus and Penthea. The catastrophe is, of course, entirely changed; but in the spiritual situation there is much to recall the sonnets of Astrophel to Stella. There are traces of the influence of the _Arcadia_ also in the play, such as the laying of the plot in Sparta; and in the delineation of the jealousy of Bassanes Ford draws upon Burton’s _Anatomy of Melancholy_.
THE LADY OF PLEASURE
_The Lady of Pleasure_ was published in quarto in 1637, and the present text is based on a copy of this edition in the Harvard Library. The play, a good example of Shirley’s comedy of manners, was produced in 1635. No source has been discovered for the plot. Like Fletcher’s _Wild-Goose Chase_, this type of Shirley’s comedies is important in measuring the approach made toward the Restoration comedy before the Puritan Revolution.
THE CARDINAL
This tragedy, regarded by Shirley as his greatest play, and in fact no unworthy piece to close a volume representing the drama of that age, appeared in a volume of _Six New Plays_ in 1653, the date on the title-page of _The Cardinal_ being 1652. On a copy of this octavo in the Harvard Library the present text is based. The play was acted in 1641, and thus belongs to the last few months before the theatres were closed by the Long Parliament. It is probable that Webster’s _Duchess of Malfi_ afforded more than a suggestion for the plot, but otherwise no source has been found. The play was popular both on its first appearance and when it was revived after the Restoration.
BIBLIOGRAPHIES
GENERAL WORKS ON THE ELIZABETHAN DRAMA
REGISTER OF THE STATIONERS’ COMPANY, 1554-1640. Transcript by E. Arber. 5 vols. 1875-94.
HENSLOWE’S DIARY. Ed. W. W. Greg. 2 vols. 1904.
COLLIER (J. P.), History of English Dramatic Poetry. New ed. 3 vols. 1879.
FLEAY (F. G.), Biographical Chronicle of the English Drama, 1559-1642. 2 vols. 1891.
FLEAY (F. G.), A Chronicle History of the London Stage, 1890.
WARD (A. W.), History of English Dramatic Literature to the Death of Queen Anne. 2d ed. 3 vols. 1899.
GREG (W. W.), A List of English Plays written before 1643 and printed before 1700. Bibliographical Society. 1900.
CREIZENACH (W.), Geschichte des neueren Dramas. Vols. I-IV. Halle, 1893-1909.
THORNDIKE (A. H.), Tragedy. Boston, 1908.
SCHELLING (F. E.), Elizabethan Drama. Boston, 1908.
HAZLITT (W.), Lectures on the Dramatic Poets of the Age of Elizabeth, in Works, ed. Waller and Glover, vol. VI., 1903.
LAMB (C.), Specimens of English Dramatic Poets. Ed. Gollancz (I.), 2 vols. 1908.
COLERIDGE (S. T.), Literary Remains, vol. II., 1836.
SYMONDS (J. A.), Shakespere’s Predecessors in the English Drama. 1881.
LOWELL (J. R.), The Old English Dramatists, 1892.
SWINBURNE (A. C.), The Age of Shakespeare, 1908.
The Cambridge History of English Literature, vols. V. and VI. Cambridge, 1910.
The Dictionary of National Biography (for lives of the dramatists).
JOHN LYLY
ORIGINAL EDITIONS
Campaspe, 1584. Sapho and Phao, 1584. Endymion, 1591. Gallathea, 1592. Midas, 1592. Mother Bombie, 1594. The Woman in the Moon, 1597. Love’s Metamorphosis, 1601.
COLLECTED EDITIONS
Blount (E.), Six Court Comedies, 1632.—Fairholt (F. W.), 2 vols., 1858.—Bond (R. W.), 3 vols., Oxford, 1902.
ENDYMION
Ed. Baker (G. P.), New York, 1894.
CRITICISM, etc.[4408]
Child (C. G.), John Lyly and Euphuism, in Münchener Beiträge, VII., Erlangen and Leipzig, 1894.—Halpin (N. J.), Oberon’s Vision in M. N. Dream, illustrated by comparison with Lyly’s Endymion, [Old] Shakespeare Soc. Pub. 1843.—Long (P. W.), The Purport of Lyly’s Endymion, Pub. Mod. Lang. Ass. Amer., XXIV., 1909.—Feuillerat (A.), John Lyly, Cambridge, 1910.—Brooke (C. F. T.), The Allegory in Lyly’s Endymion, Mod. Lang. Notes, Jan. 1911.
GEORGE PEELE
ORIGINAL EDITIONS
Arraignment of Paris, 1584. Edward I, 1593. Battle of Alcazar, 1594. Old Wives Tale, 1596. David and Bethsabe, 1599.
COLLECTED EDITIONS
Dyce (A.), 3 vols. 1828-39; 1861, 1879.—Bullen (A. H), 2 vols. 1888.
OLD WIVES TALE
Ed. Gummere (F. B.), in Gayley’s Representative English Comedies, 1903.—Greg (W. W.), In Malone Society Reprints, 1907.
CRITICISM, etc.
Lämmerhirt (R.), George Peele, Untersuchungen über sein Leben und seine Werke. Rostock, 1882.—Bayley (A. R.), Peele as a Dramatic Artist. The Oxford Point of View, 15 Feb. 1903.—Odell (G. C.), Peele as a Dramatist. The Bibliographer, vol. II., 1903.
ROBERT GREENE
ORIGINAL EDITIONS
Orlando Furioso, 1594; 1599. Friar Bacon and Friar Bungay, 1594; 1599; 1630; 1655. James the Fourth, 1598. Alphonsus of Aragon, 1599. A Looking Glass for London and England (with Lodge), 1594.
COLLECTED EDITIONS
Dyce (A.), 2 vols. 1831; 1861,1879.—Grosart (A. B.), 15 vols. 1881-6.—Collins (J. C), 2 vols. Oxford, 1905.—Dickinson (T. A.), six plays in Mermaid Series, 1909.
FRIAR BACON AND FRIAR BUNGAY
Ed. Manly (J. M.), in Specimens of Pre-Shakespearean Drama, Boston, 1897-8.—Ward (A. W.), in Old English Drama, Oxford, 1878; New ed. 1901.—Gayley (C. M.), in Representative English Comedies, 1903.
CRITICISM, etc.
Conrad (H.), Robert Greene als Dramatiker, in Shak. Jahrbuch, XXIX., 1894.—Ehrke (K.) Robert Greene’s Dramen, 1904.—Woodberry (G.), Greene’s Place in Comedy, in Gayley’s Representative English Comedies, 1903.—Ritter (O.), De Rob. Greeni Fabula, Fr. Bacon et Fr. Bungay, Thorn, 1886.
CHRISTOPHER MARLOWE
ORIGINAL EDITIONS
Tamburlaine the Great (parts i and ii), 1590; 1592; part i, 1605; part ii, 1606. Dr. Faustus, 1604; 1609; 1616; 1619; 1620; 1624; 1631; 1663. The Jew of Malta, 1633. Edward II, 1594; 1598; 1612; 1622. The Massacre at Paris, n. d. Dido, Queen of Carthage (with Nashe), 1594.
COLLECTED EDITIONS
Robinson (G.), 3 vols. 1826.—Dyce (A.), 3 vols., 1850, 1858; 1 vol., 1865, 1876.—Cunningham (F), 1871. —Bullen (A. H.), 3 vols., 1884-5.—Breymann (H.), and Wagner (A.), 1885-9.—Ellis (H.), five plays in Mermaid Series, 1887.—Brooke (C. F. T.), 1 vol., Oxford, 1910.
TAMBURLAINE
Ed. Vollmöller (K.), Heilbronn, 1885.
DR. FAUSTUS
Ed. Wagner (W.), 1877—-Ward (A. W.), in Old English Drama, Oxford, new ed. 1891.—Gollancz, (I.), in Temple Dramatists, 1897.
THE JEW OF MALTA
Ed. Thayer (W. R.), in Best Elizabethan Plays, Boston, 1890.
EDWARD II
Ed. Wagner (W.), Hamburg. 1871.—Fleay (F. G.), 1873, 1877.—Tancock (O. W.), Oxford, 1879, 1899.—Verity (A. W.), in Temple Dramatists, 1896.—McLaughlin (E. T.), New York, 1894.
CRITICISM, etc.
Ingram (J. H.), Christopher Marlowe and his Associates, 1904, _q. v._ for further bibliography.—Tzschaschel (C.), Marlowe’s Edward II und seine Quelle, Halle, 1902.
THOMAS KYD
ORIGINAL EDITIONS
Cornelia, 1594, 1595. The Spanish Tragedy, 1592(?), 2d ed. n. d., 1594, 1599; with additions, 1602, 1610, 1615, 1618, 1623, 1633. The First Part of Jeronimo, 1605. Soliman and Perseda, 1599.
COLLECTED EDITIONS
Boas (F. S.), Oxford, 1901.
THE SPANISH TRAGEDY
Ed. Manly (J. M.), in Specimens, vol. II., 1897-8.—Schick (J.), in Temple Dramatists, 1898.—Markscheffel (K.), in Litterarhist. Forsch., Berlin, 1901.
CRITICISM, etc.
Sarrazin (G.), Thomas Kyd und sein Kreis, Berlin, 1892. (Cf. Schick in Herrig’s Archiv, XC.; Koeppel in Englische Studien, XVIII. 125.)—Bang (W.), Engl. Stud. XXVIII. 229.—Brereton (J. LeG.), Notes on the text of Kyd, Engl. Stud., XXXVII.—Crawford (C.), Concordance to the Works of T. Kyd, in Bang’s Materialien, Louvain, 1909.
GEORGE CHAPMAN
ORIGINAL EDITIONS
The Blind Beggar of Alexandria, 1598. A Humorous Day’s Mirth, 1599. All Fools, 1605. Monsieur D’Olive, 1606. The Gentleman Usher, 1606. Bussy D’Ambois, 1607, 1608, 1641, 1646, 1657. The Conspiracy and Tragedy of Charles, Duke of Byron, 1608. May-Day, 1611. The Widow’s Tears, 1612. The Revenge of Bussy D’Ambois, 1613. Pompey and Cæsar, 1631, 1653. Alphonsus of Germany(?), 1654. Revenge for Honour, 1654. Chabot, Admiral of France (with Shirley), 1639.
COLLECTED EDITIONS
Pearson (J.), 1873.—Shepherd (R. H.), 3 vols., 1874; 1889. Phelps (W. L.), five plays in Mermaid Series, 1895.
BUSSY D’AMBOIS
Ed. Boas (F. S.), in Belles Lettres Series, Boston, 1906.
CRITICISM, etc.
Coleridge (S. T.), Literary Remains, I. 259, 1836.—Koeppel (E.), Quellenstudien zu Dramen George Chapman’s, etc., in Quellen und Forschungen, LXXXII., Strassburg. 1897—Parrott (T. M.), Notes on the Text of Chapman’s Plays, Anglia, XXX., 1907.—Stoll (E. E.), On the Dates of Some of Chapman’s Plays, Mod. Lang. Notes, XX., 1905.
BEN JONSON
ORIGINAL EDITIONS
Every Man Out of his Humour, 1600. Every Man in his Humour, 1601 (S. R. 1600). Cynthia’s Revels, 1601. The Poetaster, 1602 (S. R. 1601). Sejanus, 1605 (S. R. 1604). Volpone, 1607. The Case is Altered, 1606. Catiline, 1611. The Alchemist, 1612 (S. R. 1610). Epicoene, or The Silent Woman, 1609(?), 1612(?), (Acted 1609; S. R. 1610), Fol. 1616. The New Inn, 1631 (Acted 1629). Bartholomew Fair, 1631 (Acted 1614). The Devil is an Ass, 1631 (Acted 1616). The Staple of News, 1631 (Acted 1625). The Magnetic Lady, 1640 (S. R. 1632). A Tale of a Tub, 1640 (S. R. 1633). The Sad Shepherd, 1640. Mortimer, his Fall, 1640.
COLLECTED EDITIONS
First Folio, 1616.—Second Folio, 1640.—Whalley (P.), 7 vols., 1756.—Gifford (W.), 9 vols., 1816.—Cunningham (F.), rep. of Gifford, 1871, 1875.—Morley (H.), Plays and Poems of Ben Jonson, 1885.—Herford (C. H.), and Nicholson (B.), 3 vols. in Mermaid Series, 1893-4.—Bang (W.), Reprints from Folios and Quartos in his Materialien; in process.—Eight of the plays have appeared in Yale Studies in English, 1903-8. A new edition by Herford (C. H.) and Simpson (P.) is announced, Oxford.
EVERY MAN IN HIS HUMOUR
Rep. from Q. of 1601 by Graban (C.), Shakespeare Jahrbuch, XXXVIII., 1903; and by Bang (W.) and Greg (W. W.), in Bang’s Materialien, XI., 1905.—Wheatley (H. B.), 1877.—Dixon (W. M.), in Temple Dramatists, 1905.
VOLPONE
Ed. Wilkins (H. B.), New York, 1905, in Yale Studies in English.
THE ALCHEMIST
Ed. Thayer (W. R.), Boston, 1890, in Best Elizabethan Plays.—Hathaway (C. H.), New York, 1903, in Yale Studies in English.—Hart (H. C.), 1903, in The King’s Library.—Schelling (F. E.), Boston, 1903, in Belles Lettres Series.
CRITICISM, etc.
Castelain (M.), Ben Jonson: l’Homme et l’Œuvre. Paris, 1907.—Koeppel (E.), Quellenstudien zu den Dramen Ben Jonson’s, etc., in Münchener Beiträge. XI., Erlangen and Leipzig, 1895.—Swinburne (A. C.), A Study of Ben Jonson, 1889.—Symonds (J. A.), Ben Jonson, 1886.—Woodbridge (E.), Studies in Jonson’s Comedy, Boston, 1898.
THOMAS DEKKER
ORIGINAL EDITIONS
The Shoemakers’ Holiday, 1600, 1610, 1618, 1631, 1657. Old Fortunatus, 1600. Satiro-mastix, 1602. The Honest Whore, part i, 1604, 1605, 1615, 1616, 1635. The Whore of Babylon, 1607. If it be not Good, the Devil is in it, 1612. The Honest Whore, part ii, 1630. Match me in London, 1631. A Wonder of a Kingdom, 1636. Patient Grisel (with Chettle and Haughton), 1603. Westward Ho! (with Webster), 1607. Northward Ho! (with Webster), 1607. Sir Thomas Wyatt (with Webster), 1607. The Witch of Edmonton (with W. Rowley and Ford), 1658. The Roaring Girl (with Middleton), 1611. The Virgin Martyr (with Massinger), 1622.
COLLECTED EDITIONS
Pearson (J.), 4 vols., 1873.—Rhys (E.), five plays in Mermaid Series, 1895.
THE SHOEMAKERS’ HOLIDAY
Ed. Fritsche (H.), Thorn, 1862.—Warnke (K.) and Proescholdt (L.), Halle, 1886.
CRITICISM, etc.
Swinburne (A. C.), Thomas Dekker, The Nineteenth Century, Jan. 1887.—Stoll (E. E.), The Influence of Jonson on Dekker, Mod. Lang. Notes, XXI.
JOHN MARSTON
ORIGINAL EDITIONS
Antonio and Mellida, 1602. Antonio’s Revenge, 1602. The Dutch Courtesan, 1605. Parasitaster, or The Fawn, 1606. The Wonder of Women, or Sophonisba, 1606. What you Will, 1607. The Insatiate Countess, 1613. The Malcontent (with Webster), 1604. Eastward Hoe! (with Chapman and Jonson), 1605.
COLLECTED EDITIONS
Plays. 1633.—Halliwell [-Phillipps] (J. O), 3 vols., 1856.—Bullen (A. H.), 3 vols., 1887.
CRITICISM, etc.
Koeppel (E.), Quellenstudien zu den Dramen Ben Jonson’s, John Marston’s, etc. Münchener Beiträge, XI., Erlangen and Leipzig, 1895—Swinburne (A. C.) in Nineteenth Century, XXIV., 1888.—Wurzbach (W. von), in Shak. Jahrbuch, XXXIII., 1897.—Stoll (E. E.), John Webster, chap, ii, sect, ii, Boston, 1905—Stoll (E. E.), Shakspere, Marston and the Malcontent Type, in Modern Philology, III., 1906.—Aronstein (P.), Marston als Dramatiker, Eng. Studien, XX.
THOMAS HEYWOOD
ORIGINAL EDITIONS
Edward the Fourth, parts i and ii, 1600. If You Know Not Me, You Know Nobody, part i, 1605; part ii, 1606. A Woman Killed with Kindness, 1607, 1617. The Rape of Lucrece, 1608. The Four Prentices of London, 1616. rev 1632. The Fair Maid of the West, part i, 1631; part ii, 1631. The Golden Age, 1610. The Silver Age, 1613. The Brazen Age, 1613. The Iron Age, part i, 1632; part ii, 1632. The English Traveller, 1633. A Maidenhead Well Lost, 1634. A Challenge for Beauty, 1636. The Royal King and the Loyal Subject, 1637. The Wise Woman of Hogsdon, 1638. Love’s Mistress, 1636. The Late Lancashire Witches (with Brome), 1634. Fortune by Land and Sea (with W. Rowley), 1655.
COLLECTED EDITIONS
Pearson’s Reprint, 6 vols., 1874.—Verity (A. W.), five plays in Mermaid Series, 1888.
A WOMAN KILLED WITH KINDNESS
Ed. Collier (J. P.), in Shak. Soc. Pub., 1850.—Ward (A. W.), in Temple Dramatists, 1897.—Cox (F. J.), 1907.
BEAUMONT AND FLETCHER
ORIGINAL EDITIONS OF SINGLE PLAYS BY BOTH AUTHORS
The Woman Hater (probably by Beaumont alone), 1607, 1648, 1649. The Knight of the Burning Pestle, 1613, 1635. Cupid’s Revenge, 1616, 1630, 1635. The Scornful Lady, 1616, 1625, 1630, 1635, 1639, 1651, 1677, 1691, 1695. A King and No King, 1619, 1625, 1631, 1639, 1655, 1661, 1676, 1693. The Maid’s Tragedy, 1619, 1622, 1630, 1638, 1641, 1650, 1661, 1686. Philaster, 1620, 1622, 1630, 1634, 1639, 1651, 1652 (2 edd.), 1660(?), 1687. Thierry and Theodoret, 1621, 1648, 1649.
ORIGINAL EDITIONS OF SINGLE PLAYS BY FLETCHER ALONE
The Faithful Shepherdess, n. d. (prob. 1609), 1629, 1634, 1656, 1665. Henry VIII (with Shakespeare), in Shakespeare Folio of 1623. The Two Noble Kinsmen (with Shakespeare), 1634. The Elder Brother, 1637, 1651, 1661, 1678. Wit Without Money, 1639, 1661. Monsieur Thomas, 1639. The Bloody Brother, 1639, 1640. Rule a Wife and Have a Wife, 1696, 1697. The Night-Walker, 1640, 1661. The Wild-Goose Chase, 1652. The Humorous Lieutenant, 1830 (from a MS. dated 1625).
FIRST FOLIO EDITION OF BEAUMONT AND FLETCHER’S PLAYS (1647)
The Mad Lover. The Spanish Curate. The Little French Lawyer. The Custom of the Country. The Noble Gentleman. The Captain.* The Beggar’s Bush. The Coxcomb.* The False One. The Chauces. The Loyal Subject. The Laws of Candy. The Lover’s Progress. The Island Princess. The Humorous Lieutenant. The Nice Valour, or The Passionate Mailman. The Maid in the Mill. The Prophetess. Bonduca. The Sea Voyage. The Double Marriage. The Pilgrim. The Knight of Malta. The Woman’s Prize, or The Tamer Tamed. Love’s Cure, or The Martial Maid.* The Honest Man’s Fortune. The Queen of Corinth. Women Pleased. A Wife for a Month. Wit at Several Weapons.* Valentinian. The Fair Maid of the Inn. Love’s Pilgrimage. The Masque at the Marriage of the Prince and Princess Palatine of the Rhine. Four Plays in One.*
(Plays followed by an asterisk are believed to be in part by Beaumont: the rest by Fletcher.)
COLLECTED EDITIONS
First Folio, 1647. Fifty Comedies and Tragedies (Second Folio), 1679.—Works of B. and F. (pub. Tonson), 7 vols., 1711.—Theobald, Seward, and Sympson, 10 vols., 1750.—Colman (G.), 10 vols., 1778.—Colman (G.), (with Jonson’s Works), 4 vols., 1811; (without Jonson) 3 Vols., 1811.—Weber (H.), 14 vols. Edin. 1812.—Darley (G.), 2 vols., 1839 (text of Weber).—Dyce (A.), 11 vols., 1843-6; 2 vols., Boston, 1852.—Strachey (J. St. L.), in Mermaid Series, ten plays in 2 vols., 1887.—Builen (A. H.), General editor of Variorum edition by various editors, 12 vols., 1904, (in process).—Glover (A.) and Waller (A. R.), in Cambridge English Classics, 10 vols., 1905. (In process, Text of folio of 1679 with collations of other edd.)
THE KNIGHT OF THE BURNING PESTLE
Ed. Morley (H.), in Burlesque Plays and Poems, Universal Library, 1885.—Moorman (F. W.), in Temple Dramatists, 1898.—Murch (H. S.), in Yale Studies in English, New York, 1908.—Alden (R. M.), in Belles Lettres Series, Boston, 1910.
PRILASTER
Ed. Thayer (W. R.), in Best Elizabethan Plays, Boston, 1890.—Boas (F. S.), in Temple Dramatists, 1898.—Thorndike (A. H.), in Belles Lettres Series, Boston, 1906.
THE MAID’S TRAGEDY
Ed. Thorndike (A. H.), in Belles Lettres Series, Boston, 1906.—Cox (F. J.), 1908.
THE FAITHFUL SHEPHERDESS
Ed. Moorman (F. W.), in Temple Dramatists, 1897.—Fletcher (J. B.), in Belles Lettres Series, announced.
CRITICISM, etc.
Koeppel (E.), Quellenstudien zu den Dramen...Beaumont’s and Fletcher’s, in Münchener Beiträge, XI. 1895.—Leonhardt (B.), Ucber B. and F.’s Knight of the Burning Pestle, Annaberg, 1885. Cf. also Anglia, VIII. 424; XIX. 34; XIX. 509; XXIII. 14; in Engl. Studien, XII. 307; 1885-1903.—Macaulay (G. C.), Francis Beaumont, a critical study, 1883.—Hatcher (O. L.), John Fletcher, a study in dramatic method, Chicago, 1905.—Swinburne (A. C), Beaumont and Fletcher, in Studies in Prose and Poetry, 1894.—Thorndike (A. H.), Influence of B. and F. on Shakespeare, Worcester, Mass., 1901.—Greg (W. W.), Pastoral Poetry and Pastoral Drama, London, 1906.
JOHN WEBSTER
ORIGINAL EDITIONS
The White Devil, 1612. The Duchess of Malfi, 1623, 1640, 1678. The Devil’s Law-case, 1623. Appins and Virginia, 1654. A Cure for a Cuckold (with W. Rowley), 1661. The Thracian Wonder (with W. Rowley), 1661. Induction to The Malcontent, 1604.
COLLECTED EDITIONS
Dyce (A.), 4 vols., 1830, 1867.—Hazlitt (W.), 4 vols., 1857.-Symonds (J. A.), two plays in Mermaid Series, 1888.
THE DUCHESS OF MALFI
Ed. Thayer (W. R.), In Best Elizabethan Plays, Boston. 1890.—Vaughan (C. E.), in Temple Dramatists, 1896.—Sampson (M. W.), in Belles Lettres Series, Boston, 1904.
CRITICISM, etc.
Gosse (E.), in Seventeenth Century Studies, 1883.—Stoll (E. E.), John Webster, the Periods of his work, Boston, 1905.—Pierce (F. E.), The Collaboration of Webster and Dekker, in Yale Studies in English, New York, 1909.—Kiesow (K.), Die Verschichenen Bearbeitungen der Novelle von der Herzogin v. Amalfi, Anglia, XVII. 198.
THOMAS MIDDLETON
ORIGINAL EDITIONS
Blurt, Master-Constable, 1602. The Phoenix, 1607, 1630. Michaelmas Term, 1607. A Trick to Catch the Old One, 1608, 1616. The Family of Love, 1608. A Mad World, my Masters, 1608. Your Five Gallants, n. d. (lic. 1608). A Game at Chess, 1625. A Chaste Maid in Cheapside, 1630. Women Beware Women, 1657. More Dissemblers Besides Women, 1657. No Wit, No Help like a Woman’s, 1657. The Mayor of Quinborough, 1661. Anything for a Quiet Life, 1662. The Witch, 1778. A Fair Quarrel (with W. Rowley), 1617. The Changeling (with W. Rowley), 1653. The Spanish Gipsy (with W. Rowley), 1653. The Old Law (with Massinger and W. Rowley), 1656. The Roaring Girl (with Dekker), 1611. The Widow (with Jonson and Fletcher), 1652.
COLLECTED EDITIONS
Dyce (A.), 5 vols., 1840.—Bullen (A. H.), 8 vols., 1885-6.—Swinburne (A. C), and Ellis (H.), ten plays, in Mermaid Series, 1890.
CRITICISM, etc.
Wiggin (P. G.), An Enquiry into the authorship of the Middleton-Rowley Plays, in Radcliffe College Monographs, Boston, 1897.—Christ (K.), Quellenstudien zu den Dramen Thomas Middleton’s, 1905.
WILLIAM ROWLEY
ORIGINAL EDITIONS
A Search for Money, 1609. A New Wonder, a Woman Never Vext, 1632. A Match at Midnight, 1633. All’s Lost by Lust, 1633. A Shoemaker a Gentleman, 1638. The Changeling (with Middleton), 1653. And many other collaborated plays.
CRITICISM, etc.
Stork (C. W.), Rowley’s Place in the Drama, in his ed. of All’s Lost by Lust, etc., Philadelphia, 1910.—Wiggin (P. G.), An Enquiry into the authorship of the Middleton-Rowley Plays, Boston, 1897.
PHILIP MASSINGER
ORIGINAL EDITIONS
The Virgin Martyr (with Dekker), 1622. The Duke of Milan, 1623. The Bondman, 1624. The Roman Actor, 1629. The Renegado, 1630. The Picture, 1630. The Maid of Honour, 1632. The Emperor of the East, 1632. The Fatal Dowry (with N. Field), 1632. A New Way to Pay Old Debts, 1633. The Great Duke of Florence, 1636. The Unnatural Combat, 1639. The Guardian. 1655. A Very Woman, 1655. The Bashful Lover, 1655. The City Madam, 1658. The Parliament of Love (lic. 1624), 1805. Believe as you List (S. R. 1653), 1849.
COLLECTED EDITIONS
Coxeter (T.), 4 Vols., 1759, 1761.—Mason (T. M.), 4 vols., 1779.—Gifford (W.), 4 vols., 1805, 1813, 1845, 1850; ed. Cunningham (F.), 1870.—Coleridge (H.), with Ford, 1 vol., 1840.—Symons (A.), in Mermaid Series, ten plays in two vols., 1887-89.
A NEW WAY TO PAY OLD DEBTS
Ed. Stronach (G.), in Temple Dramatists, 1904.
CRITICISM, etc.
Stephen (Sir L.), in Cornhill Magazine, Oct., 1877 (also in Hours in a Library, III., 1879).—Swinburne (A. C), in Fortnightly Review, July, 1889.—Tréverret (A. de). Étude sur Massinger, Revue de l’enseignement des langues vivantes, Dec. 1886, Jan. 1887.—Wurzbach (W. von), in Shakespeare Jahrbuch, XXXV. 214, XXXVI. 128.—Koeppel (E.), Quellenstudien, in Quellen und Forschungen, LXXXII., Strassburg, 1897.—Gardiner (S. R.), The Political Element in Massinger, Contemporary Review, XXVIII., 1876 (also New Shak. Soc. Trans., 1876).—Phelan (J.), Anglia, II., 1879.
JOHN FORD
ORIGINAL EDITIONS
The Lover’s Melancholy, 1629. The Broken Heart, 1633. Love’s Sacrifice, 1633. ’T is Pity She’s a Whore, 1633. Perkin Warbeck, 1634. The Fancies, Chaste and Noble, 1638. The Lady’s Trial, 1639. The Witch of Edmonton (with Dekker and W. Rowley). 1658.
COLLECTED EDITIONS
Weber (H.), 2 vols., 1811.—Gifford (W.), 2 vols., 1827; w. additions by Dyce (A.), 3 vols., 1869, 1895.—Coleridge (H.), (with Massinger’s Works), 1840.—Ellis (H.), five plays in Mermaid Series, 1888.—Bang (W.), Louvain, 1908 (in process).
THE BROKEN HEART
Ed. Scollard (C.), New York, 1905.—Smeaton (O.), in Temple Dramatists, 1906.
CRITICISM, etc.
Koeppel (E.), Quellenstudien zu den Dramen ... John Ford’s, in Quellen und Forschungen, LXXXII., Strassburg, 1897.—Swinburne (A. C.), in Essays and Studies, 1888.—Wolff (M.), John Ford, ein Nachahmer Shakespeare’s, Heidelberg, 1880.—Sherman (S. P.), Stella and The Broken Heart, in Publ. Mod. Lang. Ass. Amer. XXIV., 274, 1909; see also his Introduction to Bang’s Ford, and his MS. dissertation in the archives of Harvard University Library.—Pierce (F. E.), The Sequence of Ford’s Plays, The Nation, N. Y., Jan. 5, 1911.
JAMES SHIRLEY
ORIGINAL EDITIONS
The Wedding, 1629. The Grateful Servant, 1630. The School of Compliment, 1631, as Love Tricks, 1637, 1667. Changes, or Love in a Maze, 1632. The Witty Fair One, 1633. The Bird in a Cage, 1633. The Traitor, 1635. Hyde Park, 1637. The Gamester, 1637. The Young Admiral, 1637. The Example, 1637. The Lady of Pleasure, 1637. The Duke’s Mistress, 1638. The Royal Master, 1638. The Maid’s Revenge, 1639. Love’s Cruelty, 1640. The Opportunity, 1640. The Coronation (lic. 1635), 1640. The Constant Maid, 1640, as Love Will Find Out a Way, 1667. St Patrick for Ireland, 1640. The Humorous Courtier, 1640. The Arcadia, 1640. Six New Plays, viz., The Brothers, The Doubtful Heir, The Imposture, The Cardinal, The Sisters, The Court Secret, 1652-3. The Politician, 1655. The Gentleman of Venice, 1655. Honoria and Mammon, 1659. The Contention of Ajax and Ulysses, 1659. The Ball (with Chapman), 1639. Chabot, Admiral of France (with Chapman), 1639.
COLLECTED EDITIONS
Gifford (W.) and Dyce (A.), 6 vols., 1833.—Gosse (E.), six plays, in Mermaid Series, 1888.
CRITICISM, etc.
Swinburne (A. C.), in Fortnightly Review, April, 1890.—Stiefel (A. L.), Die Nachahmung spanischer Komödien in England, in Romanische Forschungen. V. 193, 1890.—Nissen (P.), James Shirley, Hamburg, 1901.—Gärtner (O.), Shirley, sein Leben und Werken, Halle, 1904.
BIOGRAPHICAL SKETCHES
JOHN LYLY
John Lyly was born in Kent about 1554. His father was Peter Lyly, Registrar of Canterbury, and his grandfather the well-known grammarian, William Lyly, the friend of Colet and More. He entered Magdalen College, Oxford, in 1569, whence he graduated B. A. in 1573, and M. A. in 1575. Here he was more distinguished for wit than for scholarship. Going up to London, and living at first under the protection of Burleigh, be produced in 1578 his _Euphues: the Anatomy of Wit_, which was followed in 1580 by _Euphues and his England_, both of which gained a great and immediate popularity. He was now attached to the Earl of Oxford. _Campaspe_, his first play, was performed in 1581, and most of his dramatic work was done in that decade. _The Woman in the Moon_, however, may have been produced as late as 1594-5. In 1583, Lyly married Beatrice Browne, a well-connected lady, who bore him eight children. From 1588 he seems to have held an honorary position as Esquire of the Body to the Queen, and he lived for years in the vain hope of succeeding to the office of Master of the Revels. Between 1589 and 1601 he sat in four parliaments, and in his _Pappe with an Hatchet_ (1589) he took part with the Bishops in the Marprelate controversy. In spite of the distinction which Lyly won by his literary work, be failed to obtain from the Queen the substantial preferment which he craved, and he died in 1606, a disappointed place-seeker. Lyly’s reputation has depended largely on the extraordinary vogue of his _Euphues_, and the immense influence of the style of that work on the prose of the time; but he holds also a highly important position in the development of polite comedy in England.
GEORGE PEELE
The date of Peele’s birth is unknown, but is conjecturally placed about 1558. In 1565 he was a free scholar at Christ’s Hospital, of which his father was clerk, and in 1571 he went to Oxford. He was a student first at Broadgates Hall (now Pembroke College), and later at Christ Church, whence he graduated B. A. in 1577, and M. A. in 1579. From the University, where he had already achieved some reputation as a poet, he went to London, and apparently plunged at once into the irregularities that wrecked his career, for in the same year the governors of Christ’s Hospital forced his father to turn him out of the precincts of the hospital. His wife, whom he had married by 1583, brought him some property, which he soon dissipated; and he became a member of that group of authors who wrote plays, pageants, and all sorts of occasional productions, in the uncertain hope of earning a living. The famous _Jests_, fathered on Peele, are probably quite unauthentic; but there is an unfortunate appropriateness in many of them to his known mode of life. He seems to have been an actor as well as a playwright. Meres mentions him in _Palladis Tamia_ (1598) as dead.
Peele’s claims to distinction rest upon his treatment of metre, and on his humor. He did much to refine and supple the diction of the drama, and before Marlowe placed his stamp upon blank verse, Peele was writing it with great sweetness and a charming musical quality. In the present play, the realistic element in the dialogue is more notable than the decorative, and this realism is employed in the service of a new type of humor. “He was the first,” says Gummere, “to blend romantic drama with a realism which turns romance back upon itself, and produces the comedy of subconscious humor.”
ROBERT GREENE
Greene was much given to the mingling of autobiography with his fiction, and this has resulted in a much larger body of possibly true biographical details than we possess concerning most of his contemporaries. He was born in Norwich of a respectable family, probably about 1560; entered St. John’s College, Cambridge, in 1575; graduated B. A. in 1578; travelled in Spain and Italy, and, by his own account, lived up to the proverbial reputation of the Italianate Englishman; returned to Cambridge and took his M. A. in 1581; and during the rest of his short life busied himself in the production of the very considerable mass of romances, tracts, songs, and plays which to-day give him his place in literature. About 1585 he married a Lincolnshire woman, who bore him a son, and whom he deserted after spending her portion. The annals of literature hardly bear the record of a more sordid career than that of this university-bred man of letters; and his death was only too fitting a close to it. He died in 1592 in the house of a poor shoemaker, to whom he gave a bond for ten pounds, leaving the following letter to his deserted wife: “Doll, I charge thee by the love of our youth and by my soul’s rest that thou wilt see this man paid, for if he and his wife had not succoured me I had died in the streets. Robert Greene.” Following his own wish, the shoemaker’s wife crowned his head with a garland of bay.
In spite of the self-confessed wickedness of his ways, Greene was not a hardened criminal, and no themes are more frequent in his tracts than moral exhortation and repentance. It is further notable that his work is freer from grossness than that of most of his contemporary playwrights, and he is distinguished for the freshness and purity of his female creations. He seems also, to judge from his plays, to have retained a love for the country, where he often chose to lay his scenes; and he ranks high among the lyrists of the time. The vivacity and variety of his humor are well exemplified in the play here printed.
CHRISTOPHER MARLOWE
Christopher Marlowe was the eldest son of a substantial burgess of Canterbury, and he was born in that city on February 6, 1564. He entered the King’s School in January, 1579, and two years later became a scholar of Corpus Christi College, Cambridge, whence he graduated B. A. in 1584, and M. A. in 1587. As _Tamburlaine_ was acted in that year, it appears that Marlowe’s academic and his literary life overlapped. Little is certainly known of his later life, apart from the production of his plays and poems. He belonged to a circle of which Sir Walter Raleigh was the centre, and which contained men like the Earl of Oxford, and Harriot, the mathematician. These men seem to have engaged in scientific and theological speculation, and were suspected of atheism by the narrower spirits of the time. This connection was probably the basis for certain extreme charges made against Marlowe after his death; but there is little evidence worthy of consideration. Even the documents connected with Kyd, in which that author seeks to save his own reputation for orthodoxy at Marlowe’s expense, are under suspicion in point of genuineness. Marlowe died by the hand of a certain Francis Archer, at Deptford, in 1593, but the circumstances are obscure. The later reports, such as that according to which he was stabbed by a serving man in a brawl over a mistress, are inconsistent with one another, and are little worthy of credit. The prevailing impression of the dissoluteness of Marlowe’s life is not based on substantial evidence such as we have, for example, in the case of Greene.
No such uncertainty as surrounds his character and career attaches to the quality of his work. Born in the same year as Shakespeare, he left behind him at twenty-nine work which far surpasses anything his great contemporary had written by that time. In the vastness and intensity of his imagination, the splendid dignity of his verse, and the dazzling brilliance of his poetry at its best, Marlowe exhibited the greatest genius that had so far appeared in the English drama.
THOMAS KYD
The date of Kyd’s birth may with practical certainty be placed in 1558. His father was a London scrivener, and the son was educated at Merchant Taylors’ School, which he entered in 1565. Mulcaster was then headmaster, and Edmund Spenser was among his schoolfellows. He does not seem to have attended a university. A habit of anonymity has thrown a cloud over the extent of Kyd’s literary activity, and the list of his plays and translations has been compiled with difficulty and much less than complete certainty. His fame depends upon _The Spanish Tragedy_, and upon the importance of his contribution to the Senecan tragedy of revenge in this play and probably in the lost pre-Shakespearean _Hamlet_, which is now usually ascribed to him.
The later years of his life seem to have been unfortunate, and he was arrested on charges of sedition and atheism in 1593. From the latter he sought, if the letter to Puckering (Boas. p. cviii.) is genuine, to clear himself by ascribing the ownership of the incriminating documents to the dead Marlowe, and he endeavored to minimise the closeness of his intimacy with his great contemporary. These charges, it appears, lost him his patron, and perhaps in some degree his theatrical popularity. He died in 1594.
Kyd seems to have been a man of gloomy temperament, and the vividness and intensity with which he presents in his work the darker sides of human nature and experience are probably in some degree the outcome of his own disposition. In spite of tendencies to melodrama that, to the modern taste, border on the ludicrous, Kyd rises at times to the utterance of genuine passion, and even his sensationalism is frequently impressive. But his historical importance in the development of the type of tragedy of which _Hamlet_ is the climax must be granted to be greater than his intrinsic value.
GEORGE CHAPMAN
George Chapman was born in Hitchin, Hertfordshire, in 1557 or 1559, and was educated at Oxford, and perhaps also at Cambridge. His earliest extant work is _The Shadow of Night_ (1594), which was followed in 1595 by _Ovid’s Banquet of Sense_, _The Amorous Zodiac_, and other poems, works curiously obscure and contorted in style, though containing distinguished passages. In 1598, he finished Marlowe’s incomplete _Hero and Leander_, and when Meres published his _Palladis Tamia_ in that year, Chapman was already well-known as a playwright. His reputation, however, is most firmly based on his translations from Homer, issued in detachments in 1598, 1609, 1611, and 1614, and complete in folio in 1616. In this work be was encouraged by Prince Henry, to whom he was “sewer in ordinary.” He was imprisoned in 1605 along with Jonson and Marston on account of the passages against the Scots in _Eastward Ho!_ and in 1608 he again had difficulties with the authorities on account of a scene in _Charles, Duke of Byron_. He continued his work in translation and in the drama till his death in 1634.
Though one can hardly feel that Chapman’s natural gifts were those of a dramatist, the evidences of intellectual power, and the almost Shakespearean splendor of the poetry in occasional passages throughout his work, entitle him to an honorable place among the writers of the time.
BEN JONSON
Ben Jonson came of an Annandale family, and was born at Westminster in 1573. He followed his stepfather’s trade of bricklaying for a short time, and later served as a soldier in Flanders. He probably began play-writing about 1595, and two years later we find him in the Admiral’s Company of actors. In 1598 he is mentioned by Meres as a writer of tragedy, and in the same year he killed a fellow-actor in a duel. In prison he became a Roman Catholic, but returned to the Church of England twelve years later. He scored a success with _Every Man in his Humour_ in 1598, Shakespeare acting a part in the play. After several years of work on satirical drama, Jonson turned to tragedy; and on the accession of James I. he began his long series of masques and court entertainments. In 1605 he was again in prison, this time for his share in _Eastward Ho!_ From this date till about 1617 Jonson was at the height of his fame, and was the leading literary figure in London. He visited France in 1613 as tutor to Raleigh’s son; and in 1616 issued a folio edition of his works. In 1618, he visited Scotland, and held his famous conversations with Drummond of Hawthornden; and, on his return, Oxford made him an M. A. After the death of James I, Jonson was less fortunate in court favor, suffered from ill health, and was unsuccessful at the theatre. In 1628, however, he succeeded Middleton as chronologer to the city of London, and the King sent him £100 in his sickness, later raising his salary. But fortune turned against him again; he lost his city office, made further attempts to regain theatrical favor, and died August 6, 1637. Besides plays, he left an interesting prose work, _Timber, or Discoveries_, and a considerable amount of non-dramatic verse. A second folio edition of his _Works_ appeared in 1640.
Jonson’s artistic ideals were classical rather than romantic, and he stands, in significant respects, in opposition to some of the main literary currents of his time. The plays in the present volume include an example of the “comedy of humours” introduced by him, a typical example of his tragedy, and two of his satirical masterpieces. In these alone one can find abundant evidence that, despite a lack of charm and geniality, one is dealing with the work of a deep student of human nature, a vigorous and independent thinker, and a master of eloquent and virile expression.
THOMAS DEKKER
Dekker’s career is an extreme instance of the hazardous life led by the professional author in the time of Shakespeare. Born in London about 1570, Dekker first appears certainly as a dramatist about 1597, when we find him working on plays in collaboration with other dramatists in the pay of Henslowe. He wrote, in partnership or alone, many dramas; and when the market for these was dull, he turned to the writing of entertainments, occasional verses, and prose pamphlets on a great variety of subjects. No writer of the time gives us a more vivid picture of Elizabethan London. But all his activity seems to have failed to supply a decent livelihood, for he was often in prison for debt, at one time for a period of three years; and most of the biographical details about him which have come down to us are connected with borrowing money, or getting into jail or out of it. He disappears from view in the thirties of the seventeenth century.
In spite of the impression of gloom left by such a record, Dekker’s plays abound in high spirits, and their general tendency in plot and characterization is sane and wholesome. Evidences of hasty and careless workmanship are easily found, yet he was far from an uninspired hack, and passages of a noble and delicate poetry are frequent throughout his work.
JOHN MARSTON
John Marston came of an old Shropshire family, and was born, probably at Coventry, about 1575. His father, who bore the same name, was lecturer of the Middle Temple, and there is evidence that the son was trained for the law. He entered Brasenose College, Oxford, in 1592, and, according to Bullen, graduated B. A. in 1594. His first work in poetry was his _Metamorphosis of Pigmalion’s Image and Certain Satires_, 1598; and later in the same year appeared his _Scourge of Villany_. In the following year both books were burned on account of their licentiousness by the order of the Archbishop of Canterbury, though Marston had professed a reformatory purpose in both. In 1599 he turned to play-writing; but the turgid style of his _Antonio and Mellida_ and _Antonio’s Revenge_ brought down on him the ridicule of Jonson in _The Poetaster_. _The Malcontent_ was written during a period of reconciliation with Jonson, and in 1605 Marston collaborated with him and Chapman in _Eastward Ho_, a comedy containing a passage reflecting on the Scots, which landed all three dramatists in prison.
Marston gave up play-writing in 1607, and later became a clergyman. From 1616 to 1631 he held the living of Christ Church, Hampshire, and in 1634 died in London, and was buried in the Temple Church.
The extreme tendency to fustian which Jonson had attacked in Marston’s early work no longer appears to any great extent in _The Malcontent_, and the play exhibits favorably Marston’s capacity for the creation of well marked character and effective stage situations. An attempt has recently been made to show that he exerted a considerable influence on Shakespeare, especially in _Hamlet_.
THOMAS HEYWOOD
The early records of this, the most prolific of the dramatic writers of the time, are extremely scanty. The date of his birth is conjecturally placed about 1575, and he refers to himself as a native of Lincolnshire, and at one time resident at Cambridge. He begins to figure in Henslowe’s accounts in 1596, and he appears as a member of the Lord Admiral’s Company in 1598. He began writing plays with _The Four Prentices of London_, and in the _Address to the Reader_ prefixed to his _English Traveller_ (1633) he claims to have written or had a “main finger” in two hundred and twenty plays. Outside of the drama, he tried his hand at almost all sorts of literature, and the quality of his work is extremely uneven. He was still alive in 1648, but probably died soon thereafter.
Heywood’s characteristic power of elicting powerful emotions by a sympathetic treatment of everyday conditions and events, is well illustrated by the play here printed. While much is perfunctory in his work, one constantly finds evidences of a genuine and pious spirit moved by a keen appreciation of the pathos of human life.
FRANCIS BEAUMONT
Francis Beaumont was born 1584, the son of Sir Francis Beaumont of Grace-Dieu, Leicestershire, a judge of the common pleas. He was educated at Broadgates Hall (now Pembroke College), Oxford, which he entered in 1597. On the death of his father in 1598, he left the university without a degree, and in 1600 became a member of the Inner Temple. The law, however, if he ever really studied it, was soon abandoned for poetry; and Beaumont became an intimate of Jonson and his circle at the Mermaid. His collaboration with Fletcher began early, and seems to have been brought about by personal preference, not, like most collaboration at that time, by the exigencies of the theatrical manager. Aubrey has preserved the tradition of their domestic intimacy and similarity of tastes. Their joint-production seems to have begun about 1605, and there is no evidence that Beaumont wrote any plays after 1612. About 1613 he married, and three years later died and was buried in Westminster Abbey. He had achieved a high contemporary reputation for his non-dramatic poetry, but he survives as a dramatist.
JOHN FLETCHER
John Fletcher came of a family which has given many distinguished names to English literature. His father was Richard Fletcher, Bishop of London. Giles Fletcher the elder was his uncle, and Giles and Phineas Fletcher his cousins. The dramatist was born at Rye, Sussex, in 1579, and entered Benet College (now Corpus Christi), Cambridge, in 1591; but of the details of his life from this time till his appearance as a dramatist little is known. He collaborated with Beaumont from about 1605 till 1612; and, after Beaumont’s withdrawal, with Shakespeare, Jonson, Massinger, and others. He died of the plague in 1625.
The men who laid the foundations of the Elizabethan drama were generally of somewhat obscure origin; and though some of them had been educated at the universities, they were all poor. Beaumont and Fletcher were the first recruits to the profession of play-writing who came of distinguished families and habitually moved in wealthy circles; and this social environment was early suggested as an explanation of their power of representing naturally the conversation of high-born ladies and gentlemen. The general style of their plays has been thus admirably characterized by Thorndike: “Their plots, largely invented, are ingenious and complicated. They deal with royal or noble persons, with heroic actions, and are placed in foreign localities. The conquests, usurpations, and passions that ruin kingdoms are their themes, there are no battles or pageants, and the action is usually confined to the rooms of the palace or its immediate neighborhood. Usually contrasting a story of gross sensual passion with one of idyllic love, they introduce a great variety of incidents, and aim at constant but varied excitement.... The plays depend for interest not on their observation or revelation of human nature, or the development of character, but on the variety of situations, the clever construction that holds the interest through one suspense to another up to the unravelling at the very end, and on the naturalness, felicity, and vigor of the poetry.”
JOHN WEBSTER
The dates 1580-1625 are usually given as conjectures for Webster’s birth and death, exact information being entirely lacking. His father was a member of the Merchant Taylors’ Company, of which the son was likewise a freeman; but this does not imply that he was actually a tailor. In 1602, we find him collaborating with seven others in the production of four plays for Henslowe, and the rest of his biography consists in the discussion of the dates of his works.
Webster’s tragedies come towards the close of the great series of tragedies of blood and revenge in which _The Spanish Tragedy_ and _Hamlet_ are landmarks, but before decadence can fairly be said to have set in. Webster, indeed, loads his scene with horrors almost past the point which modern taste can bear; but the intensity of his dramatic situations, and his superb power of flashing in a single line a light into the recesses of the human heart at the crises of supreme emotion, redeem him from mere sensationalism, and place his best plays in the first rank of dramatic writing.
THOMAS MIDDLETON
The date of Middleton’s birth is unknown, but is conjecturally placed about 1570. He came of good family, and his writings indicate that he received a good education. We know, however, nothing about his early training before his entering Gray’s Inn, probably in 1593. His plays abound in allusions to law and pictures of lawyers.
The earliest evidence of his writing for the stage is in the date of _The Old Law_, which was probably composed by Middleton about 1599, and later revised by Massinger and W. Rowley. He was much employed in the writing of pageants and masques, especially by the city, and in 1621 he obtained the post of city chronologer. In 1624 he gave expression to the popular hatred of Spain in his allegorical play, _A Game at Chess_, which scored a great success, but which was ultimately suppressed at the instigation of the Spanish ambassador, and led to a warrant for Middleton’s arrest. He died in 1627.
In his comedies Middleton shows himself a keen observer of contemporary life and manners, and few writers of the time have left a more vivacious picture of the London of James I. “His later plays,” says Herford, “show more concentrated as well as more versatile power. His habitual occupation with depraved types becomes an artistic method; he creates characters which fascinate without making the smallest appeal to sympathy, tragedy which harrows without rousing either pity or terror, and language which disdains charm, but penetrates by remorseless veracity and by touches of strange and sudden power.”
WILLIAM ROWLEY
William Rowley was born about 1585. He was an actor as well as a dramatist, and is sometimes confused with two other actors, Ralph and Samuel Rowley. In his earlier years he wrote some non-dramatic verse, mostly of a conventional kind. His most important work was done in collaboration with Middleton, with whom he worked from 1614, but he had many other literary partners. His verse is apt to be rough and irregular, his humor broad and rollicking rather than fine, his serious scenes tending to extravagance and bombast. But his constant employment to coöperate with greater men, or revise their work, points to a general serviceableness and a capacity for theatrical effectiveness. His death is conjecturally placed about 1642.
PHILIP MASSINGER
Philip Massinger was born at Salisbury, in November, 1583. His father was in the service of the Earls of Pembroke, and it has been conjectured that the future dramatist was named after the Countess’s brother, Sir Philip Sidney. He entered St. Alban Hall, Oxford, in 1602, and left four years later without a degree, having, according to Wood, “applied his mind more to poetry and romances than to logic and philosophy.” On coming to London he seems to have turned at once to writing for the stage; and, after Beaumont retired from play-writing, Massinger became Fletcher’s chief partner and warm friend. All Massinger’s relations with his fellow-authors of which we have record seem to have been pleasant; and the impression of his personality which one derives from his work is that of a dignified, hard-working, and conscientious man. He seems to have been much interested in public affairs, and he at times came into collision with the authorities on account of the introduction into his plays of more or less veiled allusions to political personages and events. He died in 1640, and was buried in St. Saviour’s, Southwark, in the same grave, it is said by Cokayne, as his friend Fletcher.
Massinger’s great merit lies in his masterly conduct of plot. His characters are usually of a somewhat conventional type, his pictures of passion tend to sheer extravagance, and his ethical quality has in it something mechanical. His verse is often eloquent, but the dialogue is often preposterously remote from life. Yet so skillful was he in the manipulation of the action that he usually holds the attention without difficulty; and in the present play this power is combined with a singularly forceful presentation of the main character and a fairly obvious didacticism that together kept the drama on the stage almost down to modern times.
JOHN FORD
John Ford was born at Ilsington in Devonshire in April, 1586, of good family. A man of his name entered Exeter College, Oxford, in 1601; but if this was our Ford, his stay was short, for he became a member of the Middle Temple in November, 1602. Of the rest of his career we know almost nothing, except the names of people to whom he dedicated his plays and verses. He disappears after the publication of his last play in 1639. He seems to have been a man of a somewhat melancholy temperament, independent in his attitude towards the public taste, and capable of espousing unpopular causes.
Ford’s dramas show a tendency to deal with illicit and even incestuous love in a peculiar mood, the dramatist frequently creating strong sympathy for the tempted and the sinner, and leaving the question of guilt open. This, along with his fondness for the theatrical and the sensational, has led to his being frequently chosen as an example of the decadence of the drama. The charge is not to be denied; but in spite of these defects, he shows a power of insight into suffering and perplexity, and writes at times poetry of such beauty and tenderness, that he remains a figure of much intrinsic interest as well as historical importance.
JAMES SHIRLEY
James Shirley, often called “the last of the Elizabethans,” was born in London in September, 1596, and was educated at Merchant Taylors’ School and St. John’s College, Oxford. Later he went to Catherine Hall, Cambridge, whence he graduated. About 1619 he took orders, and obtained a living at St. Albans, Hertfordshire; but resigned to enter the church of Rome, and became master of the St. Albans grammar school in 1623. His first play was licensed in 1625, and from this time till the closing of the theatres he devoted himself to the writing of plays and masques, gaining both popular success and the patronage of the court. With the outbreak of the Civil War, Shirley followed his patron, the Earl of Newcastle, to the field; but after Marston Moor he returned to London, published some of his earlier writings, and resumed teaching. Some of his plays were revived at the Restoration, but he wrote no more. He and his second wife were driven from their home by the fire of London in 1666, and both died from shock on the same day.
Shirley wrote many non-dramatic poems, graceful enough but conventional; few of them are read to-day. Out of nearly forty dramas, seven are tragedies, the rest chiefly romantic comedies and comedies of manners. He was a careful student of the work of his predecessors, and he reproduced many of their dramatic effects with skill. He had a distinct comic gift, and his power in tragedy may be judged by _The Cardinal_. With Shirley, more than with any of his fellow-playwrights, one feels the disadvantage of coming so late in the development of this phase of the drama that originality of conception seems almost impossible. That he is still able to amuse and to thrill with the old instruments is proof of his capacity as a literary workman; and he should not be denied the possession of passages where he displays touches of imagination all his own.
INDEX OF CHARACTERS
Abbess, 96. Abbot, 122. Abigail, 96. Acton, Sir Francis, 485. Aeolus, 568. Afer, 247. Agrippina, 247. Agydas, 57. Alexander the Great, 80. Alexandro, 153. Alexis, 598. Alibius, 715. Allworth, Tom, 741. Allworth, Lady, 741. Alphonso, 830. Alsemero, 715. Altofronto, Giovanni, 456. Alvarez, Count d’, 830. Amarillis, 598. Amble, 741. Amelus, 770. Amintor, 568. Amoret, 598. Amyclas, 770. Ananias, 325. Andrea, Ghost of, 153. Androgyno, 285. Anippe, 57. Annabelle, 185. Anselmo, 393. Antic, 24. Antiphila, 568. Antonelli, 830. Antonio, 715, 830. Antonio Bologna, 656. Antonio Georgio, 425. Aplotes, 770. Apprentices, 367, 393, 425. Archbishop of Canterbury, 122. Arethusa, 539. Aretina, 800. Armostes, 770. Arruntius, 247. Arthur, 690. Arundel, 122. Askew, 367. Aspatia, 568. Astolfo, 425. Audrey, 690. Aurelia, 456. Avocatori, 285.
Bagoa, 1. Bajazeth, 57. Baldock, 122. Balthazar, 153. Barabas, 96. Barber, 509. Barnardine, 96. Barrisor, 185. Bashaw, 153. Bassanes, 770. Bassoes, 57, 96. Bazardo, 153. Beatrice-Joanna, 715. Beaumont, 122. Beaupre, 185. Behemoth, 185. Bel-Imperia, 153. Bellafront, 393, 425. Bellamira, 96. Bellario, 539. Belleur, 625. Belzebub, 80. Benedict, Doctor, 393. Beraldo, 425. Berkeley, 122. Bianca, 456. Bilioso, 456. Bishop of Coventry, 122. Bishop of Winchester, 122. Bobadill, Captain, 214. Bonario, 285. Bornwell, Lady, 800. Bornwell, Sir Thomas, 800. Bosola, Daniel De, 656. Bots, 425. Bountinall, Catharina, 425. Brainworm, 214. Brickbat, Roger, 485. Bridewell, Masters of, 425. Bridget, Mistress, 214. Brisac, 185. Bryan, 425. Burden, Doctor, 35. Bussy D’Ambois, 185.
Calantha, 770. Calypha, 24. Calianax, 568. Caligula, 247. Candido, 393, 425. Candido’s Bride, 425. Capolin, 57. Captain, 539. Cardinal, 656, 830. Cardinal of Lorrain, 80. Cariola, 656. Carolo, 425. Carpenters, 96. Cartophylax, 185. Cash, Thomas, 214. Castile, Cyprian, Duke of, 153. Castile, King of, 35. Castrone, 285. Castruccio, 656. Castruchio, 393. Catharina Bountinall, 425. Celanta, 24. Celestina, 800. Celia, 285. Celinda, 830. Celso, 456. Ceneus, 57. Chambermaid, 741. Champion, 122. Charlotte, 185. Christophil, 153. Christalla, 770. Churchwarden, 24. Cicely, 485. Citizen, 509. Citizen’s Wife, 509. Clement, Doctor, 35. Clement, Justice, 214. Cleon, 568. Cleremont, 539. Cloe, 598. Clorin, 598. Clowns, 35, 80. Clunch, 24. Cob, Oliver, 214. Columbo, 830. Colonels, 830. Commandadori, 285. Constables, 1, 35, 425. Corbaccio, 285. Cordus, 247. Corebus, 24. Cornelius, 80. Cornwall, Earl of, 367. Corsites, 1. Corvino, 285. Cosroe, 57. Cotta, 247. Country Fellow, 539. Courtesan, 690. Crambo, 393. Cranwell, 485. Creditors, 690, 741. Crotolon, 770. Cynthia, 1, 568. Cyprian, Duke of Castile, 153.
D’Alvarez, Count, 830. Dame Kitely, 214. Dame Pliant, 325. Dampit, Harry, 690. Daniel De Bosola, 656. Daphnis, 598. Dapper, 325. Dares, 1. Decoy, 800. De Flores, 715. De Gard, 625. Delia, 24. Delio, 656. Deputy, 153. Devils, 35, 80. Diagoras, 569. Diaphanta, 715. Dion, 539. Diphilus, 568. Dipsas, 1. Doctor, 656. Dodger, 367. Dol Common, 325. Don Bazulto, 153. Don Lodowick, 96. Don Mathias, 96. Don Pedro, 153. Dorothea Target, 425. Downright, George, 214. Dragon, 35. Drugger, 325. Drusus Junior, 247. Drusus Senior, 247. Duchess of Vanholt, 80. Duchess Rosaura, 830. Duke of Guise, 185. Duke of Vanholt, 80. Dula, 568. Dumb Show, 1, 153. Dutch Skipper, 367.
Earl of Kent, 122. Ebea, 57. Edward Knowell, 214. Edward, Prince, 122. Edward, Prince of Wales, 35. Edward the Second, 122. Elenor, Duchess of Guise, 185. Elinor of Castile, 35. Emilia, 456. Emperor of Germany, 35, 80. Endymion, 1. Epiton, 1. Equato, 456. Erastus, Knight of Rhodes, 153. Erestus, 24. Ermsby, 35. Eudemus, 247. Eumenides, 1, 24. Euphranea, 770. Euphrasia, 539. Evadne, 568. Evil Angel, 80.
Face, 325. Fairies, 1. Falconers, 485. Fantastic, 24. Faustus, 80. Favilla, 1. Ferdinand, 656. Ferneze, 96, 456. Ferrardo, 456. Fingerlock, Mistress, 393. Firk, 367. First Brother, 24. Flamen, 247. Floscula, 1. Fluello, 393. Fontinell, 425. Foot-Boy, 625. Formal, Roger, 214. Foxtone, 690. Franciscus, 715. Frankford, John, 485. Frankford, Mistress Anne, 485. Frederick, Master, 800. Freedom, Sam, 690. Friars, 24, 80. Friar Bacon, 35. Friar Bungay, 35. Friar Comolet, 185. Friscobaldo, Orlando, 425. Frolic, 24. Froth, 741. Furies, 24. Furnace, 741. Fustigo, 393.
Galatea, 539. Gallus, 247. Gasparo Trebazzi, 393, 425. Gaveston, 122. Gentleman-usher, 830. Georgio, Antonio, 425. George, 393, 509, 690. Geron, 1. Ghost of Andrea, 153. Ghost of Friar, 185. Ghost of Jack, 24. Giovanni, Altofronto, 456. God of the River, 598. Good Angel, 80. Governor of Damascus, 57. Grausis, 770. Greedy, 741. Greengoose, George, 509. Grege or Mob, 285. Grisolan, 656. Groneas, 770. Guerrino, 456. Guise, Duchess of, 185. Guise, Duke of, 185. Gulf, 690. Gurney, 122. Gyptes, 1.
Haircut, 800. Hammerton, William, 509. Hammon, 367. Hangman, 153. Hans, 367. Harvest-men, 24, 367. Haterius, 247. Helen of Troy, 80. Hemophil, 770. Henry III of England, 35. Henry III of France, 185. Herald, 122. Hercules, 35. Hernando, 830. Hieronimo, 153. Hippolito, 393, 425. Hoard, Onesiphorus, 690. Hoard, Walkadine, 690. Hodge, 367. Horatio, 153. Horse-Courser, 80. Horseleech, Mistress, 425. Host, 509, 690. Hostess, 24. Hostess of the Bell, 35. Huanebango, 24. Humphrey, 509. Hunters, 367. Huntsmen, 485. Hymen, 153.
Infelice, 393, 425. Isabella, 153, 715, 800. Ithamore, 96. Ithocles, 770.
Jack, 24. Jack Slime, 485. Jacomo, 96. Jacques, 153. James, 122. Jane, 367. Jaques, 830. Jaques Vandermast, 35. Jasper, 509. Jasperino, 715. Jenkin, 485. Jews, 96. Joan, 35. Joyce, 690. Julia, 656. Justice Clement, 214.
Kastrill, 325. Katherine, 96. Keeper of Fressingfield, 35. Keeper of Prison, 485. Kickshaw, Alexander, 800. King, 367, 568. King Henry III, 35. King of Arabia, 57. King of Argiers (Algiers), 57. King of Castile, 35. King of Fez, 57. King of Morocco, 57. King of Navarre, 830. King of Sicily, 539. King of Spain, 153. Kitely, 214. Kitely, Dame, 214. Kix, 690. Knight, 80. Knights, 96. Knowell, 214.
Laco, 247. Lacy, Earl of Lincoln, 35. Lacy, Rowland, 367. Lacy, Sir Hugh, 367. La Castre, 625. L’Anou, 185. Lambert, 35. Lamprey, 690. Lampriscus, 24. Lancaster, 122. Latiaris, 247. Launcelot, 690. Leicester, 122. Lepidus, 247. Levune, 122. Lictores, 247. Lightborn, 122. Lillia Bianca, 625. Limber, 690. Lincoln, Earl of, 35. Littleworth, John, 800. Livia, 247. Lodovico Sforza, 425. Lollio, 715. Lord ——, 800. Lorenzo, 153. Lovell, 367. Lovell, Lord, 741. Lovewit, 325. Luce, 509. Lucifer, 80. Lucre, Mistress, 690. Lucre, Pecunius, 690. Lugier, 625. Lysippus, 568.
Machiavel, 96. Macro, 247. Madge, 24. Madmen, 393, 656, 715. Maffe, 185. Magnetes, 57. Maid, Isabella’s, 153. Malatesti, Count, 656. Malby, 485. Malevole, 456. Malfi, Duchess of, 656. Mammon, Sir Epicure, 325. Maquerelle, 456. Margaret, 741. Margaret of Fressingfield, 35. Margery, 367. Maria, 456. Mariana, 625, 800. Marrall, 741. Martin Del Bosco, 96. Mason, Doctor, 35. Masquers, 568. Matheo, 393, 425. Mathew, 214. Matrevis, 122. Meander, 57. Megra, 539. Melantius, 568. Melynell, 185. Menaphon, 57. Mendoza, 456. Mephistophilis, 80. Mercatori, 285. Merchants, 96. Merrythought, 509. Merrythought, Mistress, 509. Michael, 509. Miles, 35. Ministri, 247. Minutius, 247. Mirabel, 625. Mistress Fingerlock, 393. Moneylove, 690. Monks, 122. Monsieur, 185. Montsurry, 185. Moors, 57. Mortimer, the elder, 122. Mortimer, the younger, 122. Mosca, 285. Mountford, Old, 485. Mountford, Susan, 485. Mountford, Sir Charles, 485. Mower, 122. Murderers, 185. Mycetes, 57.
Nano, 285. Nantolet, 625. Natta, 247. Navarre, King of, 830. Nearchus, 770. Neptune, 568. Nero, 247. Nicholas, 483. Niece to Edward II, 122. Night, 568. Notario, 285. Nuntius, 185, 247.
Oately, Sir Roger, 367. Old Man, 1, 80. Old Shepherd, 598. Olympias, 568. Opsius, 247. Order, 741. Orgilus, 770. Oriana, 625. Orlando Friscobaldo, 425. Ortygius, 57. Overreach, Sir Giles, 741.
Page, Lorenzo’s, 153. Panelion, 1. Paramour of Alexander the Great, 80. Passarello, 456. Pedringano, 153. Pedro, 153, 715, 830. Pembroke, 122. Penelope Whorehound, 425. Penthea, 770. Peregrine, 285. Perigot, 598. Pero, 185. Perseda, 153. Pescara, Marquis of, 656. Petella, 625. Pharamond, 539. Philaster, 539. Philema, 770. Philemus, 57. Phulas, 770. Pietro Jacomo, Duke of Genoa, 456. Pilia-Borsa, 96. Pinac, 625. Pioratto, 393. Piracquo, Alonzo De, 715. Piracquo, Tomaso De, 715. Placentia, 830. Poli, 393. Pompiona, 509. Pomponius, 247. Poor Man, 122. Pope, 80. Porter, 393. Portuguese Ambassador, 153. Portuguese, Two, 153. Posthumus, 247. Praecones, 247. Prepasso, 456. Priest, 625. Priest of Pan, 598. Prince Edward, 122. Prologue, 509. Prophilus, 770. Pyra, 185. Pyrrhot, 185. Pythagoras, 1.
Queen Isabella, 122.
Ralph, 80, 367,509. Ralph Simnell, 35. Reader, 96. Regulus, 247. Revenge, 153. Rice ap Howel, 122. Richard, 35. Robin, 80. Roder, 485. Roger, 367, 393. Roger Brickbat, 485. Roderigo, 656. Rosalura, 625. Rosaura, Duchess, 830. Rose, 367. Rufus, 247.
Sabinus, 247. Sacrapant, 24. Samias, 1. Sandy, 485. Sanquinius, 247. Satrius, 247. Satyr, 598. Scentlove, Sir William, 800. Scholars, 35, 80. Scintilla, 1. Scott, 367. Scrivener, 690. Sea Gods, 568. Second Brother, 24. Secretary to Lord ——, 800. Sejanus, 247. Selim Calymath, 96. Semele, 1. Serberine, 153. Serlsby, 35. Servitore, 285. Servus, 247. Seven Deadly Sins, 80. Sexton, 24. Sforza, Lodovico, 425. Shafton, 485. Shepherds, 598. Shepherdesses, 598. Sheriff, 485. Shoemakers, 367. Silius, 247. Silvio, 656. Simon Eyre, 367. Sinezi, 393. Singing Boy, 625. Sir Epicure Mammon, 325. Sir John of Hainault, 122. Sir Politic Would-Be, 285. Sir Tophas, 1. Slaves, 96. Slime, Jack, 485. Soldan of Egypt, 57. Soliman, 153. Sosia, 247. Spanish General, 153. Spenser, the elder, 122. Spenser, the younger, 122. Spichcock, 600. Spigot, 485. Spirit of Hercules, 35. Stephen, 214. Steward to Lady Aretina, 800. Steward to Lady Celestina, 800. Stato, 508. Subtle, 325. Sullen Shepherd, 598. Surgeon, 830. Surly, Pertinax, 325. Susan Mountford, 485. Sussex, Earl of, 35. Sybil, 367.
Tamburlaine, 57. Tamyra, Countess of Montsurry, 185. Tapster, 509. Tapwell, 741. Target, Dorothea, 425. Techelles, 57. Tecnicus, 770. Tellus, 1. Terentius, 247. Thelea, 24. Thenot, 598. Theridamas, 57. Thomas, 35. Thrasiline, 539. Thrasus, 770. Tib, 214. Tiberius, 247. Tibicines, 247. Tidy, 485. Tim, 509. Tophas, Sir, 1. Trebazzi, Gasparo, 393. Tribune, 247. Trio, 247. Tribulation Wholesome, 325. Trussel, 122. Tubicines, 247. Two Nuns, 96.
Umbra of Friar, 185. Usumcasane, 57.
Valdes, 80. Valeria, 830. Vandermast, Jaques, 35. Varro, 247. Venelia, 24. Venturewell, 509. Vermandero, 715. Viceroy of Portugal, 153. Villuppo, 153. Vintner, 80. Viola, 393. Virgins of Damascus, 57. Volpone, 285. Voltore, 285.
Wagner, 80. Waiting Woman, 741. Warner, 367. Warren, Earl of Sussex, 35. Warwick, 122. Watchall, 741. Watchmen, 1, 153. Wellborn, Frank, 741. Wellbred, 214. Wendoll, 485. Wholesome, Tribulation, 325. Whorehound, Penelope, 425. Wiggen, 24. Willdo, 741. Winds, 568. Witgood, Theodorus, 690. Woodmen, 539. Would-Be, Madame, 285. Would-Be, Sir Politic, 285.
Zabina, 57. Zantippa, 24. Zenocrate, 57. Zontes, 1.
INDEX OF SONGS
Alack, alack, 386. All ye that lovely lovers be, 26. All ye woods, and trees, and bowers, 624. And some they whistled, and some they sung, 537. And where is your true love? Oh, where is yours, 536. Arms and honours deck thy story, 674. As you came from Walsingham, 522.
Begone, begone, my juggy, my puggy, 528. Better music ne’er was known, 538. But yet, or ere you part (oh, cruel!), 516.
Can you paint a thought, or number, 782. Cold’s the wind, and wet’s the rain, 389. Come, my Celia, let us prove, 306. Come, my Daphne, come away, 853. Come no more there, boys, 536. Come, shepherds, come, 603. Come, you whose loves are dead, 532. Comforts lasting, loves increasing, 786. Cynthia, to thy power and thee, 572.
Der was een bore van Gelderland, 371. Do not fear to put thy feet, 612. Down, down they fall, 522.
Fools, they are the only nation, 288. For Jillian of Berry, she dwells on a hill, 533. From the honour’d dead I bring, 654.
Give him flowers enow, palmer, 522. Glories, pleasures, pomps, delights, and ease, 798. Go from my window, love, go, 528.
Had old Hippocrates, or Galen, 296. _Hans’s Song_, 371. Hark, now everything is still, 680. _Harvest-men’s Song_, 29. He set her on a milk-white steed, 522. He that doth his youth expose, 690. Heigh-ho, farewell, Nan!, 516. Ho, ho, nobody at home!, 533. Hold back thy hours, dark Night, 572.
I come not hither for thee to teach, 529. I could never have the power, 574. I’d set mine old debts against my new driblets, 370. I would not be a serving-man, 533. If such danger be in playing, 537. If you will sing, and dance, and laugh, 528. It was a lady’s daughter, 537.
Lay a garland on my hearse, 574. Lo, here we come a-reaping, 29.
Maids of England, sore may you mourn, 133. My Savoy lord, why dost thou frown on me? 644.
Nose, nose, jolly red nose, 615.
O, let us howl some heavy note, 678. O, no more, no more, too late, 793. O, the month of May, the merry month of May, 379. Oh, the Mimon round, 536.
She cares not for her daddy, nor, 522. Sing his praises that doth keep, 600. Sing we, and chant it, 536. Sweet love, pity me, 725.
Tell me, dearest, what is love? 523. The courtier’s flattering jewels, 410. The Dutchman for a drunkard, 478. _The First Three-men’s Song_, 379. _The Second Three-men’s Song_, 389. Thou art welcome from Stygian lake so soon, 536. ’T is mirth that fills the veins with blood, 521. To bed, to bed! Come, Hymen, lead the bride, 572. Troul the black bowl to me, 521.
Was never man, for lady’s sake, 522. Well met, pug, the pearl of beauty, 401. When earth and seas from me are reft, 516. When it was grown to dark midnight, 521. When as the rye reach to the chin, 25. Who can sing a merrier note, 533. Who would fear that may destroy, 481. Why, an if she be, what care I, 522. Why, farewell he! 536. With hey, trixy, terlery-whiskin, 537. With that came out his paramour, 537.
You are no love for me Margaret, 529. You that would last long, list to my song, 297.
INDEX OF AUTHORS
Beaumont, Francis, 509, 539, 568, 872. Chapman, George, 185, 870. Dekker, Thomas, 367, 393, 425, 871. Fletcher, John, 509, 539, 568, 598, 625, 872. Ford, John, 770, 874. Greene, Robert, 35, 869. Heywood, Thomas, 485, 872. Jonson, Ben, 214, 247, 285, 325, 871. Kyd, Thomas, 153, 870. Lyly, John, 1, 869. Marlowe, Christopher, 57, 80, 96, 122, 870. Marston, John, 456, 871. Massinger, Philip, 741, 873. Middleton, Thomas, 690, 715, 873. Peele, George, 24, 869. Rowley, William, 715, 873. Shirley, James, 800, 830, 874. Webster, John, 456, 656, 873.
INDEX OF PLAYS
A New Way to Pay Old Debts, 741, 859. A Trick to Catch the Old One, 690, 859. A Woman Killed with Kindness, 485, 858. Bussy D’Ambois, 185, 856. Doctor Faustus, 80, 855. Edward the Second, 122, 856. Endymion, the Man in the Moon, 1, 855. Every Man in His Humour, 214, 856. Friar Bacon and Friar Bungay, 35, 855. Philaster, or Love Lies a-bleeding, 539, 858. Sejanus, His Fall, 247, 857. Tamburlaine, Part I, 57, 855. The Alchemist, 325, 857. The Broken Heart, 770, 859. The Cardinal, 830, 860. The Changeling, 715, 859. The Duchess of Malfi, 656, 859. The Faithful Shepherdess, 598, 858. The Honest Whore, Part I, 393, 857. The Honest Whore, Part II, 425, 857. The Jew of Malta, 96, 856. The Knight of the Burning Pestle, 509, 858. The Lady of Pleasure, 800, 860. The Maid’s Tragedy, 568, 858. The Malcontent, 456, 857. The Old Wives Tale, 24, 855. The Shoemakers’ Holiday, 367, 857. The Spanish Tragedy, 153, 856. The Wild-Goose Chase, 625, 859. Volpone, or The Fox, 285, 857.
FOOTNOTES:
[1] Interpret the play as referring to political or other events.
[2] In the Gardens of Cynthia’s Palace.
[3] So Bond. Old edd. _love_.
[4] Infatuated with.
[5] Foolish.
[6] Swaddling-clothes.
[7] The same.
[8] Plot.
[9] Caught with poisoned dough-balls.
[10] The same.
[11] Blunt arrows.
[12] Wool of Seres, Chinese silk. Old edd. read _Ceres_. Bond _Seres_.
[13] Old edd. _confound_.
[14] Drake.
[15] The same.
[16] Plot.
[17] Abated.
[18] Overcome.
[19] The same.
[20] “The fish _Scolopidus_ in the flood _Araris_.”—_Anat. of Wit_, p. 89, Arber. (Baker.)
[21] The same.
[22] A thief.
[23] Dolls.
[24] Loose shoes.
[25] Show his style.
[26] The trout which Epiton is carrying.
[27] Uncombed.
[28] Paltry.
[29] Reproached.
[30] In a Grove.
[31] Moonwort. “I have heard of an herb called Lunary that being bound to the pulses of the sick cause nothing but dreams of weddings and dances.” Act III, Sc. 3, _Sapho and Phao_. (Baker.)
[32] _Dumb show._ Omitted in first edition. Given by Blount in 1632.
[33] Blount reads _readeth_.
[34] In the Gardens of the Palace.
[35] Wranglings.
[36] A crooked tree.
[37] Matters.
[38] Before a castle.
[39] In the Gardens of the Palace.
[40] Here, and below, the allusions are to W. Lilly’s Latin Grammar.
[41] Disclose.
[42] Cicero, _De Officiis_, i. 22, 76.
[43] Adapted from Ovid, _Heroides_, xvii. 254.
[44] Ovid, _Her._ iv. 10.
[45] These lines seem to be Lyly’s own.
[46] Ovid, _Amores_, i. 9. 1.
[47] Ovid, _Ars Amatoria_, ii. 123.
[48] Ovid, _Tristia_, iv. 10, 26.
[49] Simpleton.
[50] Take off.
[51] The Song appears first in Blount’s edition.
[52] Grow fat.
[53] To untie the laces.
[54] So Baker. Old edd. _Travice_.
[55] Terence, _Andria_, 1. i. 144.
[56] A desert place, with a fountain.
[57] Foolish.
[58] Foolish.
[59] Before Corsites’ Castle.
[60] Bond emends to _customary_.
[61] That.
[62] In the Gardens of the Palace.
[63] Irritable humour.
[64] Move.
[65] Black Sanctus, a hymn to Saint Satan.
[66] So Baker. Old edd. read _No_.
[67] Quoted by Cicero in _Paradoxa Stoicorum_, i. 1, as from Bias (Baker).
[68] So Baker. Old edd. read _Now_.
[69] Lucan, vii. 819.
[70] Fellows.
[71] Rumbles.
[72] Let me understand.
[73] This song appears first in Blount’s edition.
[74] Fool.
[75] Swagger.
[76] In the Grove, till v. 54.
[77] Languor.
[78] Appears first in Blount’s edition.
[79] A country dance.
[80] Now the Gardens.
[81] Again in the Grove.
[82] Overcome.
[83] In the Grove.
[84] Or _here_. Old edd. read _heere_.
[85] Appearance.
[86] In the Gardens of the Palace.
[87] So Baker. Old edd. read _love lappe_.
[88] Grove.
[89] An unfledged bird.
[90] Virgil, _Æneid_, iv. 23.
[91] A sucking rabbit.
[92] Old edd. _be_.
[93] Adapted from Ovid, _Ars Amat._ i. 244.
[94] Terence, _Adelphi_, v. 9. 9.
[95] Girls.
[96] Ovid, _Ars Amat._, ii. 535.
[97] Pale blue.
[98] The same.
[99] Wickeder.
[100] Unheard of.
[101] Bond transposes _scar_ and _wound_; and _seen_ and _felt_.
[102] Mean, base.
[103] Worms. A comic execration.
[104] Q _Franticke_.
[105] Dejected.
[106] A gay fellow.
[107] With a pun on _wood_, mad.
[108] Long wide trousers.
[109] The scene is now at the cottage.
[110] Madge is called _old woman_ in the speech-tags throughout in Q.
[111] A drink made of ale and the pulp of roasted crab-apples.
[112] A common card game.
[113] Handsome.
[114] [The young man] lives.
[115] Erestus is called _old man_ in the speech-tags throughout in Q.
[116] Later, _Corebus_.
[117] The clown appears to be priding himself on his finery—his plume and long stockings.
[118] Care.
[119] Abundance.
[120] However hard the times may be.
[121] Sings.
[122] Called.
[123] Previously, _Booby, the clown_.
[124] Q. _Simon_.
[125] That’s flat.
[126] In Q. _Wiggen ... pike-staff_ appears as part of Sexton’s speech.
[127] Open the argument from my side. (Bullen).
[128] On.
[129] Where the ale-house often stood.
[130] Vile.
[131] Well done.
[132] Diggers.
[133] Ugly.
[134] Plague take you!
[135] With a vengeance. The origin of the phrase is uncertain.
[136] Used as a love charm.
[137] Apparently a parody of Stanyhurst’s hexameters.
[138] Pig’s eye, darling.
[139] A quotation from Harvey’s _Encomium Lauri_.
[140] Chaucer’s phrase for alliteration.
[141] Quoth he.
[142] “Lob’s pound” meant “the thralldom of a henpecked married man.” (Bullen.)
[143] This stage direction occurs in Q after _tree_.
[144] Well done!
[145] Qy. Read _life’s_ for _life his_?
[146] This and the next three lines are found, with slight variations, in Greene’s _Orlando Furioso._ (Dyce.)
[147] Separate.
[148] Framlingham.
[149] Of late.
[150] Outstripped.
[151] Dogs that roused the game.
[152] A woollen cloth.
[153] Dejected.
[154] Pearls.
[155] Rare appearance.
[156] Tint.
[157] Would have made that woman blush whom art, etc.
[158] Placket, slit in a woman’s skirt.
[159] Because.
[160] July 25.
[161] Outstrip.
[162] Overmaster.
[163] Friar Bacon’s cell at Brazenose.
[164] Be assured.
[165] Pentagram, the five-rayed star supposed to have magical properties.
[166] Aims, tries to shoot with.
[167] Pick-a-back, on your shoulders.
[168] Care not for.
[169] Impulse.
[170] Cast down.
[171] Be abashed.
[172] Harleston Fair.
[173] Bargain.
[174] In the face of it.
[175] Fastidious.
[176] Qq. give these words to Mar.
[177] A term of contempt.
[178] _I. e._ shepherd’s garb.
[179] Hampton Court.
[180] Definitions, statements of scientific principles.
[181] Till.
[182] Q₁ _fit_; Q₂ _sit_. Qy. _flit_?
[183] Oxford: a street.
[184] At hand, at any instant.
[185] Trick.
[186] Swaggering.
[187] A student who received free board and tuition, and, formerly, performed menial services.
[188] Tied by love.
[189] Entreat.
[190] Leathern wine jugs.
[191] Friar Bacon’s Cell.
[192] This stage-direction shows that the change of scene took place only in the minds of the audience.
[193] Qq. _bright-sunne_. Gayley suggests _sunne-bright_.
[194] The Prince does not hear the following dialogue.
[195] Excuse.
[196] So Gayley. Qq. _cape_. Other edd. _rape_.
[197] Check, overmaster.
[198] Nearer (to your purpose).
[199] Prematurely.
[200] Because.
[201] Portable breviary.
[202] Gayley _scale_, as Q.
[203] From.
[204] The Regent-house at Oxford.
[205] Visit.
[206] Worthless fellow.
[207] Trim(?) (Cent. Dict.)
[208] Darling.
[209] From the soles of the slippers.
[210] Qq. _Bartlets_, perhaps rightly, as Greene may have intended Miles to corrupt the name of the author of _The Ship of Fools_.
[211] The old north gate of Oxford, used as a prison.
[212] Fressingfield.
[213] Love.
[214] Sharer.
[215] Shittim.
[216] Get rid of.
[217] Overturned.
[218] Oxford.
[219] Fattening.
[220] Compared.
[221] _I.e._ Paris. Qq. _Lutrech_.
[222] Love-kindling looks.
[223] See note on I. 5.
[224] A servant who sets the table.
[225] Chopped meat in broth(?) (N. E. D.)
[226] Wonder.
[227] Qq. _with such_.
[228] Spices.
[229] A variety of plums.
[230] Confectionery.
[231] Lamprey(?) (Ward).
[232] Fressingfield.
[233] Pitchers.
[234] Jointure, or jointress.
[235] Estate (Gayley).
[236] Degree.
[237] Till.
[238] Qq. _Lempster_ (phonetic).
[239] Strutting, swelling.
[240] Hang loosely (N. E. D.).
[241] Qq. _forward_.
[242] Ephemera.
[243] Premature.
[244] Friar Bacon’s cell.
[245] Halbert.
[246] Till.
[247] With a pun on _coursed_ and _fares_, goes.
[248] At Court.
[249] Excessively.
[250] Friar Bacon’s cell.
[251] Venture.
[252] Bout.
[253] Britons(?) bloods(?)
[254] Doomed.
[255] Freesingfield.
[256] A lewd woman.
[257] Foolishly.
[258] Friar Bacon’s cell.
[259] Trimmings or facings.
[260] Pack.
[261] Of froth.
[262] The Court.
[263] This prophecy refers, as usual, to Elizabeth.
[264] Lower.
[265] So Dyce. Qq. _first_.
[266] Uncivilized.
[267] Forthwith.
[268] Viceroy.
[269] Confounded.
[270] Care.
[271] Rule.
[272] Dissolve.
[273] Persons of state.
[274] May Jove.
[275] Investiture.
[276] Early edd. read _of Medea_.
[277] The curtle-axe (Fr. _coutelasse_) was not an axe, but a short curved sword, the modern cutlass.
[278] Invaluable.
[279] Valuable.
[280] Fine.
[281] Trunks.
[282] Merchantmen.
[283] Lower their flags.
[284] Partner.
[285] Early edd. _noble_.
[286] Originally the height to which a falcon soared; hence for height in general. Here it means the shoulders.
[287] So Dyce. Early edd. read _snowy_.
[288] Gate.
[289] Scurvy.
[290] Spies.
[291] Surpass. Early edd. read _stop_.
[292] Nemesis, who had a temple at Rhamnus in Attica. (Bullen.)
[293] The white mark in the target at which the archers aimed.
[294] The peg in the centre which fastened the clout.
[295] Ed. of 1605, _apeece_.
[296] Booty.
[297] Requite.
[298] Dyce emends to _fate_.
[299] Artery.
[300] Rule.
[301] Preys.
[302] Algiers.
[303] Pashas.
[304] Christians who have abjured their faith.
[305] The Mediterranean.
[306] The Black Sea.
[307] Subjection.
[308] Deeds.
[309] Astonished.
[310] Sticks. Ital. _bastone_.
[311] Seraglio.
[312] Huge.
[313] Dash to pieces.
[314] Floating.
[315] Qq. _our_.
[316] Perhaps in the sense of “decoy.” Ellis suggests “light” from Fr. _lueur_. Dyce conj. _air_.
[317] Contemptuously used of a woman.
[318] Early edd. add _and slay_.
[319] Defeat. Early edd. read _soile_.
[320] Plundering.
[321] Zante. (Bullen.)
[322] Gibraltar.
[323] Biscay.
[324] Pieces of ordnance, so called from their fancied resemblance to the fabulous serpent of that name. (Cunningham.)
[325] Trisyllabic here.
[326] Demogorgon.
[327] Vain-glorious, boastful.
[328] Early edd. read _stature_.
[329] Dyce conj.
[330] Slices for broiling.
[331] Hinder.
[332] Until.
[333] Band.
[334] Holding out his sword.
[335] Expecting.
[336] Free.
[337] Shore: Fr. _plage_. Early edd. read _place_.
[338] First two edd. read _hower_.
[339] Early edd. _value_.
[340] Pity.
[341] Prayers.
[342] Moderate.
[343] Frightened.
[344] Later edd. emend to _Reflexed ... their_.
[345] Early edd. read _submissions_.
[346] Court.
[347] An antidote distilled from poisons. (Bullen.)
[348] Sorrow.
[349] Dissolved.
[350] Idea of defeat.
[351] Distil.
[352] Emend. Dyce. Early edd. read _stopt the tempest_.
[353] Conj. Collier. Early edd. read _lonely_.
[354] Early edd. _martch_.
[355] Emend. Dyce. Early edd. read _weeds_.
[356] Emend. Dyce. Early edd. _aie_. Qy. _die_?
[357] Bent back.
[358] Vomit.
[359] _I. e._ eyes.
[360] Slave.
[361] Dissolve.
[362] Early edd. read _our celebrated_.
[363] Confound. But Hannibal was victorious at Lake Trasumennus, B.C. 217.
[364] For applause.
[365] Roda, in the Duchy of Saxe-Altenburg, near Jena.
[366] The garden of scholarship being adorned by him.
[367] Knowledge.
[368] An allusion to the myth of Icarus, who flew too near the sun.
[369] Teach publicly.
[370] Aim.
[371] Logic.
[372] This is Mr. Bullen’s emendation of Q₁ _Oncaymaeon_, a corruption of the Aristotelian phrase for “being and not being.”
[373] “Where the philosopher leaves off, there the physician begins.”
[374] This and the previous quotation are from Aristotle.
[375] Medical maxims.
[376] Announcements.
[377] “If one and the same thing is bequeathed to two persons, one gets the thing and the other the value of the thing.”
[378] “A father cannot disinherit the son except,” etc.
[379] Of Justinian, under whom the Roman law was codified.
[380] Q₁, _Church_.
[381] Its.
[382] The Vulgate.
[383] Excels.
[384] Q₃, _tire my_.
[385] Idea.
[386] Emend. Dyce. Qq. _skill_.
[387] The Netherlands, over which Parma re-established the Spanish dominion.
[388] A ship filled with explosives used to blow up a bridge built by Parma in 1583 at the siege of Antwerp.
[389] The famous Cornelius Agrippa. German Valdes is not known.
[390] Cf. Virgil, _Aeneid_, vi. 667.
[391] American Indians.
[392] Q₄, _spirits_.
[393] Troopers. Germ. _Reiters_.
[394] Versed.
[395] Roger Bacon.
[396] Perhaps Pietro d’Abano, a medieval alchemist; perhaps a misprint for Albertus (Magnus), the great schoolman.
[397] Fine point.
[398] Before Faustus’s House.
[399] “Thus I prove”—a common formula in scholastic discussions.
[400] “‘_Corpus naturale seu mobile_’ is the current scholastic expression for the subject-matter of Physics.” (Ward.)
[401] Puritan.
[402] A Grove.
[403] Every star belonging to.
[404] Planets.
[405] “Be propitious to me, gods of Acheron! May the triple deity of Jehovah prevail! Spirits of fire, air, water, hail! Belzebub, Prince of the East, monarch of burning hell, and Demogorgon, we propitiate ye, that Mephistophilis may appear and rise. Why dost thou delay? By Jehovah, Gehenna, and the holy water which now I sprinkle, and the sign of the cross which now I make, and by our prayer, may Mephistophilis now summoned by us arise!”
[406] “For indeed thou hast power in the image of thy brother Mephistophilis.”
[407] Twist in anagrams.
[408] Heaven and hell are indifferent to him.
[409] Sorrowful.
[410] Inform.
[411] Study.
[412] A street.
[413] Beards cut to a sharp point (Fr. _pic-à-devant_).
[414] Dyce points out that these are the first words of W. Lily’s “_Ad discipulos carmen de moribus_.”
[415] A kind of larkspur, used for destroying lice.
[416] A mean street in London.
[417] Short wide breeches.
[418] For _diametrically_.
[419] “As if to tread in my tracks.”
[420] Emden, near the mouth of the river Ems, was an important commercial town in Elizabethan times.
[421] “Misery loves company.”
[422] “It is finished.”
[423] “Man, fly!”
[424] Foolish.
[425] The Queen of Sheba.
[426] Repeating.
[427] The same.
[428] “In direction and in time?”
[429] “On account of their unequal motion in relation to the whole.”
[430] Pair.
[431] Refreshments between meals.
[432] Martlemas or Martinmas was “the customary time for hanging up provisions to dry which had been salted for the winter.” (Nares.)
[433] Later edd. give this speech to Chorus.
[434] The Pope’s Privy-chamber.
[435] Treves.
[436] Virgil, who was reputed a magician in the Middle Ages, was buried at Naples.
[437] Engaged.
[438] “A particular set of notes on the trumpet or cornet, different from a flourish.” (Nares.)
[439] If.
[440] “May the Lord curse him.”
[441] “And all the saints.”
[442] An Inn-yard.
[443] Wine mixed with sugar and spices.
[444] An Inn.
[445] Gain.
[446] The abuse was left to the actor’s inventiveness.
[447] “In the name of the Lord.”
[448] “Sin of sins.”
[449] “Mercy on us.”
[450] The Court of the Emperor.
[451] Proportionate.
[452] Its.
[453] Mention.
[454] A Green; afterwards, the house of Faustus.
[455] Dr. Lopez, physician to Queen Elizabeth, hanged in 1594 on the charge of conspiring to poison the Queen.
[456] A juggler’s term, like “presto, fly!” Hence applied to the juggler himself. (Bullen.)
[457] Inn.
[458] The Court of the Duke of Vanholt.
[459] A room in the house of Faustus.
[460] Old Man.
[461] Unsurpassed in height.
[462] Qq₁₋₃ read _suckes_.
[463] The same.
[464] “Run softly, softly, horses of the night.”—Ovid’s _Amores_, i. 13.
[465] Without ceasing.
[466] The Duc de Guise, who had organised the Massacre of St. Bartholomew in 1572, was assassinated in 1588.
[467] Q. _Empire_.
[468] Q. _Samintes_. Recent edd. _Sabans_.
[469] Count.
[470] Seldom seen.
[471] A stuffed halcyon, or kingfisher, was used as a weather vane.
[472] Enter them at the custom-house.
[473] Q. _servants_
[474] Scrambled.
[475] Expenses.
[476] Some edd. suppose the scene to be shifted here to a street.
[477] Foolish
[478] Against.
[479] Misquoted from Terence’s _Andria_, iv. 1. 12. The words should be “Proximus sum egomet mihi.” (Ellis.)
[480] Inside the council-house.
[481] Bashaws or Pashas.
[482] Haply.
[483] Await.
[484] Reckoned.
[485] Refuses.
[486] Convert.
[487] Foolish.
[488] For I have toiled only to inherit the months, etc., which have been, etc.
[489] Violent emotion.
[490] Plan.
[491] The scene seems to change here from the Council-house to the neighbourhood of Scene I.
[492] Redress.
[493] Foolish.
[494] Portuguese gold coins.
[495] Sex.
[496] Secretive.
[497] So Q. “cloisters,” “gardens,” and “quarters,” have been conjectured as emendations.
[498] The scene is before Barabas’s house, now a nunnery.
[499] Bullen emends to _youth_.
[500] Dyce emends to _wake_.
[501] Span. “My herd was not good for all”; _i. e._, different people judged me differently.
[502] Span. “Beautiful pleasure of money.”
[503] The Council-house.
[504] Freight.
[505] Lowered our flags.
[506] Q. Spanish.
[507] So Dyce. Q. _left and tooke_.
[508] Established.
[509] The market-place.
[510] Gold or silver leaf placed under a gem to increase its brilliance.
[511] Defiled, punning on _foil_.
[512] Make insinuations.
[513] Pieces of silver coin.
[514] Break off our conversation.
[515] Barabas was represented on the stage with a large false nose. In Rowley’s _Search for Money_ (1609) allusion is made to the “artificiall Jewe of Maltaes nose.” (Ellis.)
[516] Practice.
[517] In good earnest.
[518] Affianced.
[519] Q. _unsoyl’d_. But cf. II. iii. 58.
[520] A piece of money with a cross marked on it.
[521] Satisfied.
[522] Betrothed thee.
[523] Outside of Bellamira’s house.
[524] A street.
[525] Q. places _reading_ after _Enter Lodowick_.
[526] Brave.
[527] A room in Barabas’s house.
[528] Object.
[529] Q. _sinne_.
[530] Q. _Pryor. Sire_, Tucker Brooke.
[531] Q. _Sonne_.
[532] Reveal.
[533] The same.
[534] Unnatural.
[535] Meaneth.
[536] Q. _life_.
[537] Q. _least_.
[538] Feed.
[539] In abundance.
[540] In short.
[541] A poison not certainly identified
[542] The council-house.
[543] Cannon.
[544] The interior of a convent.
[545] Hated.
[546] Plot.
[547] Secret.
[548] A street.
[549] Equal to.
[550] A petty oath. (Italian).
[551] Dyce emend. Q. omits.
[552] Lofts.
[553] So Tucker Brooke. Q. _goe_.
[554] Ithamore.
[555] Convent.
[556] A room in the house of Barabas.
[557] Q. _save_.
[558] It would appear from the following scene that the body was stood up outside of the house.
[559] Outside Barabas’s house.
[560] Succeed.
[561] Delayed.
[562] A verandah of Bellamira’s house.
[563] Brave.
[564] At.
[565] Service.
[566] Mustachios.
[567] Hasty.
[568] The early form of _realm_ had no “l.”
[569] A musical term.
[570] The street.
[571] Tattered.
[572] Knavery.
[573] Playing sham husband to a courtesan.
[574] Sum, number.
[575] A verandah of Bellamira’s house.
[576] A familar Bacchanalian exclamation.
[577] Probably corrupt. “Snickle” is a noose.
[578] Dainty, sweet.
[579] Referring to the tradition that Judas Iscariot hanged himself on an elder-tree.
[580] Q. masty.
[581] The council-house.
[582] Q. _Mater_.
[583] Outside the city walls.
[584] Conj. Collier. Q. _truce_.
[585] At once.
[586] An open place in the city.
[587] Lower.
[588] Q. _kept_.
[589] The scene is here supposed to shift to the governor’s residence inside the citadel.
[590] _’T is_, Cunningham emend. Q. _within_.
[591] Outside the city walls.
[592] Cannons’.
[593] A street in Malta.
[594] A hall in the citadel, with a gallery at the end.
[595] Concealed.
[596] Dyce, _ascend_.
[597] Cunningham emend. Q. _fate_.
[598] Intended.
[599] Q _meditate_.
[600] A street in London.
[601] Dyce emends to _lie_. _Die_ may be used in the sense of “swoon.”
[602] “So much for them.”
[603] A rural dance.
[604] Mowbray, but the Q. spelling indicates the pronunciation.
[605] This line and the next are ironical.
[606] Flattering.
[607] Contend.
[608] Rule.
[609] Fear’st for.
[610] Gutter.
[611] I. e., You have used the true word “Convey” (= steal).
[612] Westminster.
[613] Untimely.
[614] Removing it as a mark of respect.
[615] Feel resentment at.
[616] Shows.
[617] A street in London.
[618] The New Temple.
[619] “How ill they agree!”
[620] Float.
[621] Fellow.
[622] Altered to _love_ in Dodsley, &c.
[623] Care.
[624] Qy. for _true_ read _good_(?)
[625] Consideration.
[626] Lower.
[627] Pretext.
[628] Affianced him.
[629] Qq. _Hector_.
[630] Struts.
[631] Scoundrels.
[632] Gloucester’s house.
[633] Advanced me to the king’s service.
[634] Bows.
[635] Lat. “because.”
[636] Lat. “since.”
[637] Turn.
[638] Before Tynemouth Castle.
[639] Sorrowful.
[640] Canker-worm.
[641] Lat. “Justly at length.”
[642] Lat. “On all sides is death.”
[643] The straps round a hawk’s legs, to which the falconer’s leash was fastened.
[644] Qq. 1594-1612, _sure_.
[645] Anticipateth.
[646] Pay for.
[647] Qq. _Poasi_.
[648] An army.
[649] So Dodsley. Qq. _hath_.
[650] Foot soldiers.
[651] Band.
[652] Jeering.
[653] Lovers.
[654] Bannockburn was not yet fought. The rhyme is taken from the Chronicles.
[655] Young Mortimer’s estate.
[656] Feel resentment at.
[657] Near Tynemouth Castle.
[658] Suspect.
[659] Tattered.
[660] Near Tynemouth Castle.
[661] Delay.
[662] A small vessel.
[663] The open country.
[664] Uncaptured.
[665] Ital. “in spite of.”
[666] Helen of Troy.
[667] Drew.
[668] Extremities.
[669] Cunningham’s emendation for Q _zease_.
[670] “Had I known—the exclamation of those who repent of what they have rashly done.” (Dyce.)
[671] The open country.
[672] Ghost.
[673] Near Boroughbridge, in Yorkshire.
[674] Checked by.
[675] Use our steel.
[676] High-spirited.
[677] Negotiating.
[678] Qq. _Lord Matre[vis]_, throughout the scene. Corrected by Dyce.
[679] Battle-field at Boroughbridge in Yorkshire.
[680] Plots. T. Brooke emend. Qq. _Th’ad ... thee_.
[681] The same.
[682] Lowered.
[683] Raise.
[684] Rule.
[685] Near the Tower of London.
[686] Paris.
[687] T. Brooke emend. Qq. _shake off_.
[688] If.
[689] Equipped.
[690] Earned.
[691] Challenge. A reference to the game of prisoner’s base.
[692] The Royal Palace, London.
[693] Bristol.
[694] Near Harwich.
[695] Near Bristol.
[696] Lest you are suspected.
[697] The abbey of Neath.
[698] “Whom the dawn sees proud, evening sees prostrate.” Seneca, _Thyestes_, 613.
[699] Yearns, grieves.
[700] Kenilworth.
[701] A room in Kenilworth Castle.
[702] Rule.
[703] Foolishly.
[704] Care.
[705] Qq. omit. Added by Dodsley.
[706] Old edd. _Bartley_, showing pronunciation.
[707] The Royal Palace, London.
[708] Crown.
[709] Plots.
[710] Kenilworth Castle.
[711] Aim.
[712] Gutter.
[713] The Royal Palace, London.
[714] Planned.
[715] A piece of fine linen.
[716] Lat. “a very heavy burden.”
[717] Lat. “I have undertaken that office.”
[718] Lat. “I am too great for fortune to injure.” Ovid, _Metamorphoses_, vi. 195.
[719] Berkeley Castle.
[720] Purposely.
[721] Lat. “Let this man die.”
[722] Perhaps for “lock.”
[723] Business.
[724] Worn out with waking.
[725] The Royal Palace, London.
[726] Whispered.
[727] See _Aeneid_, vi. 893.
[728] The Court of Spain.
[729] Adapted from Claudian’s _De Tertio Consulatu Honorii_, 96-98.
[730] Troop of cavalry.
[731] A combination of phrases from Statius, Virgil, and Curtius.
[732] Moving.
[733] Flourish of trumpets.
[734] Curbed.
[735] Corrosive.
[736] The Court of Portugal.
[737] The source of this passage has not been found.
[738] So Manly. Qq. _treasure_.
[739] Reveal.
[740] What became of.
[741] An island in the Azores.
[742] Add. Manly.
[743] The Court of Spain.
[744] Ne will, will not.
[745] Stab in the belly, disembowel.
[746] Knocked.
[747] Vexation.
[748] Carrying.
[749] Circumlocutions.
[750] Formal phrases.
[751] So 1599. Allde, 1594, _devise_.
[752] Capricious, whimsical.
[753] The same.
[754] Stately.
[755] Palace of Don Cyprian.
[756] Lines 3-6, 9-10 are taken almost literally from Watson’s _Hecatompathia, Sonnet 47_. Watson copied Serafino.
[757] Wayward.
[758] Secret behavior.
[759] In case.
[760] Sword-hilt.
[761] The same.
[762] _Travailers_ and _travellers_ were not distinguished in Elizabethan spelling.
[763] Kittredge suggests _mix’d with jealious_. (Manly.)
[764] The Court of Spain.
[765] Pretend to be shy.
[766] Refuse.
[767] Hieronimo’s garden.
[768] Checks.
[769] Sing.
[770] Vile.
[771] Lose.
[772] First passage of additions begins here.
[773] Infectious.
[774] A cento of passages from Virgil, Tibullus, and others.
[775] The Court of Portugal.
[776] Guile.
[777] Accompanied.
[778] Moves round.
[779] An exclamation of impatience.
[780] Slandered.
[781] Requital.
[782] Nature.
[783] So Hazlitt. Qq. _Or wherein_.
[784] Moderate.
[785] The Court of Spain.
[786] Indirect means.
[787] Second passage of additions begins here, replacing Hieronimo’s speech in ll. 65-66.
[788] Unintelligible. Probably a corruption of a call to the Page.
[789] Fellows.
[790] Saint Luigi’s Park.
[791] Pistol.
[792] Murder him (be present at his death).
[793] Palace of Don Cyprian.
[794] Deed.
[795] Resist with difficulty.
[796] Snared.
[797] Helped.
[798] Deep-reaching device. Qq. have dialect form _fatch_.
[799] Secretly.
[800] Hanged.
[801] Cleverly.
[802] Intention.
[803] A street.
[804] A Court of Justice.
[805] Business.
[806] Proved.
[807] The hangman got the clothes of the criminals he executed.
[808] Advantage.
[809] Hinder it from.
[810] Hieronimo’s house.
[811] So Schick. Qq. _imperial_.
[812] Doubly fenced.
[813] Manly emends to _writ_.
[814] The same.
[815] Outcry.
[816] 1623. Earlier edd. _talkes_.
[817] Palace of Don Cyprian.
[818] 1623. Earlier edd. _bends_.
[819] Adapt myself.
[820] The same.
[821] Back.
[822] Haggle, hold out.
[823] Companion.
[824] So Hazlitt. Qq. _Est_.
[825] So Schick. Qq. _Et_.
[826] A street.
[827] Third passage of additions begins here.
[828] Ballast.
[829] Unpolished.
[830] Qq. _us to_.
[831] The Court of Spain.
[832] Seldom seen.
[833] Give thee a lesson.
[834] This phrase usually means, “There the matter ends.” Perhaps here it might mean, “There begins the chase.”
[835] _I. e._ inextricable, which some modern edd. read. Allde, _inexecrable_.
[836] So Collier. Qq. _exempt_.
[837] Hieronimo’s garden.
[838] Fourth passage of additions.
[839] Waste.
[840] Metal ornaments, orig. points of laces.
[841] Illusions.
[842] Q. 1602, _A teare_.
[843] Dulled, unburnished.
[844] Ticking.
[845] So 1602. Later Qq. _thy_.
[846] Hieronimo’s house.
[847] Not with open but with inevitable injuries.
[848] Kindness.
[849] From Seneca’s _Oedipus_, 515.
[850] Turmoil.
[851] Group, band.
[852] Advocate. Properly, magistrate.
[853] “A universal remedy given for all personal wrongs ... so called because the plaintiff’s whole case ... is set forth at length in the original writ.” (Blackstone.)
[854] A writ to eject a tenant.
[855] Qq. _strives_.
[856] So Kittredge in Manly. Qq. _when as_.
[857] So Hawkins. Early Qq. _ore turnest_. Later Qq. _ore-turned_.
[858] Hast skill in.
[859] So Dodsley. Qq. _Father_.
[860] The Court of Spain.
[861] Consent.
[862] Extreme show of feeling.
[863] Think you.
[864] Span. “few words.”
[865] Qq. read _in hell_ at end of l. 3. The passage is clearly corrupt.
[866] Early Qq. read _see_.
[867] Rely upon what they have dreamed.
[868] Palace of Don Cyprian.
[869] Qq. insert after l. 8, _With what dishonour and the hate of men_.
[870] Supports our intention.
[871] Because.
[872] Pleasing.
[873] Usual Elizabethan form of _pacha_.
[874] Supplied by Kittredge (Manly).
[875] Boas gives _intention_ as Qq. reading.
[876] Hieronimo’s garden.
[877] Usually conspiracy; here, accomplice (to accommodate the pun).
[878] Untilled.
[879] Make excuses for.
[880] Palace of Don Cyprian.
[881] The same.
[882] Added by Manly.
[883] Chosen.
[884] Pierced, from _gird_, to smite.
[885] Fifth passage of additions, replacing ll. 171-194.
[886] Some Qq. read _slaine_.
[887] Assured.
[888] Schick emend. Early Qq. _mors caede_ or _mers cadae_.
[889] Select, group.
[890] Carried on.
[891] Terrors, bugbears.
[892] The company of actors—the “King’s men.”
[893] A rival company which had given the play.
[894] Nathaniel Field, b. 1587; one of the “King’s men.”
[895] Not identified.
[896] Supposed to be Ilyard Swanston.
[897] Perhaps Ricardo, in Massinger’s _Picture_. (Phelps).
[898] If.
[899] A glade, near the Court.
[900] Discharge a signal shot.
[901] Punning on (1) the series of numbers; (2) a populous kingdom. (Boas.)
[902] Deeds.
[903] Delicacies.
[904] A frame for holding an object fixed.
[905] Equivocation, trickery.
[906] Whimsical.
[907] Clothes with rich surface.
[908] Abilities.
[909] Fine coverings.
[910] Changing parks into plow-land.
[911] Its passage.
[912] Beg pardon!
[913] Badges of a steward’s office.
[914] The weapon of the Fool, as of the Vice in The Moralities.
[915] A room in the Court. From a misplaced stage-direction in Sc. I (Q. 1641), it appears that Henry and Guise are playing chess here.
[916] A boisterous country dance.
[917] Desire.
[918] “Travel” and “travail” were not distinguished in Elizabethan spelling.
[919] Strut.
[920] From Qq. of 1607, 8.
[921] Introduce.
[922] Music written with points.
[923] Lover.
[924] Officials of the English court who furnished cards, dice, etc. and decided gaming disputes.
[925] Fellow.
[926] The point is obscure. Perhaps, gizzard = throat.
[927] A Roman augur who cut a whetstone before Tarquin.
[928] Checkmate, overcome.
[929] Recent creation. An allusion to the lavish practice of James I.
[930] A part of the “Counter” prison.
[931] Checkmate.
[932] Cast off.
[933] Skin.
[934] To toss him.
[935] Come off superior.
[936] Sneers.
[937] Suspicion.
[938] _Descant_ and _ground_ are used with a play on the ordinary meanings and the musical ones of accompaniment, variation.
[939] A room in the Court.
[940] Finery.
[941] Cautious.
[942] Explained the source.
[943] D’Ambois.
[944] Barrisor.
[945] Risking himself a second time.
[946] Overwhelmed.
[947] The horn.
[948] Bare-headed.
[949] Species, kind.
[950] In a way not recognized by law.
[951] _I. e._ positive law.
[952] Substitutes.
[953] Deed.
[954] Done in the name of justice.
[955] Piece out.
[956] A second time kneeling.
[957] Rivalry.
[958] A room in Montsurry’s house.
[959] Conception.
[960] Forward.
[961] Satisfying my passion.
[962] Excessively fond of their husbands.
[963] Way.
[964] Importunities.
[965] That thou comest off victorious.
[966] Hinder.
[967] Comforting.
[968] Emend. Dilke. Qq. _wave_.
[969] Centre of the earth.
[970] Undress.
[971] Supply _watching here_.
[972] _Primum mobile_, the prime moving sphere of the Ptolemaic system.
[973] If she has no chance to dissemble.
[974] Fastidiously guarded.
[975] Assure.
[976] _Service_ was the conventional term for courtly love.
[977] A room in Montsurry’s house.
[978] Scrupulous.
[979] Lover.
[980] Taken by storm.
[981] If his valor he truly estimated.
[982] Remains inviolable.
[983] As the stone is made to accord with the line, and not vice versa, so nature brings our powers into accord with her will.
[984] Dressed.
[985] Approve.
[986] High favor.
[987] A room in the Court.
[988] Seize.
[989] Pursue.
[990] Fisherman.
[991] Bound.
[992] A traitor: Judas’s hair was represented as red in old paintings, tapestries, etc.
[993] Hunting dogs.
[994] Start them.
[995] Stuffs out.
[996] Dish carried by beggars, who clapped the lid to attract notice.
[997] _I. e._ by the sufferance or indulgence of his king. Qq. 1607, 8 read _than_.
[998] _I. e._ backwards. Reversing the proper use of his income.
[999] Boastful.
[1000] Qq. _noble_.
[1001] In the beginning.
[1002] The fabled Golden Age.
[1003] Qq. 1607, 8 read _ingenuous_.
[1004] The caduceus which was wreathed with two serpents that clung to it when separated by Hermes.
[1005] Slander.
[1006] Plan.
[1007] Escapades.
[1008] To give advantage to their enemies.
[1009] Be accomplices.
[1010] Waiting-women.
[1011] Escapades.
[1012] Gun.
[1013] Grass.
[1014] Make trial.
[1015] Reveal.
[1016] Wonder.
[1017] Bewilders.
[1018] Thought.
[1019] These two speeches are omitted in Q 1641.
[1020] Secretly.
[1021] Q. 1641 omits.
[1022] A sign of chastity.
[1023] Medlars.
[1024] Boas emend. Qq. _in._
[1025] In place of the following fifteen lines, Qq. 1607, 8 read,
_I will conceal all yet, and give more time To D’Ambois’ trial, now upon my hook. He awes my throat, else, like Sybilla’s care, It should breathe oracles. I fear him strangely, And may resemble his advanced valour Unto a spirit rais’d without a circle, Endangering him that ignorantly raised him, And for whose fury he hath learn’d no limit._
[1026] Clever, sensible.
[1027] Desire.
[1028] Professional gallant.
[1029] Idiots.
[1030] Stiletto.
[1031] Spies.
[1032] At the distance of.
[1033] “The distaff from whence she draws the breath of life.” (Dilke.)
[1034] The Banqueting Hall in the Court.
[1035] Duchess of Guise.
[1036] D’Ambois, who still keeps up the pretence of being the Duchess’s courtly lover.
[1037] Titles.
[1038] _I. e._ in disgrace.
[1039] Supposed seat of passion.
[1040] Over-fastidious.
[1041] Signs of the sycophant.
[1042] Manifestations.
[1043] Monsieur here makes the gesture of the cuckold.
[1044] Absolute.
[1045] Pledge.
[1046] Wondered.
[1047] Making horns.
[1048] Hippolytus.
[1049] Art feared even by those thou fearest.
[1050] Informed.
[1051] A room in Montsurry’s house.
[1052] Certainty.
[1053] Q. 1641 omits. But we must suppose that D’Ambois and the Friar have withdrawn during Pero’s presence.
[1054] Information.
[1055] Monsieur, Guise, and Montsurry presumably appear at the back of the stage.
[1056] _I. e._ a written document.
[1057] Indescribable.
[1058] Find out.
[1059] Hidden.
[1060] Qq. _his_.
[1061] Call back.
[1062] Outflanked.
[1063] Earth.
[1064] A room in Montsurry’s house.
[1065] Case for pen and ink.
[1066] Thunderbolt.
[1067] Qq. omit. Boas emend.
[1068] Final. (Boas.)
[1069] Anticipating.
[1070] The dead.
[1071] Judge.
[1072] Escapades.
[1073] Hid.
[1074] In spite of.
[1075] Revenge.
[1076] Tamyra is now put on the rack.
[1077] _Her_, referring to world, would be expected. _His_ seems to refer to _man_, in next line.
[1078] A room in Montsurry’s house.
[1079] In place of _Not ... say_, Qq. 1607, 8 read,
_In whose hot zeal a man would think they knew What they ran so away with, and were sure To have rewards proportion’d to their labours; Yet may implore their own confusions For anything they know, which often times It falls out they incur._
[1080] Bring.
[1081] Loads.
[1082] Boas amends to _methinks_.
[1083] To their enemies. (Boas.)
[1084] Store of virtues.
[1085] Coats of mail.
[1086] A room in Bussy’s house.
[1087] Remembrance.
[1088] Prevents.
[1089] Agreeing.
[1090] _O lying ... calls him._ For these lines, Qq. 1607, 8, read:
Buss. _O lying Spirit! Welcome, loved father, How fares my dearest mistress?_
Mont. _Well as ever, Being well as ever thought on by her lord; Whereof she sends this witness in her hand, And prays, for urgent cause, your speediest presence._
[1091] Of the zodiac.
[1092] A room in Montsurry’e house.
[1093] In place of the first six lines, Qq. 1607, 8 read:
_Revive those stupid thoughts, and sit not thus Gathering the horrors of your servant’s slaughter (So urg’d by your hand, and so imminent) Into an idle fancy; but devise_
[1094] Give the signal for.
[1095] Terrifying thing.
[1096] An expression of contempt.
[1097] Successful trick.
[1098] Vengeance.
[1099] Then these teachers of divinity deal with figments, not realities. (Boas.)
[1100] Patron.
[1101] Boas emend. Qq. _stuck_.
[1102] Q. 1641 omits these lines.
[1103] Gratify.
[1104] Inhumanly.
[1105] Omitted in Q 1641.
[1106] Perish.
[1107] A frequenter of the aisle of St. Paul’s Cathedral.
[1108] Dressing-room.
[1109] A street in London.
[1110] Foolish.
[1111] I wis, certainly.
[1112] By God’s eyelid—one of the frequent oaths by parts of Christ’s body.
[1113] Scabs, scurvy fellows.
[1114] Hoxton.
[1115] Must.
[1116] Waste your means on showy clothes.
[1117] Desire.
[1118] The same. The scene-divisions are Jonson’s.
[1119] At once.
[1120] Fool.
[1121] Swagger.
[1122] Put on your hat. Cf. _Love’s Labour’s Lost_, V. i. 103.
[1123] Old clothes shop.
[1124] Stewing.
[1125] Travelling expenses.
[1126] A tavern.
[1127] Places of ill-fame.
[1128] Count.
[1129] Well-bred.
[1130] A room in Knowell’s house.
[1131] The Albanian patriot, Castriot, whose life was translated from the French in 1596; known also as Iskander (Alexander) Bey, whence _Scanderbeg_ or _Scanderbag_.
[1132] Tie the laces which took the place of buttons. It was also slang for beat.
[1133] Against, in preparation for.
[1134] Seriously.
[1135] A printer.
[1136] Faith, a minced oath.
[1137] Rank.
[1138] Water-carriers (tankard-bearers) were paid at so much a “turn” or journey from the conduit.
[1139] In preparation for a festivity.
[1140] Crape.
[1141] _The Golden Hind._
[1142] Lane before Cob’s house.
[1143] Herald’s.
[1144] Usually, the head of a herring. In this play, a herring.
[1145] Pun on _cast_, to throw dice, and to vomit.
[1146] A cant term for getting drunk. (Reed.)
[1147] Stopper.
[1148] See Greene’s _Friar Bacon and Friar Bungay_.
[1149] More.
[1150] Nostrils.
[1151] Room in Cob’s house.
[1152] Company.
[1153] I am sure of it.
[1154] See _The Spanish Tragedy_, from Act. III of which Mathew reads the lines below.
[1155] A strap by which a weapon was hung from the girdle.
[1156] A mere intensive, common in Elizabethan fashionable slang.
[1157] Variegated.
[1158] Fool, humbug.
[1159] Domineer.
[1160] Challenge.
[1161] Ground for a duel.
[1162] Author of the _Philosophy of Arms_, 1569.
[1163] Thrust.
[1164] Bout.
[1165] Exercise.
[1166] Rustic.
[1167] The Old Jewry. A hall in Kitely’s home.
[1168] Coins worth eight reals, or a little more than two dollars.
[1169] Cloth partly made of silk.
[1170] Christ’s Hospital, then a school for foundlings.
[1171] Indirect approach to the matter.
[1172] Fol. _but_.
[1173] Make cheap.
[1174] An oath of obscure meaning, sometimes explained as _Disdain_. Query, _God’s veins_?
[1175] ’Fore.
[1176] Like a beggar with dish and clapper.
[1177] Resentment.
[1178] Temper.
[1179] Narrative.
[1180] Marks of the citizen.
[1181] Advertise.
[1182] The same.
[1183] Endure it.
[1184] Large puffed breeches.
[1185] Gang.
[1186] The same.
[1187] Gather their forces: a military phrase.
[1188] The opportunity had suited their desires.
[1189] Mouse.
[1190] Coins worth about $2.50.
[1191] The fever of which Prince Henry died.
[1192] Has got the scent of my suspicions.
[1193] Suspicion.
[1194] Moorfields.
[1195] Lot.
[1196] To give the lie to a soldier is as fatal a thing as to make the gesture of insult called the fig (thrusting out the thumb between two fingers).
[1197] Explained both as meaning to track by scent of the foot, and by foot-marks without scent.
[1198] Servants, who then wore blue livery.
[1199] The fool.
[1200] Another part of Moorfields.
[1201] Wonder at.
[1202] Probably, to agree to the sale of family estates.
[1203] Dirt-heaps.
[1204] Probably this means that ultimately it will turn out to have been a loan.
[1205] Gained.
[1206] Test.
[1207] Deceive.
[1208] A soldier’s loose overcoat.
[1209] A pun. _Slip_ also meant counterfeit money.
[1210] The Old Jewry. A room in the Windmill Tavern.
[1211] A military term: face the opposite direction.
[1212] The Muses.
[1213] Marvel.
[1214] Open to general acquaintance.
[1215] Grau, in Hungary, retaken from the Turks in 1597.
[1216] Capture.
[1217] He called it _Tortosa_ in the Quarto.
[1218] Genoese.
[1219] A kind of cannon.
[1220] Charge.
[1221] Stick to hold the lint for firing a cannon.
[1222] Carbine.
[1223] The swords of Bevis, Arthur, and Orlando, in the romances.
[1224] Such as was regularly supplied to the common soldier.
[1225] Swindling.
[1226] Punning on _stomach_ in the sense of courage.
[1227] The same.
[1228] Witty.
[1229] An allusion to the tricky servant in _Jack Drum’s Entertainment_.
[1230] Impressed.
[1231] Kitely’s warehouse.
[1232] Carat, value, quality.
[1233] Velvet of the best quality.
[1234] Note the execrable pun on _acorns_ and _horns ache_.
[1235] Ten o’clock, according to the Q.
[1236] Compared to.
[1237] Secret.
[1238] Puritan.
[1239] Games of chance, somewhat like back-gammon.
[1240] Convinced.
[1241] Before a magistrate.
[1242] The same.
[1243] _Humour_ had displaced _rheum_ as the fashionable word for whim, mood.
[1244] Mass.
[1245] Resent.
[1246] Stomach, appetite.
[1247] Cannibal.
[1248] Sell.
[1249] The same.
[1250] By a patent.
[1251] Twisted.
[1252] Under-officers who went the rounds, inspecting sentries, etc.
[1253] A smooth shilling used for playing shovel-board.
[1254] Disbanded soldiers.
[1255] Major, at that time.
[1256] Marvel.
[1257] Punning on the meanings of _shifts_: devices, and changes of clothes.
[1258] Tobacco from Trinidad was much prized.
[1259] Herb.
[1260] Tobacco named from M. Nicot, French ambassador to Portugal in 1559. It is usually a generic name, and the specific use here may be an intentional mistake.
[1261] Common poisons.
[1262] Smoked.
[1263] A room in Justice Clement’s house in Coleman St.
[1264] _To kiss the post_ was a phrase meaning to be shut out.
[1265] Business to attend to.
[1266] The same.
[1267] A tavern.
[1268] Rates and taxes.
[1269] The legal limit of time in defining murder.
[1270] Strike.
[1271] Pewter.
[1272] Frighten.
[1273] Wonder.
[1274] A room in Kitely’s house.
[1275] The same.
[1276] Lover.
[1277] Aside.
[1278] To gull a fool with. Proverbial.
[1279] It is sweet to begin.
[1280] Variously explained as ale-house loafers, and justices.
[1281] Thieving.
[1282] _To vie_ and _revie_ meant to stake a sum and cover it with a higher.
[1283] Are offended.
[1284] This is a reference to the unauthorized holding of sequestered lands, such as those which had belonged to the monasteries. Elizabeth had appointed commissions to search such holdings or “concealments,” which her courtiers often “begged.”
[1285] Sixpence.
[1286] I-wis, assuredly.
[1287] Topers.
[1288] Loose breeches: Bobadill.
[1289] Lackey.
[1290] The same.
[1291] Band.
[1292] The lane before Cob’s house.
[1293] Cheat.
[1294] Bully.
[1295] Usually, found out; but here, apparently, frightened.
[1296] A room in the Windmill Tavern.
[1297] Informed.
[1298] The Old Jewry.
[1299] Skeleton.
[1300] Ball.
[1301] Simpleton.
[1302] Where the city bands trained.
[1303] Slang for liquor: the product of the Windmill.
[1304] Moorfields.
[1305] Moment.
[1306] All low districts.
[1307] Ant.
[1308] Individual.
[1309] Italian terms of fencing.
[1310] “Bobadill is too much of a borrower to be an accurate reckoner.” (Gifford.)
[1311] Bold.
[1312] Cheat.
[1313] Beat down.
[1314] A room in Kitely’s house.
[1315] Addition.
[1316] Used as a general antidote.
[1317] Fancies.
[1318] “As the Tower was extra-parochial, it probably afforded some facility to private marriages.” (Gifford.)
[1319] White lead, used as a cosmetic.
[1320] Used in the sense of pander.
[1321] Fools.
[1322] A street.
[1323] The only preferment he gives me.
[1324] Penny.
[1325] Forthwith.
[1326] Bailiff.
[1327] The lane before Cob’s house.
[1328] Companion.
[1329] Secret.
[1330] Found.
[1331] Boiled.
[1332] Traitor.
[1333] F₁ has in margin _By Thomas_, _i. e._ referring to Cash.
[1334] Apparently a poor pun on _bad_ and _bawd_.
[1335] Dupe.
[1336] Hemp is prepared by beating.
[1337] A street.
[1338] Prepare.
[1339] Coleman St. A hall in Justice Clement’s house.
[1340] Armor for the throat.
[1341] The same.
[1342] In F, at end of Sc. 1.
[1343] Mere picture of a soldier.
[1344] The same.
[1345] A freshwater soldier was one who had never crossed the sea, _i. e._ had seen no service.
[1346] In F, at end of Sc. 2.
[1347] Melancholy emotion.
[1348] Wit.
[1349] The same.
[1350] In F, at end of Sc. 3.
[1351] Waiters.
[1352] In F, at end of Sc. 4.
[1353] One of the horses of the Sun’s chariot.
[1354] Punning on _ream_.
[1355] Parodied from Daniel, _Sonnet to Delia_.
[1356] The following passage occurs in Q₁ at this point:
_Giu._ Call you this poetry?
_Lo. ju._ Poetry! Nay, then call blasphemy religion, Call devils angels, and sin piety; Let all things be preposterously transchanged.
_Lo. se._ Why, how now, son? What, are you startled now? Hath the prize[1359] prickt you, ha? Go to! You see How abjectly your poetry is rankt In general opinion.
_Lo. ju._ Opinion! O God, let gross opinion Sink and be damn’d as deep as Barathrum! If it may stand with your most wisht content, I can refell[1360] opinion and approve The state of poesy, such as it is, Blessed, eternal, and most true divine. Indeed, if you will look on poesy As she appears in many, poor and lame, Patch’d up in remnants and old worn-out rags, Half starv’d for want of her peculiar food, Sacred invention,—then I must confirm Both your conceit and censure of her merit: But view her in her glorious ornaments, Attired in the majesty of art, Set high in spirit with the precious taste Of sweet philosophy, and, which is most, Crown’d with the rich traditions of a soul That hates to have her dignity profan’d With any relish of an earthly thought, Oh, then how proud a presence doth she bear! Then is she like herself, fit to be seen Of none but grave and consecrated eyes. Nor is it any blemish to her fame That such keen, ignorant, and blasted wits, Such brainless gulls, should utter their stolen wares With such applauses in our vulgar ears; Or that their slubber’d lines have current pass From the fat judgments of the multitude; But that this barren and infected age Should set no difference ’twixt these empty spirits And a true poet; than which reverend names Nothing can more adorn humanity.
[1357] Formal, in his armor.
[1358] F, _fame_.
[1359] Gad-fly.
[1360] Refute.
[1361] _I. e._ with a different merit.
[1362] Only in Q.
[1363] Commendatory verses.
[1364] Lost in the burning of his study.
[1365] Tacitus, translated by Grenaway.
[1366] Not identified. Shakespeare and Fletcher have been suggested.
[1367] Hindrances.
[1368] Ingenuity.
[1369] Beguiles.
[1370] Only in Q, in apparent allusion to King James and the Gunpowder Plot.
[1371] A state room in the Palace.
[1372] _De Caio Silio, vid. Tacit._ Lips. edit. quarto. _Ann._ Lib. i. pag. ii. Lib. II. p. 28 _et_ 33. All such notes giving authorities are Jonson’s own, and are retained through one scene for their characteristic value.
[1373] _De Titio Sabino, vid. Tacit._ Lib. iv. p. 79.
[1374] Intriguers.
[1375] _Tac. Ann._ I. 2.
[1376] _Juv. Sat._ I. v. 75.
[1377] _Ibid._ III. v. 49, _etc._
[1378] _De Latiari, cons. Tacit. Ann._ iv. 94, _et Dion_, Step. edit. fol. lviii. 711.
[1379] _De Satrio Secundo et_
[1380] _Pinnario Natta, leg. Tacit. Ann._ iv. 83. _Et de Satrio cons. Senec. Consol. ad Marciam._
[1381] Secret.
[1382] Empty, useless.
[1383] _Vid. Sen. de Benef._ iii. 26.
[1384] The pocket-watch, in Jonson’s days, was constantly regulated by the motion of the clock, at that time the more accurate machine of the two. (Gifford.)
[1385] This belief in the sympathetic nature of the turquoise is often alluded to.
[1386] _Juv. Sat._ iii. 105, _etc._
[1387] Compared.
[1388] _Vid. Tacit. Ann._ i. 3.
[1389] _Ibid._ iii. 69.
[1390] _Pedarii._ (Senators not yet on the censor’s roll, who had no vote of their own, but could merely assent to that of another.)
[1391] _Tacit. Ann._ iii. 69.
[1392] _Lege Tacit. Ann._ I. 24, _de Romano, Hispano, etc. ibid._ et iii. 61, 62. _Juv. Sat._ X. v. 87. _Suet. Tib._ cap. 61.
[1393] _Vid. Tacit. Ann._ i. 4. _et_ iii. 62. _Suet. Tib._ cap. 61. _Senec. de Benef._ iii. 26.
[1394] _De Crem. Cordo. vid. Tacit. Ann._ iv. 83, 84. _Senec. Cons. ad Marciam. Dio._ lvii. 710. _Suet. Aug._ c. 35. _Tib._ c. 61. _Cal._ c. 16.
[1395] _Suet. Aug._ c. 35.
[1396] _Vid. de faction. Tacit. Ann._ ii. 39 _et_ iv. 79.
[1397] Ticklish.
[1398] _De Lu. Arrun. isto vid. Tacit. Ann._ i. 6 _et_ iii. 60, _et_ _Dion. Rom. Hist._ Lib. 58.
[1399] Unnaturally.
[1400] _Lege de Druso Tacit. Ann._ i. 9. _Suet. Tib._ c. 52. _Dio. Rom. Hist._ lvii. 699.
[1401] _Tacit. Ann._ iii. 62.
[1402] _Vid. Tacit. Ann._ iv. 74.
[1403] _Ibid._ iv. 75, 76.
[1404] _Nero, Drusus, Caius qui in castris genitus, et Caligula nominatus. Ibid._ i.
[1405] _De Germanico cons. ibid._ i. 14, _et Dion. Rom. Hist._ lvii. 694.
[1406] _Tacit. Ann._ iv. 79.
[1407] _Ibid._ ii. 47, _et Dion. Rom. Hist._ lvii. 705.
[1408] _Vid. apud Vell. Paterc._ Lips. 4to. pp. 35-47, _istorum hominum characteres_.
[1409] _Vid. Tacit. Ann._ ii. 28, 34. _Dio. Rom. Hist._ lvii, 705.
[1410] _Con Tacit. Ann._ ii. 39, _de occultis mandatis Pisoni, et postea_, pp. 42, 43, 48. _Orat. D. Celeris. Est Tibi Augustae conscientia est Caesaris favor, sed in occulto, etc. Leg. Suet. Tib._ c. 52. _Dio._ p. 706.
[1411] _Vid. Tacit. Ann._ ii. 46, 47. Lib. iii. 54, _et Suet. Cal._ c. 1 _et_ 2.
[1412] _De Sejano vid. Tacit. Ann._ i. 9. Lib. iv. _princip. et per tot. Suet. Tib. Dio._ lvii. lviii. _et Plin. et Senec._
[1413] _De Eudemo isto vid. Tacit. Ann._ iv. 74.
[1414] _Monetae nostrae 375 lib. vid. Budaeum de asse_, ii. 64.
[1415] _De ingenio, moribus, et potentia Sejani, leg. Tacit. Ann._ iv. 74. _Dio. Rom. Hist._ lvii. 708.
[1416] _Caius divi Augusti nepos. Cons. Tacit. Ann._ iv. 74 _et Dio._ lvii. 706.
[1417] A male prostitute.
[1418] _Juv. Sat._ X. v. 63, _etc. Tacit. Ibid. Dion. ibid, et sic passim._
[1419] Nature.
[1420] _Nero, Drusus, et Caligula._—_Tacit. ibid._
[1421] The same. The scene divisions are Gifford’s. Jonson did not sub-divide the Acts in this play.
[1422] Need fear nothing.
[1423] Jocular.
[1424] Reserved.
[1425] Suspicious.
[1426] Perhaps.
[1427] Decoctions.
[1428] Sovereign.
[1429] Think of.
[1430] Cause of death, esp. poison.
[1431] Extended.
[1432] Anticipate.
[1433] Manner of address and observance.
[1434] _Fortuna equestris._ (Jonson.)
[1435] Raise.
[1436] Attempting.
[1437] Achieve.
[1438] Raise.
[1439] Treasonous plot.
[1440] The garden of Eudemus.
[1441] Cosmetic.
[1442] White lead, used as a cosmetic.
[1443] Counterbalanced.
[1444] Beyond the powers of.
[1445] Reciprocate.
[1446] Prepared for our purposes.
[1447] Skin
[1448] An apartment in the Palace.
[1449] Secret.
[1450] Reasons of state.
[1451] Foolishly fastidious.
[1452] Suspicious.
[1453] Rather than fail of proof would accept their own thought as such.
[1454] Over-confident.
[1455] Partners.
[1456] Lessen.
[1457] Supporters.
[1458] Blinded by ambition.
[1459] Contrivance.
[1460] Middle course.
[1461] Moderate measures are foolish.
[1462] Accuse.
[1463] Passes judgment on.
[1464] “When I am dead, let the earth be mingled with fire.”
[1465] Subject.
[1466] Confident, unsuspicious.
[1467] Blameless.
[1468] Obstacles. F₁ _betts_.
[1469] A room in Agrippina’s house.
[1470] Another apartment in the same.
[1471] Caution.
[1472] Plot.
[1473] Share.
[1474] These speeches marked (_Aside_) are placed in parentheses in the Folio.
[1475] The supposed seat of mirth and other emotions.
[1476] A wreath of laurel. (Jonson.)
[1477] Plundered by extortion.
[1478] Name.
[1479] Judged.
[1480] Forestalled.
[1481] Judgments.
[1482] Out of.
[1483] Innocent.
[1484] A room in the Palace.
[1485] Suspicion of conspiracy.
[1486] Test, attempt.
[1487] Another room in the same.
[1488] Heated.
[1489] Level.
[1490] Effect.
[1491] Aim.
[1492] Shoot.
[1493] Entrap mine heir.
[1494] Unknown.
[1495] An apartment in Agrippina’s house.
[1496] Pretext, with a pun.
[1497] Like the offences we are charged with.
[1498] Anticipating.
[1499] Mere existence.
[1500] Tossing.
[1501] The street.
[1502] Follows it up to the utmost.
[1503] An upper room of Agrippina’s house.
[1504] One who pays respectful attentions.
[1505] _reft_, F₁. Qy. _left_?
[1506] The street before Agrippina’s house.
[1507] Plans, purposes.
[1508] Another part of the street.
[1509] After _impious times_ in F.
[1510] Steps on the Aventine Hill, down which the bodies of executed criminals were thrown into the Tiber.
[1511] Awaited with uncertainty.
[1512] Hinder.
[1513] Unnatural.
[1514] Male prostitutes.
[1515] Lewd persons.
[1516] Raised.
[1517] F₁ omits.
[1518] An apartment in Sejanus’s house.
[1519] Turning out of the way.
[1520] A street.
[1521] A room in Regulus’s house.
[1522] Sign.
[1523] Precise.
[1524] A chapel in Sejanus’s house.
[1525] Trumpeters.
[1526] Flute-players.
[1527] Verbena, “herb of grace.”
[1528] Remove.
[1529] Cheating.
[1530] Absurdly scrupulous.
[1531] Wench.
[1532] Permit.
[1533] A room in the same.
[1534] Tell.
[1535] Element of trickery.
[1536] Another room in the same.
[1537] Amazed.
[1538] His troublesome forwardness.
[1539] Another room in the same.
[1540] A space before the Temple of Apollo.
[1541] Essay, try.
[1542] Bands of trumpeters.
[1543] Another part of the same.
[1544] The Temple of Apollo.
[1545] Trust.
[1546] Obstacles.
[1547] Referring to augury.
[1548] Judge.
[1549] Performed your office.
[1550] Firm judgment.
[1551] Raised.
[1552] Divorced.
[1553] Steps.
[1554] Dash, bruise.
[1555] Bedlam; the madhouse.
[1556] Green vitriol, used in making ink.
[1557] A room in Volpone’s house.
[1558] Centre of the earth.
[1559] Gifford and others have noted that in this splendid speech Jonson is indebted to Pindar, Euripides, and Horace.
[1560] Pay obsequious attention to.
[1561] Deceiving by false hopes.
[1562] The same. The scene divisions are Jonson’s.
[1563] In Androgyno.
[1564] Badger.
[1565] This interlude is based on Lucian’s dialogue between a cobbler and a cock.
[1566] Quatre, the four in dice.
[1567] A triangular lyre.
[1568] Puritanical.
[1569] Christmas-pie.
[1570] With impunity.
[1571] Carrion crow.
[1572] With a reference to the etymological sense of “moving round.”
[1573] The same.
[1574] At one of the goldsmith’s shops beside St. Mark’s.
[1575] Gifford emends to _re-turn_; _could_.
[1576] The same.
[1577] Imperfect sight, with giddiness.
[1578] Ital. _zecchino_, a sequin; a coin worth about two dollars.
[1579] Pretence.
[1580] May you be rooked, or cheated.
[1581] The same.
[1582] Used for “brilliant” as well as “oriental.”
[1583] To Corvino, to join in the abuse.
[1584] Take from Volpone’s hand, which had closed on it.
[1585] Booty.
[1586] Messenger, go-between.
[1587] St. Mark’s Place; a retired corner before Corvino’s house.
[1588] To make note of.
[1589] Stays.
[1590] A lion is recorded by Stow to have been born in the Tower of London, Aug. 5, 1604, the first born in captivity in England.
[1591] Information.
[1592] Obligation.
[1593] Ignorant.
[1594] The name of an Italian juggler who was in England about this time. (Gifford.)
[1595] Misrepresented.
[1596] Ital. “With hard labor.”
[1597] Petty charlatans, impostors.
[1598] A French charlatan of the early seventeenth century, whose jests were published.
[1599] Folds of paper.
[1600] Obstructions.
[1601] Rabble.
[1602] Continental possessions of Venice. (Gifford.)
[1603] Boiled.
[1604] Ointment.
[1605] An oil to be rubbed in.
[1606] Giddiness.
[1607] Epilepsy.
[1608] Colic.
[1609] Gripes.
[1610] An eccentric theologian of the time. See _The Alchemist_.
[1611] The well-known alchemist of the fourteenth century.
[1612] Unknown.
[1613] In the hilt of which he carried his familiar.
[1614] In smoke.
[1615] Ball; dancing.
[1616] Lit. god-parent; usually, familiar friend.
[1617] A small Venetian coin, worth about three farthings. The name was transferred to the news-sheets bought for it.
[1618] Pron. _aitches_.
[1619] For the purpose.
[1620] A coin used in Venice, worth about ninepence.
[1621] An Italian coin worth about one third of a farthing.
[1622] A Spanish coin.
[1623] Anticipated.
[1624] Small pieces of wood to which were attached the quills which struck the strings of the virginal.
[1625] The same.
[1626] Ital. “Fool of the Beggars.”
[1627] A room in Volpone’s house.
[1628] _I. e._ the beating from Corvino.
[1629] A room in Corvino’s house.
[1630] Grimaces.
[1631] Hysteria.
[1632] Expect.
[1633] The same.
[1634] The inn.
[1635] Boiled.
[1636] Poultice.
[1637] Accuse.
[1638] Prepared.
[1639] Coming into my trap.
[1640] Proposed.
[1641] Reckon on it.
[1642] Outdone them all.
[1643] The same.
[1644] A street.
[1645] Profession.
[1646] Bows.
[1647] The same.
[1648] Fellow.
[1649] Unfair.
[1650] A room in Volpone’s house.
[1651] Neatly made.
[1652] The same.
[1653] Head-dress.
[1654] Short-sighted(?)
[1655] Paint for the face.
[1656] Horse-heal, a medicinal herb.
[1657] An astringent kind of plum.
[1658] “The faster you hold them by the wings, the louder they scream.”
[1659] Harmony.
[1660] Of the same age.
[1661] The same.
[1662] Hazard.
[1663] Terms in primero. Volpone is lying in the alcove at the back of the stage, and at the end of the scene the curtains close on him.
[1664] The same.
[1665] The same.
[1666] At this point. Mosca goes back and opens the curtains, discovering Volpone on his couch.
[1667] “A _rochet_ or _rouget_, so named from its _red colour_, is a fish of the gurnet kind, but not so large.” (Whalley.)
[1668] Corrosives.
[1669] Chapman, merchant.
[1670] “Acheloüs, of whose ‘contention’ there is a pretty story in Ovid.” (Gifford.)
[1671] Imitated, in part, from Catullus.
[1672] Mildew.
[1673] Brilliant.
[1674] The same.
[1675] _I. e._ by suicide.
[1676] Bailiff’s attendants.
[1677] The same.
[1678] Deceits.
[1679] Senate House.
[1680] A street.
[1681] A famous French lawyer.
[1682] Gasp. Contarini, author of a work on Venice.
[1683] Reckoned.
[1684] A small passenger sloop.
[1685] Cut off, reduce.
[1686] Syria.
[1687] Politics.
[1688] About ninepence.
[1689] Bargained for.
[1690] Note.
[1691] The same.
[1692] Both “fast and loose,” the name of a game.
[1693] Understand.
[1694] Whitefriars was at this time a privileged spot, in which fraudulent debtors, gamblers, prostitutes, and other outcasts of society usually resided. (Gifford.)
[1695] Prostitute.
[1696] Disciple, discipline.
[1697] The queen-apple is red within.
[1698] The same.
[1699] The Scrutineo, or Senate House.
[1700] Arranged.
[1701] Corbaccio’s.
[1702] A medicine, supposed to be made of the oozing from mummies.
[1703] Horned animal—the usual joke on cuckolds.
[1704] The same.
[1705] Stalking horse, mask to his false plot.
[1706] A _sol_ = about a franc.
[1707] Disown.
[1708] Prepared you to do.
[1709] Playing upon the _horns_ of the cuckold and the _horn-book_.
[1710] Well-contriv’d.
[1711] The same.
[1712] Boldness.
[1713] A room in Volpone’s house.
[1714] The same.
[1715] Seriously.
[1716] Cestus. (Jonson.)
[1717] The father of Danaë.
[1718] The same.
[1719] Fellow: formerly used of both sexes.
[1720] Marvel.
[1721] Law-suits.
[1722] To make him sleep.
[1723] A hall in Sir Politic’s house.
[1724] Rush-basket.
[1725] Contrivance.
[1726] Show.
[1727] The theme of the newspapers.
[1728] A room in Volpone’s house.
[1729] Disguise.
[1730] A street.
[1731] The same.
[1732] Out of repair.
[1733] Well-frequented.
[1734] The Scrutineo, or Senate House.
[1735] Dressed like a clarissimo, or gentleman.
[1736] Swindle.
[1737] The same.
[1738] Barrister’s cap.
[1739] The same.
[1740] Moderation.
[1741] Compare.
[1742] A street.
[1743] The Scrutineo, or Senate House.
[1744] Conspiracy.
[1745] Deceived.
[1746] Under-bailiff.
[1747] Pillory.
[1748] Deed.
[1749] Printed in Q. only.
[1750] Hoe’s copy of the Q. reads _Daunces, and Antikes_ for _jigs and dances_.
[1751] Natural gifts.
[1752] Hoe’s Q. _Many_.
[1753] Surpassing defect.
[1754] Defeat.
[1755] _Copia_, copiousness.
[1756] Publish.
[1757] The plague raging.
[1758] Mistress.
[1759] Swindlers.
[1760] Deceive.
[1761] Calculating the future.
[1762] Familiar spirits.
[1763] Philosophers’ stone.
[1764] Smoke.
[1765] A room in Lovewit’s house.
[1766] Rabelais, Bk. IV. ch. 45.
[1767] Drop your tricks.
[1768] Poorly paid servant.
[1769] The precinct of Blackfriars.
[1770] _I. e._ sallow.
[1771] Grains of powder.
[1772] Chilblains.
[1773] A hat of coarse material.
[1774] Swindling.
[1775] Don’t pretend to forget.
[1776] Sell the beer intended for the poor to liquor-dealers.
[1777] Tips.
[1778] A game of cards.
[1779] _I. e._, to the card-players.
[1780] Technical jargon of alchemy.
[1781] Accomplishment.
[1782] At the moment when success is near.
[1783] Astrological tricks.
[1784] A notorious highwayman.
[1785] Eating more than his share of rations.
[1786] Bitch.
[1787] 33 Henry VIII, the first act against witchcraft in England.
[1788] “Sweating” and clipping the coinage.
[1789] Halter.
[1790] A liquid which dissolves solids.
[1791] A contemptible fellow.
[1792] Transmute metals.
[1793] Alchemical terms.
[1794] Quarreling.
[1795] Group.
[1796] Seven years before.
[1797] In the pillory.
[1798] Have your ears cut off.
[1799] Familiar puns.
[1800] The heroine of the “Mirror of Knighthood.”
[1801] Green apple, a youth.
[1802] The same. The scene-divisions are Jonson’s.
[1803] Watch.
[1804] Opened the matter.
[1805] Has such scruples.
[1806] A magician recently convicted.
[1807] Reveal.
[1808] A Turkish interpreter, like the one who had recently cheated some merchants.
[1809] Familiar spirits.
[1810] An outlaw hero.
[1811] Probably a hero of romance. The name occurs in Spenser.
[1812] Five-and-fifty was the highest number to stand on at the old game of Primero. If a flush accompanied this, the hand swept the table. (Gifford.)
[1813] The Q. reads _Testament_.
[1814] Niggard.
[1815] That he has undertaken the affair.
[1816] Stake against.
[1817] To be used in raffles.
[1818] Table d’hôte restaurant.
[1819] The gamblers (who frequented ordinaries) will be so impoverished through his winnings that they will have to eat on credit.
[1820] Supposed to refer to two alchemists, but the dates do not agree.
[1821] Strip to the cloak.
[1822] Faith.
[1823] The same.
[1824] _I. e._ a member of the Grocers’ Company.
[1825] Plan.
[1826] Recommended.
[1827] On which tobacco was shredded.
[1828] The coals of which were used to light pipes.
[1829] Usurer.
[1830] Wear the livery.
[1831] Be sheriff.
[1832] Amazed.
[1833] A branch of physiognomy.
[1834] Be seen.
[1835] Paint for the face.
[1836] Tartar deposited by wine.
[1837] Cinnabar, mercuric sulphid.
[1838] Assay.
[1839] A gold coin worth about three pounds, twelve shillings.
[1840] Unlucky days.
[1841] Corrosive.
[1842] Crucible.
[1843] Glass retort, shaped like a gourd.
[1844] The same.
[1845] A ball of perfume carried against infection.
[1846] An outer room in Lovewit’s house.
[1847] The New World.
[1848] Most gazed at.
[1849] Female accomplice in swindling heirs out of property.
[1850] Lining.
[1851] Dragon.
[1852] Stir, rouse.
[1853] Believing.
[1854] Turn mercury, copper, or silver into gold.
[1855] A disreputable locality.
[1856] The theatres were closed when the plague was prevalent.
[1857] Fooled.
[1858] Quicksilver.
[1859] According to Boccaccio, the ancestor of all the gods.
[1860] The same.
[1861] A kind of flask.
[1862] Transmute.
[1863] Congregation.
[1864] Mistresses.
[1865] Salmon elaborately prepared.
[1866] Robin-snipes.
[1867] A fish.
[1868] Soft silk.
[1869] A virtuous man.
[1870] The same.
[1871] Exact.
[1872] Anticipate.
[1873] The hero of a well-known German jest-book.
[1874] A pear-shaped vessel, open at both ends.
[1875] An egg-shaped vessel. _Gripe_ is griffin.
[1876] Seal with clay.
[1877] A dish of warm water.
[1878] Rogues’ slang.
[1879] An alchemical furnace.
[1880] Absorption.
[1881] A net for catching rabbits.
[1882] Dissolving fluids.
[1883] In order that.
[1884] A learned eccentric of the time.
[1885] Games at cards.
[1886] A collar, or a veil.
[1887] A head-dress.
[1888] The same.
[1889] Runs mad.
[1890] Red cheeks.
[1891] Easy dupes.
[1892] A man who buys broken remnants of gold.
[1893] Puritan form of church government.
[1894] The same.
[1895] A Puritan. Subtle wilfully misunderstands.
[1896] A follower of Raymond Lully (1235-1315) or George Ripley (d. _cir._ 1490), well-known alchemical writers.
[1897] An Anabaptist leader.
[1898] The same.
[1899] Blind horses.
[1900] Due to the virtue or power of the device.
[1901] A reference to Dr. Dee, the famous magician and astrologer, who died in 1608.
[1902] Of coarse frieze.
[1903] Bows.
[1904] Handsome wench.
[1905] Peaked(?) or straight on the top of her head, instead of tilted(?).
[1906] Paint for her face.
[1907] The lane before Lovewit’s house.
[1908] Non-conformist ministers not allowed to preach.
[1909] A room in Lovewit’s house.
[1910] Rubbing.
[1911] Partly.
[1912] Oppose.
[1913] Near possession of.
[1914] Set expression of face.
[1915] The dry bones of discussion on such scruples.
[1916] Have your ears cut off in the pillory.
[1917] Assembly.
[1918] Tailor. But the term was used generally of Puritans.
[1919] Become the color of citron—a stage in the process of producing the stone.
[1920] Full accomplishment.
[1921] Fiery heat.
[1922] Heat from horse-dung, warm bath, ashes.
[1923] Milder.
[1924] The same.
[1925] Partner.
[1926] Large breeches.
[1927] Passenger sloops.
[1928] Trunk hose.
[1929] A Spanish gold coin worth about 16s. 8d.
[1930] A coin worth about 4s. 6d.
[1931] Pretext.
[1932] Puritans, from the name of the Anabaptist leader.
[1933] _I. e. douce et belle_; sweetheart.
[1934] Referring to the literal meaning of _Dorothea_.
[1935] A Spanish governor.
[1936] Familiars.
[1937] Verdugo is a Spanish name, but the precise allusion is uncertain.
[1938] The same.
[1939] Folio adds (_he says_).
[1940] _I. e._ he is £1500 a year richer than any other of the Kastrils.
[1941] Roysterers, young bloods.
[1942] The lie circumstantial.
[1943] The lie direct.
[1944] An officer of the royal household, having charge of the cards, dice, etc. He had the privilege of keeping open table at Christmas.
[1945] Of the law-courts.
[1946] A magic glass.
[1947] The reference is to the “commodity” fraud, in which a borrower was obliged to take part of a loan in merchandise, which the lender frequently bought back by agents for much less than it represented in the loan.
[1948] A plant used for a dye.
[1949] A herb.
[1950] Assessed, taxed.
[1951] A noble was worth 6s. 8d.
[1952] The same.
[1953] Uprightly.
[1954] A gold coin worth 15s.
[1955] A sort of sea-bird; used contemptuously of a puffed-up person.
[1956] Turn aside from his purpose.
[1957] A room in Lovewit’s house.
[1958] Politics.
[1959] Up-to-date appropriateness.
[1960] The partner of Dee, the astrologer. He and Dee visited the emperor, Rodolph II, at Prague in 1584.
[1961] The art of transmutation.
[1962] The same.
[1963] “Put your nose out of joint.”
[1964] Swaggering.
[1965] A kind of dried plum, esteemed as a sweetmeat.
[1966] Frontal vein.
[1967] These are the cant phrases of palmistry.
[1968] In preparation for seeing.
[1969] The same.
[1970] Recompense.
[1971] Spanish. “Gentlemen, I kiss your hands.”
[1972] Neck of a boar, or boar’s flesh rolled.
[1973] Ear.
[1974] The deep plaits of his _ruff_.
[1975] “Gad, sirs, a very pretty house.”
[1976] Spaniard. Strictly, Spanish for _James_.
[1977] Diminutive of _Don_.
[1978] “I understand.”
[1979] Spanish gold coin, worth about 16s. 8d.
[1980] “If you please, may I see the lady?”
[1981] Quick about it.
[1982] “I understand that the lady is so handsome that I am as eager to see her as the good fortune of my life.”
[1983] Involved.
[1984] Agreement.
[1985] “Sirs, why so long delay?”
[1986] “Can it be to make sport of my love?”
[1987] “By this honored beard——”
[1988] “I fear, sirs, that you are playing me some trick.”
[1989] Cheated.
[1990] Cracked.
[1991] Soaked, like a hide being tanned.
[1992] Another room in the same.
[1993] Folio gives this line also to Kastril.
[1994] Bodily carriage.
[1995] Horoscope.
[1996] _I. e._, since 1588. the year of the “Invincible Armada.”
[1997] Sell on the street.
[1998] There were shops in the Royal Exchange.
[1999] The madhouse was often visited for entertainment.
[2000] Shops with merchandise from China.
[2001] Head-dresses.
[2002] In greenish-yellow liveries.
[2003] “Why does n’t she come, sirs? This delay is killing me.”
[2004] “By all the gods, the most perfect beauty I have seen in my life.”
[2005] “The sun has lost his light with the splendor this lady brings, so help me God.”
[2006] “Why don’t you draw near?”
[2007] “For the love of God, why this delay?”
[2008] “Madam, my person is unworthy to approach such beauty.”
[2009] “Madam, at your service, let us go in.”
[2010] By her horoscope, with a pun on her bearing.
[2011] Another room in the same.
[2012] Doll’s ravings are taken almost at random from the headings of columns, preface, etc., of the _Concent of Scripture_, by Hugh Broughton.
[2013] In the early editions this speech is printed in parallel columns with the dialogue immediately following, to indicate simultaneous utterance.
[2014] Secret.
[2015] Chaste.
[2016] Into smoke.
[2017] An alembic of a particular shape.
[2018] A globular flask.
[2019] The lunatic asylum.
[2020] His costume as Lungs.
[2021] Capacity.
[2022] Another room in the same.
[2023] Diminutive of Don.
[2024] As if you had been drinking heavy Dutch beer.
[2025] Referring to the punishment inflicted on bawds.
[2026] Part.
[2027] Horoscopes.
[2028] Astrological almanacs.
[2029] The same.
[2030] Cheated.
[2031] Rascal.
[2032] Girl.
[2033] A lotion.
[2034] Dandy.
[2035] Kastril’s terms of abuse are not meant to be appropriate.
[2036] The allusion here has not been explained.
[2037] In Kyd’s _Spanish Tragedy_.
[2038] Expected.
[2039] Quibbles.
[2040] The district outside the walls subject to the city authorities.
[2041] Stolen goods, booty.
[2042] Before Lovewit’s door.
[2043] A summer resort, where the citizens had cakes and ale.
[2044] Like a Puritan preacher.
[2045] Gang.
[2046] Puppet show.
[2047] The same.
[2048] Lit., two dozen sheaves; droves.
[2049] A suburban tavern, eclipsed as a resort by Pimlico.
[2050] With drinking.
[2051] The same.
[2052] Perfect harlot.
[2053] Optical illusion.
[2054] A room in the same.
[2055] Shrank with fear.
[2056] Names of taverns.
[2057] Wheat boiled in milk.
[2058] Games of chance.
[2059] Bat.
[2060] An inn at Brentford.
[2061] Small change.
[2062] A famous pirate.
[2063] Ends.
[2064] An outer room in the same.
[2065] For fear of failing.
[2066] Break.
[2067] Stealing.
[2068] Probably a fragment of a song.
[2069] Musketeer.
[2070] Crow.
[2071] Wenches.
[2072] That are sealed as God’s people.
[2073] The founder of the fanatical sect called “The Family of Love.”
[2074] Knight.
[2075] Puppet.
[2076] Must.
[2077] Beat.
[2078] A term of falconry: lined in punning allusion to the name of Kastril, which means hawk.
[2079] Jovial.
[2080] Fair reputation.
[2081] Dramatic propriety.
[2082] Jury.
[2083] A street in London.
[2084] In love with.
[2085] Fear.
[2086] Wasted.
[2087] Cousin; used of any relative not of one’s immediate family.
[2088] At once.
[2089] Advance-pay.
[2090] Equipment.
[2091] Inclination.
[2092] A gold coin, worth about three pounds twelve shillings.
[2093] Qq. _become_. Malone emend.
[2094] Piece of leather.
[2095] Twiddle-twaddle.
[2096] If.
[2097] Frisky, tricky.
[2098] Used as a term of contempt.
[2099] Quibbling on _colonel_.
[2100] Impressed into service.
[2101] Solemn declarations.
[2102] Damp.
[2103] An imaginary Saracen god.
[2104] Brave.
[2105] Fool.
[2106] Tales told to curry favor.
[2107] Healed.
[2108] Four-penny piece.
[2109] Yellow spots on the body denoting the infection of the plague.
[2110] Grant.
[2111] Breeches (-pockets).
[2112] Perforated.
[2113] A garden at Old Ford.
[2114] In preparation.
[2115] With a vengeance.
[2116] Capricious.
[2117] Crushed crab-apples.
[2118] Juice of green fruits.
[2119] Wide trousers.
[2120] Stockings. The meaning seems to be that though we may be acquainted, we are not intimate friends.
[2121] A phrase from Kyd’s _Spanish Tragedy_.
[2122] Handsome.
[2123] Go and be hanged!
[2124] A street in London.
[2125] Before Eyre’s house.
[2126] Dressing himself.
[2127] Beef broth.
[2128] Salted beef.
[2129] Gutters.
[2130] Watch dog.
[2131] Madman.
[2132] A woman who washed and pickled pigs’ faces.
[2133] Coming.
[2134] Bawling.
[2135] The language is, of course, meant for Dutch.
_There was a boor from Gelderland, Jolly they be; He was so drunk he could not stand, Drunken(?) they be: Clink then the cannikin, Drink, pretty mannikin!_
[2136] The bones of St. Hugh were supposed to have been made into shoemaker’s tools.
[2137] Dutchman.
[2138] A dish of different hashed meats. The word is sometimes used contemptuously of a versatile person, but is applied to Margery without much appropriateness.
[2139] _Good-day, master, and your wife too._
[2140] An oath.
[2141] _Yes, yes, I am a shoemaker._
[2142] _Yes, yes; be not afraid. I have everything to make boots big and little._
[2143] _Trade._
[2144] _I don’t know what you say; I don’t understand you._
[2145] _Yes, yes; I can do that well._
[2146] Slatterns.
[2147] _O, I understand you; I must pay for half-a-dozen cans; here, boy, take this shilling, tap once freely._
[2148] Slang for beggar.
[2149] Conger-eel.
[2150] A field near Old Ford.
[2151] Cover.
[2152] Exhausted.
[2153] The garden at Old Ford.
[2154] Stupid.
[2155] An oath.
[2156] By God’s pity.
[2157] A room in Eyre’s house.
[2158] _I ’ll tell you what, Hans; this ship that is come from Candia, is quite full, by God’s sacrament, of sugar, civet, almonds, cambric, and all things; a thousand, thousand things. Take it, Hans, take it for your master. There are the bills of lading. Your master, Simon Eyre, shall have a good bargain. What say you, Hans?_
[2159] _My dear brother Firk, bring Master Eyre to the sign of the Swan; there shall you find the skipper and me. What say you, brother Firk. Do it, Hodge._
[2160] Set.
[2161] Finsbury was a famous practising ground for archery.
[2162] Well done.
[2163] Prepare.
[2164] Beside the point.
[2165] German: Schelm, a scoundrel. Skanderbag, or Scander Beg (_i. e._ Lord Alexander), a Turkish name for John Kastriota, the Albanian hero, who freed his country from the yoke of the Turks (1443-1467). (Warnke and Proescholdt.)
[2166] A robe ornamented with guards or facings.
[2167] Stamped.
[2168] Ruffling.
[2169] Yield precedence.
[2170] Address you as.
[2171] _Good day, master. This it the skipper that has the ship of merchandise; the commodity is good: take it, master, take it._
[2172] _The ship lies in the river; there are sugar, civet, almonds, cambric, and a thousand thousand things. By God’s sacrament, take it, master; you shall have a good bargain._
[2173] _Yes, yes, I have drunk well._
[2174] Fr. _Par Dieu_.
[2175] London: a room in Lincoln’s house.
[2176] Certainly informed.
[2177] London: a room in the Lord Mayor’s house.
[2178] Quarrel.
[2179] Found, set; a pun upon fond.
[2180] Puppet, doll.
[2181] Pleases.
[2182] Coins worth about 10s. each.
[2183] Wait for.
[2184] London: a room in Eyre’s house.
[2185] Ale-kegs made of wood.
[2186] _I thank you, mistress!_
[2187] Faithless friend.
[2188] _Yes, I shall, mistress!_
[2189] _I am merry; let ’s see you so!_
[2190] Smoke.
[2191] Brave.
[2192] Scratch me, and I’ll scratch thee.
[2193] Yes, I shall, dame.
[2194] Fine.
[2195] Brighten up.
[2196] Sheriff.
[2197] “The three-farthing silver pieces of Queen Elizabeth had the profile of the sovereign with a rose at the back of her head.” (Dyce.)
[2198] _See, my dear brothers, here comes my master._
[2199] The flap of a hood trimmed with fur or sheep’s wool. (Rhys.)
[2200] _I.e._ for the twenty Portuguese previously lent.
[2201] A room at Old Ford.
[2202] A catch for three voices. It is by no means certain at what point in the play the songs were introduced.
[2203] _I thank you, good maid!_
[2204] A street in London.
[2205] Fastidious.
[2206] London: a street before Hodge’s shop.
[2207] _Forward, Firk, thou art a jolly youngster. Hark, ay, master, I pray you cut me a pair of vamps for Master Jeffrey’s boots._ Vamps are the upper leathers of a shoe.
[2208] _Counterfeits_ sometimes means vamps.
[2209] _What do you want, what would you, girl?_
[2210] _Where is your noble lady, where is your mistress?_
[2211] _Yes, yes, I shall go with you._
[2212] The same.
[2213] A corruption of “God’s nails.”
[2214] London: a room in the Lord Mayor’s house.
[2215] _Indeed, mistress, ’t is a good shoe, it shall fit well, or you shall not pay._
[2216] _Yes, yes, I know that well: indeed, ’t is a good shoe, ’t is made of neat’s leather; see here, good sir!_
[2217] At once.
[2218] Another room in the same house.
[2219] Simpleton(?).
[2220] Fool.
[2221] _I. e._ diggers for information.
[2222] Seriously.
[2223] Stretchers of the truth, lies.
[2224] A stone which marked the centre from which the old Roman roads radiated.
[2225] A small conduit near the Royal Exchange.
[2226] Mother Bunch was a well-known ale-wife.
[2227] A pretty sight.
[2228] Conjuring terms.
[2229] Curse.
[2230] Cheat.
[2231] A room in Eyre’s house.
[2232] A sweetmeat made of sugar and almonds.
[2233] A street near St. Faith’s Church.
[2234] Fitted.
[2235] “Clubs” was the rallying cry of the London apprentices.
[2236] A lace with a tag, which fastened the busk, or piece of wood or whalebone used to keep the stays in position.
[2237] A slang term for a woman.
[2238] Whipped.
[2239] A bell rung on the morning of Shrove Tuesday.
[2240] Leadenhall.
[2241] Beef broth.
[2242] Barrels.
[2243] Hods.
[2244] A street in London.
[2245] In suspense.
[2246] Swaggerer.
[2247] A great hall.
[2248] Pass.
[2249] “A dish, made of milk, eggs, and sugar, baked in a pot.” (Webster.)
[2250] A steak cut crossways.
[2251] Ruffs for the neck.
[2252] Flaps; as resembling the hanging chaps of a hound.
[2253] Obstruction, a term in bowling.
[2254] An open yard before the hall.
[2255] Magpie.
[2256] “A. D. 1419. This year Sir Symon Eyre built Leadenhall, at his proper expense, as it now appears, and gave the same to the City to be employed as a public granary for laying up corn against a time of scarcity.”—Maitland’s _History and Survey of London_, II. 187. According to Stow, Eyre was a draper, became Mayor in 1445, and died in 1459.
[2257] Merry-making.
[2258] As an apprentice.
[2259] Chaste.
[2260] A street in Milan.
[2261] Portentous.
[2262] Dyce conj. _torrent._
[2263] Because.
[2264] Gutter.
[2265] A red Spanish wine made at Alicant.
[2266] Turmoil.
[2267] By our lady.
[2268] Q. _for._
[2269] Private.
[2270] Chastity.
[2271] Song-makers.
[2272] Another street.
[2273] Readily.
[2274] Grandee.
[2275] Save.
[2276] Honest.
[2277] Glance.
[2278] Churl.
[2279] The allusion is to the fancied resemblance of the roots of the mandrake to the human figure.
[2280] “Query Whimlings—idiots.” (Rhys.)
[2281] A perfect man.
[2282] A common pun on _fret_, the ridge on which the strings of a musical instrument are stopped.
[2283] Wide of the mark.
[2284] Stark mad.
[2285] Scurfy.
[2286] Handsomely dressed.
[2287] Soldiers who had never left England.
[2288] Bosom friend.
[2289] Escort.
[2290] “Aunt” was a cant term both for a prostitute and a bawd. (Dyce.)
[2291] Cheat.
[2292] Ask the king to have the wardship of me as an idiot.
[2293] A chamber in the Duke’s Palace.
[2294] Dyce conj. Qq. _meere_, which may be right, meaning “entirely.”
[2295] Q₂ _Sweet_.
[2296] Dyce suggest _crust_.
[2297] Foolish.
[2298] Q₂ _deadst_.
[2299] Q₂ _God knows_.
[2300] Q₂ _haunts_.
[2301] Deed.
[2302] A street.
[2303] A piece of brass or copper money, coined by tavern-keepers and other tradesmen for small change.
[2304] For love’s sake.
[2305] Cheated.
[2306] Bet.
[2307] Hands.
[2308] Candido’s shop.
[2309] Qq. give first three speeches to _All Three_.
[2310] The shopkeeper’s common cry at this period.
[2311] Engaged.
[2312] Pray, invoke.
[2313] At once.
[2314] Dupe.
[2315] Plague.
[2316] Fellows.
[2317] Lose.
[2318] I am not accustomed to drink whole beakers full.
[2319] An exclamation of contempt, equivalent to “a fig for.” (Dyce.)
[2320] Emptied the cup so completely that the remaining drop will stand on the thumb-nail.
[2321] Simpleton.
[2322] Stallion.
[2323] Milksop.
[2324] Beat.
[2325] In order that.
[2326] A beggar who pretended madness was called an Abraham man.
[2327] A room in Bellafront’s house.
[2328] Dressed.
[2329] Frizzling iron.
[2330] A stick used for plaiting ruffs.
[2331] Sideboard.
[2332] An expression of contempt.
[2333] A kind of collar, falling flat round the neck.
[2334] A corruption of “God ’s my pity.”
[2335] A gold coin worth about ten shillings.
[2336] A docked horse.
[2337] Spiced and sweetened wine.
[2338] Sixpence.
[2339] Half a gallon.
[2340] A roll of fine bread.
[2341] Q₂ _Herculian_.
[2342] A sprightly dance.
[2343] Prostitutes.
[2344] Rabbit-skin.
[2345] “Mutton” was slang for a light woman.
[2346] Retires to the background.
[2347] Dyce suggests _tilt_.
[2348] Cheat.
[2349] Hysterics.
[2350] A small red plum.
[2351] Paltry.
[2352] Respectfully.
[2353] For sale.
[2354] The term sirrah was applied often to women as well as to men.
[2355] Prostitute.
[2356] Pickled.
[2357] Kiss.
[2358] _I. e._ without your upper dress.
[2359] Harlot.
[2360] A sweet Spanish wine.
[2361] Simpletons.
[2362] Towels.
[2363] Fine-looking.
[2364] Lascivious.
[2365] Why.
[2366] Measure.
[2367] Wench.
[2368] Calves’ fry.
[2369] Tripe.
[2370] _I. e._ false, like an uncurrent coin.
[2371] A corruption of the word “melancholy.”
[2372] Collars lying flat on the neck.
[2373] Retract.
[2374] Misunderstand.
[2375] In allusion to the painting of a citizen’s gateposts on his promotion to be sheriff, so as to display official notices the better. (Rhys.)
[2376] Citizen.
[2377] Beat.
[2378] Pleases.
[2379] Turmoil.
[2380] Mine ingle, _i. e._ my intimate.
[2381] The heraldic term for red.
[2382] Desire.
[2383] Weigh.
[2384] Perquisites.
[2385] Table covers.
[2386] Quietest.
[2387] Portuguese coins, worth about 2s. 10d. each, but varying in value.
[2388] Construe.
[2389] _I. e._ I long.
[2390] When he may rob under protection. _Barn_ is a corruption of _baron_, and in law a wife is said to be under covert baron, being sheltered by marriage under her husband. (Dyce.)
[2391] An outer apartment in Bellafront’s house.
[2392] Hat.
[2393] Handsomest.
[2394] Go up, get out.
[2395] Perquisites.
[2396] Assignation(?) Customer(?) Pair(?)
[2397] A chamber in Bellafront’s house.
[2398] Understand.
[2399] Simpletons.
[2400] Cheating.
[2401] Stink.
[2402] Readily.
[2403] A chamber in Hippolito’s house.
[2404] Certificate of membership in the craft.
[2405] Ostend held out for three years and ten weeks, and was eventually captured by the Marquis of Spinola on Sept. 8, 1604.
[2406] Foolish.
[2407] Q 1635, _brought_.
[2408] Used as provocatives.
[2409] Seneca, _Oedipus_, 882.
[2410] Have nothing to say.
[2411] Ital. _Good courage._
[2412] A street.
[2413] A game with dice.
[2414] Mazzard, the head.
[2415] Candied orange-peel.
[2416] Bows.
[2417] A quibble. There were three degrees in fencing, the master’s, the provost’s, and the scholar’s, for each of which a “prize was played.”
[2418] With ornamental border.
[2419] Decided.
[2420] Grounds near the Duke’s Palace.
[2421] Device.
[2422] Construe.
[2423] A hall in the Duke’s Palace.
[2424] High-feeding prompted.
[2425] A cheap substitute for tapestry, frequently adorned with mottoes and verses.
[2426] Readily.
[2427] Cheese-trenchers used to be inscribed with proverbial phrases.
[2428] An apartment in Bethlem Monastery.
[2429] Consent.
[2430] _I. e._ to steal a wench.
[2431] Suspicious.
[2432] Artifices.
[2433] Anticipate.
[2434] Qq. _Enter Towne like a Sweeper._
[2435] Citizenship.
[2436] Check.
[2437] Moulds for hats, or hats.
[2438] Simpletons.
[2439] Dupes.
[2440] Club foot.
[2441] Sour, crabbed.
[2442] Informer.
[2443] The Qq. read _2 Mad._ for _3 Mad._ and _3 Mad._ for _2 Mad._
[2444] Slippers.
[2445] Pieces of wood fixed to the key-levers of virginals, spinets, and harpsichords, which rose when the keys were pressed down.
[2446] Wrote in musical notes.
[2447] A raisin floating on burning brandy.
[2448] A proverbial phrase.
[2449] A corruption of God’s sanctity or God’s saints. (Steevens.)
[2450] In the game of barley-break the ground was divided into three compartments, the middle one of which was called “hell.”
[2451] _I. e._ Infelice.
[2452] A quibble. “Table” also meant the palm of the hand. (Dyce.)
[2453] The name of a well-known tale.
[2454] A prostitute.
[2455] An allusion to a ballad of that name.
[2456] Confound.
[2457] Hands.
[2458] Reason.
[2459] A hall in Hippolito’s house.
[2460] Darling.
[2461] Christ save.
[2462] Unlike.
[2463] Promenade, as on the Exchange.
[2464] Dunkirk pirates.
[2465] Courtesans.
[2466] Mop for cleaning decks, etc.
[2467] Yellow was typical of jealousy.
[2468] An apartment in the Duke’s Palace.
[2469] A supposed recipe for restoring youth. (Dyce.)
[2470] Merriment.
[2471] Tempting.
[2472] Confection.
[2473] Renounce.
[2474] Used by fowlers to allure quails.
[2475] The color of servants’ livery.
[2476] A room in Candido’s house.
[2477] Citizens.
[2478] Spikes in the centre of bucklers.
[2479] A pipe organ.
[2480] The model for the hat.
[2481] Struts.
[2482] Head-piece.
[2483] Head-dresses.
[2484] The steeple-like hat worn by 1 Guest.
[2485] Hysteria.
[2486] A room in Matheo’s house.
[2487] Rosemary was an emblem of remembrance.
[2488] Ital. A term of abuse or contempt.
[2489] A vague exclamation. Hang it all!(?)
[2490] Roystering gallants.
[2491] Drink deep.
[2492] Dicing.
[2493] Band.
[2494] Notorious churl.
[2495] Vile.
[2496] Foolish.
[2497] Lower, take off.
[2498] Boon companion.
[2499] Cheat.
[2500] Whoremonger.
[2501] Portcullis.
[2502] Before Candido’s shop.
[2503] An expression of impatience.
[2504] Be so imposed upon.
[2505] A fencing contest. Cf. p. 414, note 5.
[2506] Cudgels.
[2507] An apartment in Hippolito’s house.
[2508] Hound.
[2509] Secret.
[2510] Irish: _Slán leat_, fare thee well.
[2511] Irish: _As a márach frómhadh bodach bréan_—On the morrow of a feast, a clown is a beast. (Rhys.)
[2512] At once.
[2513] An Irish foot-soldier: often used contemptuously.
[2514] Leprechaun, a pigmy sprite in Irish folk-lore.
[2515] Irish: _A maighisdir a grádh_, O master, O love.
[2516] Foolish.
[2517] A room in Matheo’s house.
[2518] _I. e._ dicing.
[2519] Draw out unwillingly.
[2520] _I. e._ with a staff.
[2521] Cost me.
[2522] On.
[2523] In preparation for.
[2524] An allusion to a well-known romance.
[2525] A cant term for money.
[2526] Band.
[2527] _I. e._ turn bawd.
[2528] _I. e._ My expectation was just.
[2529] Will be hanged.
[2530] Prostitutes.
[2531] Formerly used to both sexes.
[2532] Gardens with summer-houses were very common in the suburbs of London at the time, and were often used as places of intrigue. (Dyce.)
[2533] Sift.
[2534] Pear-tree.
[2535] A room in Matheo’s house.
[2536] Finely attired.
[2537] In the fashion.
[2538] Delivery.
[2539] “It would take forty such knights to make a thief.” Cataia is China; the Chinese were supposed to be great thieves.
[2540] Turn over, sell.
[2541] A kind of false dice.
[2542] Whoremonger.
[2543] The straps attached to the girdle, from which a dagger or sword hung. They were often richly embroidered.
[2544] Herring’s head.
[2545] Horses with long housings.
[2546] An appetite with anger.
[2547] Stuffed out.
[2548] A dish carried by beggars, with a lid used to rattle to attract notice.
[2549] Hospital.
[2550] Trick.
[2551] Cage.
[2552] Boasters.
[2553] Gallows-bird.
[2554] Booty.
[2555] His sword.
[2556] The mistress of the father of William the Conqueror.
[2557] Quality.
[2558] Then.
[2559] Only confusion.
[2560] Enticed.
[2561] Tempting.
[2562] Take off their hats.
[2563] An apartment in the Duke’s Palace.
[2564] A net, the mouth of which was drawn together with a string.
[2565] Aim.
[2566] A room in Matheo’s house.
[2567] A frame used for stretching cloth.
[2568] In any direction.
[2569] A state barge.
[2570] A common dish in the brothels of the time.
[2571] Two quarts.
[2572] A corruption of _Pedro Ximenes_; a sweet Spanish wine.
[2573] A Portuguese wine.
[2574] _I. e._ Aleatico, a red Italian muscatel wine.
[2575] Kinds of cannon.
[2576] An acid liquor made from green fruit.
[2577] A play upon “pop-guns.”
[2578] The price was here probably indicated by displaying the fingers. (Rhys.)
[2579] On Shrove Tuesday the city authorities made a search for brothel-keepers.
[2580] Thrown at random(?)
[2581] A street.
[2582] Strumpets had to do penance in a blue gown.
[2583] Crushing chalk was one of the occupations assigned to the prisoners.
[2584] An allusion to the carting of prostitutes.
[2585] Former friends.
[2586] A room in Bridewell.
[2587] The allusions here really refer of course to the London Bridewell. The cardinal, duke, and prince are Campeius, Henry VIII, and Edward VI; and the other details are substantially historical.
[2588] Rascal.
[2589] By whipping.
[2590] Tavern loafers.
[2591] Subjects for dissection.
[2592] Atoms.
[2593] Obstruction.
[2594] The amount of the hangman’s fee.
[2595] Musical instruments hung in the barbers’ shops of the period.
[2596] Bout. A term in fencing.
[2597] A heavy mallet.
[2598] A pander.
[2599] Finely attired.
[2600] A term of contempt.
[2601] A play upon the word, which also signifies “trimmed.”
[2602] Prostitutes.
[2603] Chore, task work.
[2604] At the carting of bawds and prostitutes they were preceded by a mob beating basins and performing other rough music. (Rhys)
[2605] Head-dress trimmed.
[2606] Ensign.
[2607] Branded.
[2608] Disdain.
[2609] Fools.
[2610] Some copies of Q₁ read _Me mea sequentur fata_.
[2611] The induction appears first in Q₂.
[2612] The Additions are enclosed in brackets throughout.
[2613] Corruption of (eye-)lid.
[2614] Note-book.
[2615] The meaning is that in _The Malcontent_ which had been originally acted in Blackfriars Theatre, the practice of wearing feathers had been so ridiculed that the feather-makers of Blackfriars had suffered injury in their business. See V. iv. (Bullen.)
[2616] Application.
[2617] Judge.
[2618] Box.
[2619] Scabs.
[2620] _I. e._ Why should not the King’s company of grown up (folio) actors play _The Malcontent_ (which was the property of the children’s company playing at Blackfriars), since the children (16mo actors) have appropriated _The Spanish Tragedy_, in which the King’s company had rights?
[2621] “’Tis reported that Parmeno, being very famous for imitating the grunting of a pig, some endeavoured to rival and outdo him. And when the hearers, being prejudiced, cried out, ‘Very well, indeed, but nothing comparable to Parmeno’s sow,’ one took a pig under his arm and came upon the stage; and when, tho’ they heard the very pig, they still continued, ‘This is nothing comparable to Parmeno’s sow,’ he threw the pig among them to show that they judged according to opinion and not truth.” (Plutarch’s _Symposium_, V. I., cited by “L. S.” and Bullen.)
[2622] Halfpennies.
[2623] Forbid.
[2624] Judge.
[2625] Petrarch’s 153rd Sonnet, trans. by John Harvey.
[2626] Rascal.
[2627] Salute.
[2628] In the margin of the Qq. here: _Vexat censura columbas_.
[2629] Palace of the Duke of Genoa.
[2630] The same.
[2631] Male prostitute.
[2632] Q₂ _ragged_.
[2633] Bespatter.
[2634] Nares suggests “dealers in wool or mutton,” _i. e._ mutton-mongers, lascivious fellows.
[2635] Bullen prints _Howls again_ as a stage direction.
[2636] Which they care most for.
[2637] Q₁ omits.
[2638] The same.
[2639] Q₁ omits.
[2640] Liked by.
[2641] Deceit.
[2642] Housings of his horse.
[2643] Ital., mistress.
[2644] The ape-leader’s call to his monkey.
[2645] A game played with a ball, a bat, and a wooden trap.
[2646] Lid.
[2647] Ital., cuckold.
[2648] A horned one.
[2649] Unshell.
[2650] Corroboration.
[2651] Outburst.
[2652] Secret harlot.
[2653] Exclamation of contempt.
[2654] Q₁ omits these forty-five lines.
[2655] Counts.
[2656] Under heaven(?) In spite of which a man can purchase salvation(?)
[2657] Q₁ reads _shue_, _should_.
[2658] Q₁ omits the rest of this scene.
[2659] Weigh seriously.
[2660] The same.
[2661] The goddess of plenty.
[2662] Having an appetite for.
[2663] Qq print the rest of this speech as prose, perhaps rightly.
[2664] Q₁ omits ll. 44-98.
[2665] An allusion to Castiglione, author of _The Courtier_.
[2666] The same.
[2667] Pay obsequious attention to.
[2668] Following.
[2669] Lampreys.
[2670] The same.
[2671] Q₂ _aske_.
[2672] The same.
[2673] Qq. _this_.
[2674] Qq. _the_.
[2675] Embraced.
[2676] The same. Q₁ omits this scene.
[2677] With facings on his coat, such as fools wore.
[2678] An extant pamphlet records this monstrosity.
[2679] Seek to be made guardians to idiots, in order to enjoy their revenues.
[2680] Some copies read _something of his guilt: some advauncing his high-colored_.
[2681] Accomplishments.
[2682] Flushing was in the hands of the English as security for a loan, and presumably the garrison was unpopular with the townspeople.
[2683] Talc.
[2684] Chamber in the Duke’s Palace.
[2685] Lantern.
[2686] Absolutely.
[2687] “It is whence you fall, not whither, that matters.”
[2688] Chamber in the Duke’s Palace.
[2689] Pair.
[2690] Stuck, stoccado, a thrust.
[2691] Q₁ omits.
[2692] The same.
[2693] Drunken.
[2694] Q₁ omits ll. 27-47.
[2695] An eruption.
[2696] Bullen’s emend. Qq. read
_’T is requisite, the parts with piety And soft respect forbears, be closely dogd._
For _soft_, other copies read _loft_, _lost_.
[2697] Wrinkles.
[2698] Uncover.
[2699] The same.
[2700] How does it become me?
[2701] Cleanseth.
[2702] Treating with cosmetics.
[2703] The same.
[2704] Dodsley’s emend. Q₁ _pent_;, Q₂ _spent_.
[2705] Thoroughly.
[2706] By.
[2707] _I. e._ a Huguenot.
[2708] Ovid. _Her. Epist._ i. 53, with _Troja_ for _Sion_.
[2709] Virgil, _Aeneid_, ii. 554.
[2710] Cheat.
[2711] A room in the Duke’s Palace.
[2712] Streams.
[2713] So Q₂, Q₁ _complaints_.
[2714] Q₁ omits ll. 36-176.
[2715] A kind of wild geese were supposed to grow from barnacles.
[2716] A form of torture.
[2717] Welshmen were notoriously proud of their pedigree.
[2718] Crape.
[2719] Qq. _fowl_. Perhaps a pun.
[2720] Pair of stays, bodice.
[2721] The same.
[2722] Shave; here, mow.
[2723] The usual costume of Hymen in masques.
[2724] So Bullen. Qq. _cloake_, _cloke_.
[2725] The same.
[2726] Whose force alone.
[2727] Seneca, _Epist._ xliv.
[2728] A forest near the sea.
[2729] Qq. _safely_.
[2730] Vanity, frivolity.
[2731] The same, continued.
[2732] Q₁ omits; Q₂ _you_.
[2733] Secretly.
[2734] Qq. _Cel._
[2735] Palace of the Duke.
[2736] The tags of the laces fastening the “busk,” the whale-bone in the front of the stays.
[2737] Lover.
[2738] This speech should probably be given to Bianca.
[2739] The same, continued.
[2740] A slow dance.
[2741] Dyce cites _Les Guanto_ from Munday as the name of a courtly dance.
[2742] The same, continued.
[2743] Prepare for.
[2744] Adapted from Seneca, _Phoen._ 632. “He seeks an uncertain reward, but certain guilt.”
[2745] Intimate.
[2746] Qq. note on margin: _Shoots under his belly_.
[2747] Opponent.
[2748] Upbraids.
[2749] Court of the Palace.
[2750] The same.
[2751] Qq. _lov’d_.
[2752] Embrace.
[2753] Salt, licentious.
[2754] Qq. _bloud_.
[2755] Qq. _sinne in good_.
[2756] Cuckolds.
[2757] Probe.
[2758] “Carrying coals;” menial employment.
[2759] Deighton’s emend. Qq. _banishing_.
[2760] Are cut out of the same cloth.
[2761] A room in the Palace. Q₁ omits this scene.
[2762] Meaning uncertain. “Coiled up into a small compass,” Nares. “Inconvenienced,” Halliwell. Deighton would read _hoistered_, “an Essex word meaning ‘supported,’ ‘held up,’ an extension of ‘hoisted,’ as ‘hoisted’ is an extension of ‘hoised.’”
[2763] A perfume ball.
[2764] Stinking fellows: the mob.
[2765] Before the Citadel.
[2766] Q₁ omits ll. 11-43.
[2767] Crowded.
[2768] A hero in _Orlando Furioso_. (Reed.)
[2769] Bullen’s emend. Qq. _stream_.
[2770] The same.
[2771] Heroes in _The Mirrour of Knighthood_.
[2772] Q₂ _this_.
[2773] Cicero, _Ad Fam._ ix. 22. (Bullen.)
[2774] Q₁ omits ll. 1-37.
[2775] Cf. II. ii. 64.
[2776] Ovid, _Tristia_, ii. 33. (Bullen.)
[2777] Talk closely together, as if conspiring.
[2778] Seneca, _Agam._ 115. (Bullen.)
[2779] Q₂ inserts here:
Mend. _Hast been with Maria?_
Mal. _As your scrivener to your usurer, I have dealt about taking of this commodity, but she’s cold-frosty._
These lines seem to have been meant to take the place of ll. 48-58, which were left in by mistake. Q₁ omits ll. 59-72.
[2780] Qq. _Why_.
[2781] Niggardly.
[2782] Deighton suggests _feareth_.
[2783] The Presence-Chamber.
[2784] Head-dresses.
[2785] A part of dress, now usually called a vandyke: it fell flat upon the dress from the neck, and succeeded the stiff ruffs. (Nares.)
[2786] Or poking-stick, for setting the plaits of ruffs.
[2787] So Q₂. Some copies of Q₁ _windle_. Bullen suggests _wimble_, nimble.
[2788] Outweigh.
[2789] Some copies of Q₁ give this line to Maria.
[2790] From Thomas Bastard’s _Chrestoleros_, 1598. (Bullen.)
[2791] Qq. gives this line to Aurelia.
[2792] Regions.
[2793] Deceiving.
[2794] Qq. _as_.
[2795] Qq. Pietro.
[2796] Q₁ omits ll. 148-172.
[2797] Qq. _conceale_.
[2798] The disreputable district.
[2799] Wholly.
[2800] Flaws.
[2801] Ben Jonson’s.
[2802] Defeat.
[2803] Room in Frankford’s house.
[2804] Q₂ _Acton_.
[2805] _The Shaking of the Sheets_, or _The Dance of Death_, was a well-known ballad and dance tune.
[2806] Gained the dignity.
[2807] In preparation for marrying.
[2808] Reduces her to submission.
[2809] The points where the strings of a musical instrument are stopped.
[2810] Streamers.
[2811] Boisterous.
[2812] Q¹ _But_.
[2813] Gold coins worth about $2.50.
[2814] Shake hands on it.
[2815] Yard of the same.
[2816] Frolic, bout.
[2817] The names of the dance-tunes here were all familiar.
[2818] Chevy Chase.
[2819] On the descent.
[2820] Pluck.
[2821] Call back.
[2822] Verity explains as “booty,” but apparently it is the same as _jesses_.
[2823] Leg-straps.
[2824] Quarry: “the swoop upon the bird.” (N. E. D.)
[2825] Not satisfactorily explained.
[2826] Attacked afresh.
[2827] Toes.
[2828] Unexplained.
[2829] The rest of the speech seems to refer to Mountford’s hawk.
[2830] Bungler.
[2831] Curly-tailed.
[2832] Limit of liability.
[2833] Abundantly.
[2834] Arrest.
[2835] Overflows
[2836] Have made good progress.
[2837] Splashed.
[2838] Versed.
[2839] Forming factions.
[2840] Judged.
[2841] Resources.
[2842] Accomplishments.
[2843] Grieves.
[2844] Use.
[2845] The Gaol.
[2846] Changed.
[2847] To prevent failure.
[2848] Feeble.
[2849] Paid over.
[2850] Frankford’s house.
[2851] Conceive.
[2852] Foolish.
[2853] Relationship.
[2854] Opprobrious.
[2855] Acquire, add.
[2856] Secret proceedings.
[2857] Sneaking.
[2858] Sir Charles Mountford’s house.
[2859] Interest.
[2860] Extremely rigorously.
[2861] List. Properly a list of names to be prayed for.
[2862] Ed. conj. _tyrannous_.
[2863] Of the debtor’s prison.
[2864] Legal transactions.
[2865] Frankford’s house.
[2866] Tray for removing dishes.
[2867] Table-cover.
[2868] Small logs.
[2869] Await.
[2870] Economist.
[2871] Maker of quarrels.
[2872] Evidence.
[2873] Resentment.
[2874] Of noble origin.
[2875] Avoid.
[2876] Pack.
[2877] Well done.
[2878] Be my partner.
[2879] Be their opponents.
[2880] A game like cribbage.
[2881] An earlier kind of whist.
[2882] Be shut out.
[2883] Cut.
[2884] Pack.
[2885] This line should probably be given to Mrs. F. If not, Cranwell exit here with Jenkin.
[2886] Old Mountford’s house.
[2887] Rioting.
[2888] York Castle.
[2889] Ceased.
[2890] Joyful.
[2891] Too base in their conduct. (Ward.)
[2892] Ed. conj. Qq. _in_.
[2893] Lose.
[2894] Weigh impartially.
[2895] Verity emends to _expectation_.
[2896] Frankford’s house.
[2897] Influence with.
[2898] Less severe.
[2899] Good fellow.
[2900] Armed.
[2901] Cause discomfort to.
[2902] Intimacy.
[2903] Another part of the house.
[2904] Outside the house.
[2905] Bow-shots.
[2906] The hall of the house. Note that in the Qq. these scenes are continuous.
[2907] Delay.
[2908] Established his case. (Ward.)
[2909] Count backwards.
[2910] Dressing-gown.
[2911] Outcast.
[2912] Rank.
[2913] Nearby.
[2914] Permit.
[2915] Before Sir Francis Acton’s house.
[2916] Dressed.
[2917] A Celtic foot-soldier; often used in contempt.
[2918] A small coin.
[2919] Penny.
[2920] Tell.
[2921] Dressed finely.
[2922] Wonder.
[2923] Frankford’s house.
[2924] Wire used to support a ruff.
[2925] Variation.
[2926] Merry.
[2927] Road near Mistress Frankford’s manor.
[2928] Sworn.
[2929] Commands.
[2930] Food.
[2931] Enchanted, seduced.
[2932] Made this trouble.
[2933] Acquired these languages perfectly.
[2934] Before the Manor House.
[2935] Conducts.
[2936] Dutiful.
[2937] Dwells.
[2938] The Manor Home. The scene was really unchanged.
[2939] Condition.
[2940] Verity suggests, _Once more_ (_i. e._ Kiss me once more); _thy wife dies, etc._
[2941] Cut and filled in with gold.
[2942] Pure.
[2943] Compare.
[2944] The Q spellings _Rafe_ and _Raph_ indicate the pronunciation.
[2945] From the Second Edition, 1635.
[2946] Fastidious.
[2947] _Idem._ “This Prologue is almost an exact Transcript of ‘The Prologue at the Black fryers’ prefixed to Lyly’s _Sapho and Phaon_.” (Murch.)
[2948] Marjoram.
[2949] Disapproval.
[2950] Q₂ _authors_.
[2951] Probably Whitefriars, a private theatre.
[2952] Jeers.
[2953] The placard announcing the name of the play.
[2954] _I. e._ a member of the Grocers’ Guild, one of the great livery companies.
[2955] Behave trickily.
[2956] A lost play, author unknown.
[2957] Heywood’s _If you know not me, you know nobody_, pt. II.
[2958] Peele’s _Edward I_.
[2959] Wonderful.
[2960] Dear.
[2961] Was to have seen.
[2962] Perhaps _Edward IV_, ascribed to Heywood.
[2963] A lost play.
[2964] This play was first acted by the children of Her Majesty’s Revels.
[2965] Apparel.
[2966] Disparage.
[2967] Swaggering.
[2968] With slight changes from _1 Henry IV_, I. iii. 201.
[2969] An early play of unknown authorship.
[2970] See _The Spanish Tragedy_, _ante_.
[2971] A pipe resembling a hautboy.
[2972] Attacks on individuals.
[2973] A room in the house of Venturewell.
[2974] Markets.
[2975] Indulged my passions.
[2976] Is her own confidant, and knows best.
[2977] So feeble a personality.
[2978] Against masterless men.
[2979] Another room in the same.
[2980] Hindrances.
[2981] Richard Mulcaster, headmaster of St. Paul’s School, 1596-1608. He trained the pupils to act.
[2982] Restrain.
[2983] Rake.
[2984] Crossbow.
[2985] Inclination.
[2986] The “annual military muster of the citizens, embodying all the companies, for the purpose of forming a regular guard for the city during the ensuing year.” (Dyce.)
[2987] Embroidered.
[2988] Hear me out.
[2989] Qq. _men_.
[2990] Off.
[2991] The passage is condensed from _Palmerin d’Oliva_, the romance to which _Palmerin of England_ is a sequel.
[2992] Giants.
[2993] _I. e._ a counter.
[2994] Specifics used against the plague.
[2995] _I. e._ visited by the plague.
[2996] Spurring.
[2997] Heraldic.
[2998] Honest.
[2999] A room in Merrythought’s house.
[3000] Squander.
[3001] Gallows-bird.
[3002] To be careful.
[3003] Certainly.
[3004] Dinner and supper hours.
[3005] Stick to your opinion.
[3006] Gallows-bird.
[3007] Ill luck to him.
[3008] Be frugal.
[3009] A kind of a violin.
[3010] The game of see-saw.
[3011] Ed. 1778, _God’s wounds_.
[3012] A room in the house of Venturewell.
[3013] Close.
[3014] A master of fencing.
[3015] Waltham forest.
[3016] This seems to be an allusion to a sham-battle at Mile-End, the green at which was used as a training ground.
[3017] Spaniards.
[3018] Fowling-piece.
[3019] A term of endearment.
[3020] Go hang.
[3021] In abundance.
[3022] Breeches.
[3023] An infusion of knot-grass was supposed to retard growth.
[3024] The mistress of Ptolme, the friend of Palmerin.
[3025] With a vengeance.
[3026] Imperial, _i. e._ emperor.
[3027] Another part of the forest.
[3028] And also.
[3029] Ready.
[3030] Salute him as superior. (Moorman.)
[3031] _I. e._ Livery companies, guilds.
[3032] Man for man.
[3033] Another part of the forest.
[3034] Cf. _Changeling_, I. ii. 76 and note.
[3035] Befoul.
[3036] A healing herb.
[3037] John Dory, according to the legend, engaged with the King of France to bring the crew of an English ship prisoners to Paris, but was himself captured whilst making the attempt. The song and tune were for a long time popular in England. (Strachey.)
[3038] Teach him.
[3039] Vagaries.
[3040] A lump.
[3041] Appease(?) (Moorman.) Perhaps, have him bound to keep the peace.
[3042] Mischievous.
[3043] Wager.
[3044] Silence!
[3045] The same.
[3046] Traveling, spurring along.
[3047] Youth.
[3048] Fiery dragon.
[3049] Before the Bell Inn, Waltham.
[3050] Severely.
[3051] Great dirty lout.
[3052] Consoling.
[3053] Running footmen had their legs greased to keep them supple.
[3054] A common trick of the ostlers of the time to prevent the horses from eating the hay. (Weber.)
[3055] Blockhead.
[3056] A room in the house of Venturewell.
[3057] Something used to bind together the bushes composing a hedge. (N. E. D.)
[3058] Thirteen miles beyond Waltham.
[3059] A room in Merrythought’s house.
[3060] Pass.
[3061] Where the heads of traitors and heretics were exposed.
[3062] Thief.
[3063] Waltham-forest.
[3064] Capable of endurance.
[3065] Foolish.
[3066] Give in.
[3067] Does.
[3068] Warrant for arrest.
[3069] A room in the Bell Inn, Waltham.
[3070] Arrest.
[3071] Go hang.
[3072] Serious.
[3073] Killed.
[3074] Dwell.
[3075] Elegant, courteous, noble.
[3076] Pointing upward. The reference is, of course, to the usual sign of the barber-surgeon.
[3077] Circumference.
[3078] Balls of soap.
[3079] _I. e._ The puppet-show of Nineveh.
[3080] Jonah and the whale.
[3081] The street before Merrythought’s house.
[3082] At once.
[3083] Before a barber’s shop, Waltham.
[3084] Knock.
[3085] Foolish.
[3086] Pay for.
[3087] Feign.
[3088] Old form of _scotched_, cut.
[3089] Certificate of citizenship.
[3090] The pox or syphilis was also known as the French disease.
[3091] The resort of prostitutes.
[3092] A common method of treating syphilis.
[3093] The street before Merrythought’s house.
[3094] His old habits.
[3095] Military leader.
[3096] Ignorant(?) ingrate(?)
[3097] Qualities.
[3098] A lively dance.
[3099] Be lively.
[3100] After his own nature.
[3101] Qq. begin Act IV here.
[3102] Armour.
[3103] Tagged laces used to attach the hose or breeches to the doublet.
[3104] A street.
[3105] A loose woman.
[3106] Apparently a prison attached to the Court of Arches.
[3107] An allusion to an incident in a play called _The Travailes of the Three English Brothers_, by Day, Rowley, and Wilkins.
[3108] Another theatre.
[3109] Tales.
[3110] By Heywood. But Dagonet is in Malory.
[3111] A Hall in the King of Moldavia’s Court.
[3112] Serious.
[3113] Indenture.
[3114] A mock learned form of nipitate, or strong ale.
[3115] Salted.
[3116] Used as ointment.
[3117] Stockings without feet, worn with boots.
[3118] Handsomer.
[3119] A room in the house of Venturewell.
[3120] Upstairs.
[3121] Pretty long.
[3122] In anticipation of.
[3123] Acquired.
[3124] Another room in the house of Venturewell.
[3125] So ed. 1750. Qq. _mourning_.
[3126] Test.
[3127] Fear not for me.
[3128] Hidden.
[3129] In Qq. this speech is in prose: probably correctly.
[3130] A street before Merrythought’s house.
[3131] Penny.
[3132] Portmanteau.
[3133] Have a say.
[3134] Cf. _Spanish Tragedy_, I. 1
[3135] Dyce emends to _stock_.
[3136] Neatly, expertly.
[3137] Blood-letting.
[3138] Spawn.
[3139] Shut up, confined. Sympson emend. Qq. _mute_.
[3140] A lean deer.
[3141] A buck in his second year.
[3142] Hoxton.
[3143] Setting thrums or tufts on a cap. (Murch.) Fingering. (Moorman.)
[3144] A room in the house of Venturewell.
[3145] Foolish.
[3146] Sorrow, melancholy.
[3147] Magnificent.
[3148] _I. e._ full membership in his Company.
[3149] Ramrod.
[3150] Guard (Moorman); regiment (Murch).
[3151] A street (and afterwards Mile-End).
[3152] Ensign (the flag or its bearer).
[3153] Musket.
[3154] Serious.
[3155] Flint.
[3156] Bloated.
[3157] Band.
[3158] Weapons.
[3159] The Lord Mayor’s barge.
[3160] A room in Merrythought’s house.
[3161] Tankard.
[3162] So printed in Qq.
[3163] Qq. omit. Added in Ed. of 1778.
[3164] Shoemaker’s thread.
[3165] Baton.
[3166] Befouled himself.
[3167] Ask the price of, bargain for.
[3168] As the London prentices did on Shrove Tuesday.
[3169] Cf. the speech of Andrea’s Ghost in _The Spanish Tragedy_, I. i., many lines of which are here parodied.
[3170] Part.
[3171] Meanwhile.
[3172] This list is taken with slight changes from Q₃. Q₂ omits it.
[3173] The presence chamber in the palace.
[3174] Cheat.
[3175] Bow.
[3176] Lovers.
[3177] Q₂ and Q₃ insert _as I_.
[3178] Unbalanced in mind.
[3179] _I. e._ Alexander the Great.
[3180] Swollen. Q₁ and Q₂ _belied_.
[3181] Bugbears.
[3182] To succeeding kings.
[3183] A model prince.
[3184] The phrase, _a dog of wax_, is used elsewhere in a contemptuous sense, but has not been explained.
[3185] Refer to.
[3186] Ostentation, swagger.
[3187] Probably corrupt. Q₁ _truant_. Mod. edd. conjecture _tyrant_; _recreant_; _in a true tertian_.
[3188] Love.
[3189] Mason conj. Qq. F. _you_. If you could flatter me without ruining your families by antagonizing the king.
[3190] Q₁. Other edd. _injuries_.
[3191] Mere.
[3192] Arethusa’s apartment in the palace.
[3193] A fabulous serpent that killed with a glance.
[3194] Suspicious.
[3195] Anticipate.
[3196] An apartment in the palace.
[3197] Construe, interpret.
[3198] Advance.
[3199] A gallery in the palace.
[3200] In charge of the maids of honor.
[3201] Chaste.
[3202] Note of indebtedness.
[3203] Only in Q₁.
[3204] A kind of thistle used as a medicine.
[3205] Cross-bow.
[3206] Blood letting.
[3207] Conger-eel.
[3208] _I. e._ cold.
[3209] Responsive.
[3210] Blank verses.
[3211] Stately dances.
[3212] Arethusa’s apartment in the palace.
[3213] Before Pharamond’s lodging in the court of the palace.
[3214] Finely dressed.
[3215] Closing the eyes.
[3216] Convinced.
[3217] Dressed.
[3218] Behavior.
[3219] Portentous, ominous.
[3220] The court of the palace.
[3221] Scrupulous.
[3222] Raise an armed force.
[3223] Deceived.
[3224] Arethusa’s apartment in the palace.
[3225] Plan.
[3226] Lover.
[3227] For fear of.
[3228] It was believed that scorpions, applied to the wound they made, cured it.
[3229] Actaeon.
[3230] Before the palace.
[3231] A hunting dog. Lyme = leash.
[3232] An allusion to a religious work, Thomas Bacon’s _The Sicke Man’s Salve_, 1561.
[3233] Acting as a doctor.
[3234] Almanacs gave the proper seasons for blood-letting.
[3235] Chaste.
[3236] Coat of arms. Mason explains that the reference is to the introduction of stars into a coat of arms, denoting a younger branch.
[3237] Baggage.
[3238] Spanish fly, used as a provocative.
[3239] A forest.
[3240] With a cross-bow for shooting stones.
[3241] The assay or slitting of the deer, in order to test the quality of the flesh, which involved a fee to the keeper.
[3242] The hart’s horns, which are covered with velvet pile when new.
[3243] Re-cover.
[3244] A lean doe.
[3245] Creeping stealthily.
[3246] A fast one.
[3247] Suitable.
[3248] Another part of the forest.
[3249] Formerly used to women as well as to men.
[3250] Bouts.
[3251] Cudgels.
[3252] God judge.
[3253] Broad sword.
[3254] Alive.
[3255] Another part of the forest.
[3256] Sleepiness.
[3257] Pursuers.
[3258] Pyramid.
[3259] Before the palace.
[3260] A prison.
[3261] Mason conj. Qq. F. _my ... yours_.
[3262] A state-room in the palace.
[3263] Q₁ Other edd. omit.
[3264] _I. e._ fearing for.
[3265] _I. e._ shopkeepers, who were in the habit of thus addressing passers-by.
[3266] Trifle, whim.
[3267] Eat patterns on.
[3268] Creases.
[3269] Fatten.
[3270] Geese.
[3271] A street.
[3272] Darlings.
[3273] Apprentices, who were bound by indentures, and whose usual weapons were clubs. Throughout these scenes, it is, of course, London citizens who are in view.
[3274] A cloth, made of wool, sometimes mixed with silk, with a watered surface.
[3275] Colored cloth interwoven with copper.
[3276] Embroidered cloth, originally of gold and silk.
[3277] Cringers(?) duck-hunters(?).
[3278] A pun on velour.
[3279] A pun on collars.
[3280] Another pun. Rose-nobles were gold coins.
[3281] A small vessel.
[3282] Float idly.
[3283] Be basely occupied.
[3284] Swaggering words.
[3285] A male sparrow-hawk, with a pun on the weapon.
[3286] Stewed.
[3287] Disembowel.
[3288] Instrument for cleaning a gun.
[3289] Fray out.
[3290] The caul about the hart’s paunch.
[3291] Ribbons, tape.
[3292] Have his eyelids sewed together like a hawk’s.
[3293] _I. e._ a bastard, one born after the convivialities of a church feast.
[3294] Thin silk.
[3295] A sort of kite.
[3296] Diminutive of _dons_.
[3297] In allusion to Brazenose College, Oxford.
[3298] Cittern.
[3299] Hornless animal.
[3300] A hero in _The Mirrour of Knighthood_, a romance from the Spanish. See _The Knight of the Burning Pestle_.
[3301] Roistering blades.
[3302] Steel caps.
[3303] Cask (Pharamond).
[3304] Courtiers clad in scarlet.
[3305] Perfumed hands.
[3306] Band.
[3307] Train.
[3308] An apartment in the palace.
[3309] Shall be sorry to be denied.
[3310] In some barbarous countries, it was believed that the murderer inherited the form and qualities of his victim. (Mason.)
[3311] Quick to understand.
[3312] An apartment in the palace.
[3313] So Q₂. Q₁ _above_. The choice of reading depends on whether _her_ refers to Aspatia or Evadne.
[3314] In turn.
[3315] Cf. V. iii. 42.
[3316] Under what circumstances.
[3317] Theo. emend. Qq. omit.
[3318] So Q₃. Q₁ and Q₂ _about_.
[3319] A hall in the palace, with a gallery full of spectators.
[3320] Done.
[3321] Moody.
[3322] A corruption of God’s (?)
[3323] Wenches.
[3324] Foolish.
[3325] Quarrel.
[3326] Flageolets.
[3327] Q₁ _quenching_.
[3328] _I. e._ of the court ladies.
[3329] Will.
[3330] Crushed(?) or beaten by the waves(?).
[3331] Q₁ adds here _if not her measure_, plausibly explained by Fleay as a stage-direction, _Another measure_.
[3332] So Q₁. Q₂ _A thanks to every one, and_.
[3333] Setting, the West. Qq. _Sect_, emended by Seward.
[3334] The effulgence of the court. (Thorndike.)
[3335] Ante-room to Evadne’s bed-chamber.
[3336] _I. e._ the trick. (Thorndike.)
[3337] Cause the loss of the game.
[3338] Drive at a fast pace.
[3339] Untimely.
[3340] So Dyce. Q₁ _right_. Other Qq. and F _night_.
[3341] Artful.
[3342] By turns.
[3343] Pleases.
[3344] Only in Q₁.
[3345] In Q₃ only.
[3346] So Q₁. Q₂ _wisht_.
[3347] Bullen conjectures _hand_.
[3348] Despatch.
[3349] Proclaim.
[3350] So edd. 1778. Early Qq. and F _that_.
[3351] Q₁ _left_.
[3352] Am convinced.
[3353] Secretly.
[3354] Q₁ _longing_.
[3355] An apartment in the house of Calianax.
[3356] Addressed to Theseus.
[3357] Q₁ _bravely_.
[3358] Q₁ reads _Suppose I ... now_.
[3359] Living representation.
[3360] Laughing-stock.
[3361] Ante-room to Evadne’s bed-chamber.
[3362] No more dressed.
[3363] The Qq. have no point after _more_; F₂ has a comma.
[3364] In Qq. and F this sentence is given to Evadne, her name becoming a speech-tag.
[3365] Ingenuous.
[3366] Tale-tellers.
[3367] So Sympson. Qq. and F _lives_.
[3368] Fortunate qualities.
[3369] Convinced.
[3370] A room in the palace.
[3371] Affects me deeply.
[3372] Irresistible.
[3373] Cajoled.
[3374] Cowardly.
[3375] Satisfy, make mild.
[3376] Alive.
[3377] Race, stock.
[3378] An apartment of Evadne.
[3379] Gloves manufactured at Milan.
[3380] Theobald read, _As though sh’ad_. Other edd. take _fill_ in sense of “cover with writing;” Dyce as “inflame,” which is perhaps best.
[3381] The dog-star, Sirius.
[3382] Dog-rose: also used of the canker worm, a disease attacking plants. Cf. V. i. 76.
[3383] Cowardly.
[3384] _Q very sorry._
[3385] Frighten.
[3386] A tame wolf.
[3387] Stake.
[3388] The marsh where the Hydra lived which Hercules slew.
[3389] Qq. and F _eyes_.
[3390] A hall in the palace.
[3391] Haply.
[3392] Shameless fellows. So Q₁. Q₂ ff. _Eaters_.
[3393] So Dyce. Old edd. _him_.
[3394] Family.
[3395] Astrologers.
[3396] Loyal.
[3397] Without self-control.
[3398] A room in the palace.
[3399] Most mod. edd. begin a new scene here.
[3400] Q₁ _virtue_.
[3401] A corroding disease. Cf. IV. i. 85, note.
[3402] Shooting stars.
[3403] Easily infected.
[3404] Finely dressed.
[3405] Before the Fort.
[3406] Anteroom to Amintor’s apartments.
[3407] Only in Q₁.
[3408] Untimely.
[3409] Surpass.
[3410] Wildness.
[3411] Qq. _sounds_.
[3412] Race.
[3413] _I. e._ the judgment which must be passed on them.
[3414] Called in question: endangered.
[3415] Q₃. Q₁ omits. Some copies of Q₃ read _merry_.
[3416] Garlands.
[3417] Leather (from _Cordova_ in Spain).
[3418] Entice.
[3419] Culture.
[3420] Passions.
[3421] In the neighbourhood of a village.
[3422] Veins.
[3423] Seat of the passions.
[3424] Embrace.
[3425] Weak.
[3426] More gracious.
[3427] Another part of the wood.
[3428] Beauty.
[3429] Q₁-Q₄ omit.
[3430] F₂ _pure_.
[3431] Worship.
[3432] Aim, purpose.
[3433] Cyparissus, metamorphosed into a cypress.
[3434] Sorrow.
[3435] Its.
[3436] Tithonus’. F₂ reads _Titans_.
[3437] A pasture.
[3438] Dyce emend. Qq 1-4 transpose _down_ and _loud_, F₂ _low falling ... down calling_.
[3439] Unwholesome.
[3440] The wood before Clorin’s bower.
[3441] Q₁ _high_.
[3442] Q₁ _lop_.
[3443] Water-lily.
[3444] Mad.
[3445] Buckthorn.
[3446] Septfoil.
[3447] Loosestrife.
[3448] _Orchis mascula._
[3449] Q₁ _forces_.
[3450] Amazement.
[3451] Q₁ _errant_.
[3452] Q₁-Q₃ omit.
[3453] View.
[3454] Another part of the wood.
[3455] Q₁-Q₄ _praise_.
[3456] Qq. F _he_.
[3457] Q₂ ff. _nimble_.
[3458] Another part of the wood.
[3459] High laced boots.
[3460] Part of the wood with the holy well.
[3461] Q₁ and Q₂ _reformed_.
[3462] Early edd. _Ex. Amaryllis, Perigot._
[3463] F₂ _I ’ll seek him out; and for thy Courtesie_.
[3464] Ed. conj. Early edd. _She would_.
[3465] The popular explanation of the foam secreted by the cicada.
[3466] Q₃ ff. F₂ _I loved_.
[3467] New-born.
[3468] Band.
[3469] Part of the wood.
[3470] Lose.
[3471] Lace bought at St. Audrey’s Fair at Ely.
[3472] The wood before Clorin’s bower.
[3473] Q₁-Q₄ _lower_.
[3474] F₂ _cut off_.
[3475] Abundance.
[3476] Potent.
[3477] Discomfort.
[3478] Part of the wood with the holy well.
[3479] A dale in the wood.
[3480] Dell.
[3481] Vile. F₁ _wild_.
[3482] Biscuits.
[3483] Mad.
[3484] The wood before Clorin’s bower.
[3485] A village.
[3486] The wood before Clorin’s bower.
[3487] Scent.
[3488] Withdraws.
[3489] A pasture.
[3490] Chaucer.
[3491] The wolf.
[3492] Betrothed.
[3493] Embrace.
[3494] Part of the wood.
[3495] Appearance.
[3496] The wood before Clorin’s bower.
[3497] Q₁-Q₄ _these_; F₂ _each_.
[3498] Moorman’s conj. for Qq. _cleanse thee_. F₂ reads, _This perhaps will cleanse again_.
[3499] Bleedings.
[3500] Well-earned morsels. (Moorman.)
[3501] Cloud-drift.
[3502] Q₄ F₂ _thickets_.
[3503] Speed.
[3504] A hall in the house of La Castre.
[3505] At once.
[3506] Moulted.
[3507] Incited.
[3508] Deceived.
[3509] A street before the same house.
[3510] Feeble.
[3511] With narrow buttocks.
[3512] Barbary horses.
[3513] Puppets.
[3514] Tooth-picks.
[3515] Supposed to be a provocative.
[3516] Attempt it.
[3517] Old edd. _witty_.
[3518] Countenance.
[3519] A bar of iron with fetters attached.
[3520] Room in the house of La Castre.
[3521] Desire.
[3522] Cheat.
[3523] Surpass.
[3524] Haply.
[3525] Please.
[3526] God’s body!
[3527] Foolish.
[3528] Obsequious attention.
[3529] Seek.
[3530] _I.e._ with great precision.
[3531] A garden belonging to the house of La Castre.
[3532] Estate.
[3533] Courted.
[3534] Vain-glorious.
[3535] F₂ _would fain_.
[3536] Satirist.
[3537] Against all attacks.
[3538] Alive.
[3539] Fastidious.
[3540] Formerly used to women as well as to men.
[3541] Boastful.
[3542] The expectation formed of you.
[3543] Sympson suggests _above_.
[3544] Get rid of. F₂ _lose_.
[3545] A hall in the house of Nantolet.
[3546] Slipper.
[3547] A lively dance.
[3548] Moderation.
[3549] Admirers.
[3550] Contemptuously treated.
[3551] A garden belonging to the house of Nantolet, with a summer-house in the back-ground.
[3552] Fastidious.
[3553] Reputation.
[3554] This S. D. is from Dyce.
[3555] Peeping.
[3556] Idly fingering.
[3557] Strong ale.
[3558] Partly a prayer-book.
[3559] Accuse, tax.
[3560] Where the houses of ill-repute were situated.
[3561] Dissolute fellows.
[3562] Flouted.
[3563] A public walk.
[3564] Grimaces.
[3565] Gestures, antics.
[3566] Instructions.
[3567] Private.
[3568] Secret inclination.
[3569] Entirely: a phrase from the game of hazard.
[3570] Arrogance.
[3571] Limits.
[3572] Perhaps lard, fatten.
[3573] Estates.
[3574] Ff. _conventions_.
[3575] Dogs kept chained on account of their fierceness.
[3576] Treated contemptuously.
[3577] Surpass.
[3578] Stalking-horse.
[3579] Bitter jests.
[3580] Fair one.
[3581] Old edd. _fight_.
[3582] Accomplishments.
[3583] Wanton wench.
[3584] Jovial.
[3585] Ital. “enough.”
[3586] Fool.
[3587] Swaggering lord.
[3588] Several editors read _choler_.
[3589] Browned.
[3590] Stupid dog.
[3591] Vile.
[3592] Apparently some extravagance of dress.
[3593] Ff. _they_.
[3594] Bairn.
[3595] A street before the lodging of Pinac.
[3596] Mock. So Sympson. Ff. _do_.
[3597] Scoff.
[3598] Reputation.
[3599] In term-time London was full of strangers from the country (Dyce.)
[3600] A public walk.
[3601] Cajole.
[3602] Vile.
[3603] Arrogance.
[3604] Handsome.
[3605] Gulled.
[3606] Bile, the supposed cause of anger.
[3607] Thoroughly.
[3608] Bear-keeper.
[3609] Fool.
[3610] A hall in the house of La Castre.
[3611] Hinder. Ff. _set_.
[3612] Cobbler.
[3613] Cat-like behavior.
[3614] _I. e._ black-sanctus, a burlesque hymn accompanied by discordant noises.
[3615] Cast a spell on me.
[3616] A street, before the house of La Castre.
[3617] Approves.
[3618] A public walk.
[3619] Morris-dances.
[3620] Lively dances.
[3621] Dastards.
[3622] Like the man-in-the-moon with his bundle of sticks.
[3623] Disgraced.
[3624] Slices.
[3625] Good breeding.
[3626] Bows.
[3627] Secret coat of mail.
[3628] Large fortune.
[3629] Shut.
[3630] Ready.
[3631] Lovers.
[3632] A room in the house of Nantolet.
[3633] A room in a neighboring house, with a gallery.
[3634] Glade. The space between the pinnacles is compared to the opening in a wood, where nets were spread to snare woodcocks.
[3635] A large ship of burden.
[3636] The street, before the same house.
[3637] Sluts.
[3638] A room in the same house.
[3639] Estate.
[3640] Ff. _know._
[3641] Planned.
[3642] Amalfi. The presence-chamber in the palace of the Duchess.
[3643] Prevent.
[3644] The same.
[3645] The reference is to the knightly sport of riding at the ring.
[3646] At the expense of.
[3647] Rolls of lint used to dress wounds.
[3648] Surgeons.
[3649] A small horse.
[3650] Ballasted.
[3651] A lively dance.
[3652] Throws into the shade.
[3653] At the point of.
[3654] Coaches.
[3655] Spy.
[3656] Cheats.
[3657] Likes.
[3658] Spy.
[3659] Amalfi. Gallery in the Duchess’s palace.
[3660] Lustful.
[3661] _Genesis_ XXX. 31-42.
[3662] Impulse.
[3663] The net in which he caught Venus and Mars.
[3664] Housekeepers.
[3665] Produced.
[3666] Qq. read _strange_.
[3667] Guess.
[3668] The phrase used to indicate that accounts had been examined and found correct.
[3669] Using words of present time: _i. e._ “I take,” not “I will take.”
[3670] Knot.
[3671] More firmly.
[3672] Of difficult disposition.
[3673] Amalfi. An apartment in the palace of the Duchess.
[3674] Chief part.
[3675] Bullies (Hazlitt); lawyers (Vaughan).
[3676] Royal journey.
[3677] Turning a boat on its side for repairs.
[3678] Scabbed.
[3679] Empty.
[3680] Face-modelling. (Sampson.) “There ’s a plain statement of your practices.”
[3681] Lupus.
[3682] A disease of swine.
[3683] Blue like those of a woman with child.
[3684] Scurf.
[3685] Person of highest influence.
[3686] Hysteria.
[3687] This year.
[3688] Clearly.
[3689] Youngster.
[3690] A hall in the same palace.
[3691] Crossness.
[3692] Always.
[3693] The meaner servants.
[3694] At once.
[3695] Cast his horoscope.
[3696] The court of the same palace.
[3697] Making an astrological calculation.
[3698] Going to the root of the matter.
[3699] Write.
[3700] _I. e._ on his handkerchief.
[3701] Addressing the lantern.
[3702] _The rest not considered._
[3703] A piece of news.
[3704] Cleverly contrived.
[3705] Rome. An apartment in the palace of the Cardinal.
[3706] Religious recluse.
[3707] Experienced.
[3708] Sick.
[3709] Medicinal.
[3710] Strong broth.
[3711] Another apartment in the same palace.
[3712] The mandrake was supposed to give forth shrieks when uprooted, which drove the hearer mad.
[3713] Unchaste.
[3714] Supposed to be a sign of folly.
[3715] Throw the hammer.
[3716] Boil to shreds. (Dyce.) Qq. _to boil_.
[3717] Amalfi. An apartment in the palace of the Duchess.
[3718] Wealth.
[3719] Lampoons.
[3720] Ploughshares.
[3721] Spying.
[3722] Deceptions.
[3723] Soothing.
[3724] The bed-chamber of the Duchess in the same.
[3725] Qq. read _slight_.
[3726] Powder of orris-root.
[3727] Wheels of craft.
[3728] Certificate that the books were found correct.
[3729] The badge of a steward.
[3730] Spies.
[3731] Lot.
[3732] For _Plutus_.
[3733] Quick steps.
[3734] Miss.
[3735] Remains.
[3736] Profession.
[3737] An apartment in the Cardinal’s palace at Rome.
[3738] A decorated horse-cloth, used only when the court is traveling.
[3739] The first quarto has in the margin: “The author disclaims this ditty to be his.”
[3740] Near Loretto.
[3741] Small birds.
[3742] His vizard.
[3743] Amalfi. An apartment in the palace of the Duchess.
[3744] Curtain.
[3745] The wife of Brutus, who died by swallowing fire.
[3746] By artificial means.
[3747] Profession.
[3748] Spying.
[3749] Another room in the lodging of the Duchess.
[3750] Band.
[3751] Bands.
[3752] Boil.
[3753] Punning on the two senses of “dye” and “corn”.
[3754] From exporting his grain.
[3755] Optical glass.
[3756] The Geneva Bible.
[3757] Petticoat.
[3758] Coach.
[3759] A warm drink containing milk, wine, etc.
[3760] Receptacle.
[3761] A drug supposed to ooze from embalmed bodies.
[3762] Curdled.
[3763] Printed as verse in Qq.
[3764] Trial.
[3765] An exclamation of impatience.
[3766] Milan. A public place.
[3767] In escheat; here, in fee.
[3768] Disbeliever.
[3769] Fraught.
[3770] A gallery in the residence of the Cardinal and Ferdinand.
[3771] A dog which worries sheep.
[3772] A fabulous serpent that killed by its glance.
[3773] Cut a caper.
[3774] Broth.
[3775] Skeletons.
[3776] So Dyce. Qq. _brought_.
[3777] Perfumed sweetmeats for the breath.
[3778] Smoke.
[3779] A fortification.
[3780] Milan. An apartment in the residence of the Cardinal and Ferdinand.
[3781] Bandied.
[3782] Reality.
[3783] Mistake.
[3784] _I.e._ the dead body.
[3785] Another apartment in the same.
[3786] A street in a country town.
[3787] Used of any one’s estate.
[3788] Used vaguely of a legal scrape.
[3789] Excessively rented.
[3790] Chastity.
[3791] Planned.
[3792] Worth.
[3793] A disease caused by a parasite. Used as an execration.
[3794] A white wine warm and spiced.
[3795] Cheat.
[3796] Precisely the way of the world.
[3797] In the Qq. O. Hoard, Limber, and Kix appear in the speech tags as 1, 2, and 3.
[3798] A pun on the two meanings, “concert” and “consort.”
[3799] Another street in the same town.
[3800] Searching.
[3801] “Contrary to your will and profession.”
[3802] Without escort.
[3803] A street in London.
[3804] Impartiality.
[3805] The booty.
[3806] Cheats him.
[3807] _Or any ... mad thee_, omitted in Q₂.
[3808] Asp.
[3809] Lively.
[3810] Another street.
[3811] A lawyer.
[3812] Mastiff.
[3813] A gold coin worth 6s. 8d.
[3814] Heavy built galleys.
[3815] Passenger sloops.
[3816] Puppet-shows.
[3817] One of Dampit’s self-explanatory coinages.
[3818] Apparently, rushed about. See Nares.
[3819] Bogies, bugbears.
[3820] A room in Lucre’s house.
[3821] “Good fellow” was then slang for a thief.
[3822] Q₂ _I have_.
[3823] A corruption of “Gods.”
[3824] Let me understand you.
[3825] To the country, with a pun.
[3826] A corruption of “pox.”
[3827] Couple of gold coins, each worth from 6s. 8d. to 10s.
[3828] Lodge.
[3829] Fellows, contemptuously.
[3830] The common livery of serving-men.
[3831] A corruption of “Cold Harbour,” where debtors and vagabonds found sanctuary.
[3832] As my life.
[3833] Secret.
[3834] Membership in a livery company, one of the great trade guilds of London.
[3835] A corrupt oath: God’s nigs.
[3836] Against, by the time that.
[3837] Scheme.
[3838] A proverb: I ’ll make the venture. A bolt was an arrow with a round knob at its head; a shaft, sharp and barbed.
[3839] A street.
[3840] In love with some one else.
[3841] Witgood’s lodgings.
[3842] Betrothed.
[3843] Satisfied.
[3844] A sweet wine, taken with eggs as an aphrodisiac.
[3845] Playing on the two meanings of “suitors,” at law and for love.
[3846] Gold pieces 15s. in value.
[3847] The mark was worth 13s. 4d.
[3848] Lucre’s and Witgood’s.
[3849] Judgment.
[3850] Entice.
[3851] Gods me. Perhaps a corruption of “God save me!”
[3852] Postponements.
[3853] Anticipate.
[3854] A room in Hoard’s house.
[3855] Convinced.
[3856] A tavern.
[3857] Rooms in taverns had such individual names.
[3858] Matching.
[3859] A room in Dampit’s house.
[3860] Might.
[3861] Undress you.
[3862] Cheating.
[3863] Fears.
[3864] A term of endearment.
[3865] Qq. give this speech to Lucre.
[3866] A room in Lucre’s house.
[3867] “O man in desperation” is the name of an old tune mentioned by Nashe and Peele.
[3868] Grief.
[3869] A street.
[3870] Rough-chinned. “Thrum” is the end of the warp in weaving.
[3871] A debtors’ prison.
[3872] Rubbing with perfume.
[3873] A room in Hoard’s house.
[3874] Light blue.
[3875] A hawking cry.
[3876] A hunting cry.
[3877] Champaign.
[3878] Marchioness.
[3879] A pre-contract of marriage could not be set aside without the mutual consent of the parties. (Bullen.)
[3880] Trifling.
[3881] A proverbial phrase.
[3882] A return in tennis; a _tu quoque_.
[3883] Dampit’s bed-chamber.
[3884] Handkerchief.
[3885] As before, Dampit’s words must be interpreted by the context.
[3886] _I. e._ he is drunk.
[3887] Kiss.
[3888] Time to repay borrowed money.
[3889] Used designedly for “advice.”
[3890] Work well.
[3891] The didapper or dabchick, a small water-bird.
[3892] See III. iii. 17-19.
[3893] Virg. _Aen._ iii. 658.
[3894] So named, Nares conjectures, from the bird’s migrating from the west.
[3895] _I. e._ Naked in bed.
[3896] A room in Lucre’s house.
[3897] A room in Hoard’s house.
[3898] Members of the Fishmongers’ Company.
[3899] Just on your wish.
[3900] A trick. Some mod. edd. emend to _punk_.
[3901] Renounce.
[3902] Love.
[3903] “According to the directions for bleeding in old almanacs, blood was to be taken from particular parts under particular planets.” (Dyce.)
[3904] “To stab their arms with daggers, and drink off the blood mixed with wine, to the health of their mistresses, was formerly a frequent practice among gallants.” (Dyce.) Cf. _Lear_, II. i. 36.
[3905] “Dutchmen had the reputation of being very expert in swallowing flapdragons.” (Bullen.)
[3906] A street.
[3907] Q. _blest_.
[3908] Cf. _Macbeth_, I. iii.
[3909] Forestall. Mod. edd. _stale_.
[3910] Q. _or_.
[3911] A fabulous animal said to kill with a glance.
[3912] Q. _And what_.
[3913] Promontories’.
[3914] A coinage from the Greek, meaning the first growth of the beard.
[3915] Trifling fancy.
[3916] Cannon.
[3917] Skin.
[3918] A room in the house of Alibius.
[3919] Idiots.
[3920] Guard (in fencing). (Dyce.)
[3921] “Pluck a rose” = _alvum exonerare_. (Bullen.)
[3922] Constable.
[3923] Answer for, warrant; or, make him able for.
[3924] Business.
[3925] Honest.
[3926] Two.
[3927] Neck.
[3928] Whip.
[3929] Parmesan cheese.
[3930] An apartment in the Castle.
[3931] Paris Garden, on the Bankside, where bull-baiting was carried on.
[3932] Dragged by the ear.
[3933] Q. _his_.
[3934] Title.
[3935] Judge.
[3936] After _him_, Q. inserts _in his passions_.
[3937] Another apartment in the Castle.
[3938] Understand.
[3939] Preen, set the feathers in order. Used of hawks.
[3940] Like an object of love.
[3941] Ambergris.
[3942] In anticipation of.
[3943] A narrow passage in the Castle.
[3944] _I. e._ Between the acts.
[3945] Fortification.
[3946] Q. Exeunt at one door and enter at the other.
[3947] A vault.
[3948] Prove it has been done.
[3949] An apartment in the house of Alibius.
[3950] Handsome.
[3951] Persons suffering from _lycanthropia_, or wolf-madness. Cf. _Duchess of Malfi_, V. ii. 10.
[3952] Cant term for bawd.
[3953] Nidget, _i. e._ idiot.
[3954] Scrutinizing.
[3955] An allusion to the game of barley-break, the ground for which was divided into three compartments, of which the middle one was termed “hell.” (Ellis).
[3956] Out of keeping with.
[3957] “Is it necessary to notice that the name of this great scholar is introduced merely for the sake of its first syllable?” (Dyce.)
[3958] To gain.
[3959] End.
[3960] An apartment in the Castle.
[3961] Q. omits.
[3962] Band-box.
[3963] Place.
[3964] Q. omits. Add. Ed. 1816.
[3965] Q. _betwixt_.
[3966] Q. _on ’t_, _I’me_.
[3967] By.
[3968] Q. omits.
[3969] Q. _lovers_. Dyce would omit, and read _love-shooting_ in next line.
[3970] Stately ceremony.
[3971] Alsemero’s apartment in the Castle.
[3972] Q. _both_.
[3973] Is open to.
[3974] Trick.
[3975] Immediately
[3976] Gods.
[3977] Whim.
[3978] Chastity.
[3979] I suspect that there is an allusion here to the examination by matrons of the notorious Countess of Essex. (Bullen.)
[3980] Property, symptom.
[3981] Another apartment in the Castle.
[3982] Q. _One_.
[3983] Q. _sins and vices_. The correction was suggested by Dyce.
[3984] Q. _I_.
[3985] Celebrate your wedding day.
[3986] Profess, offer.
[3987] Anticipate.
[3988] Tainted.
[3989] A room in the house of Alibius.
[3990] So Bullen. Q. _Waiting_.
[3991] Take the words in their modest sense.
[3992] Deceive.
[3993] Provided that.
[3994] Fastidious.
[3995] Beg pardon.
[3996] The usual jest on the cuckold’s horns.
[3997] Q. _she_.
[3998] Q. _streets_.
[3999] Honest.
[4000] Whose custody, with the revenues of his estate, might be begged from the king.
[4001] A gallery in the Castle.
[4002] Q. _harsh_.
[4003] Q. _Bosphorus_.
[4004] Scheme.
[4005] Fire-arm.
[4006] Well done.
[4007] Another apartment in the Castle.
[4008] Q. omits.
[4009] Obtained.
[4010] Deceived.
[4011] Alsemero’s apartment in the Castle.
[4012] Answer.
[4013] Embrace.
[4014] See III. iii. 181, note.
[4015] Receive.
[4016] Idiocy.
[4017] Before Tapwell’s house.
[4018] Booze, drink.
[4019] Staled.
[4020] Hound.
[4021] Puritan.
[4022] Cudgel.
[4023] Matters.
[4024] A select number of the more learned justices, whose presence was necessary to constitute the bench.
[4025] Keeper of the county records.
[4026] Acknowledgments of indebtedness.
[4027] Whining beggars.
[4028] _I. e._ his cudgel.
[4029] Freed.
[4030] Where servants used to be punished.
[4031] Slipper.
[4032] _I. e._ the sky.
[4033] A room in Lady Allworth’s house.
[4034] The siege of Breda by Spinola in 1624-25 was one of the great events of the time.
[4035] Two bushels.
[4036] Bread soaked in hot water and milk.
[4037] Q. reads _Cooke_.
[4038] Q. _warn’d_.
[4039] A hall in the same.
[4040] Part of the back: ribs or sirloin.
[4041] The basket of broken meats given in alms.
[4042] Bow.
[4043] Leather beer cans.
[4044] Feed.
[4045] _Q. bung’d_.
[4046] A room in Overreach’s house.
[4047] Hollow-cheeked.
[4048] A writ issued for the offence of acknowledging foreign authority within the realm, or some offence with the same penalties.
[4049] At once.
[4050] Footpads.
[4051] Beggars pretending lunacy.
[4052] Bound. The reference is to the game of tossing in a blanket.
[4053] A room in Lady Allworth’s house.
[4054] Wenches.
[4055] Marsh birds.
[4056] Marvellously.
[4057] Off Fleet Street, famous for its restaurants.
[4058] The country near Lady Allworth’s house.
[4059] Cheating.
[4060] Ambergris, a fashionable perfume.
[4061] Cultivate.
[4062] Cheated.
[4063] Fat and short winded.
[4064] The country near Overreach’s house.
[4065] Charged.
[4066] Rhythmical.
[4067] Reinforced. Q. _lin’d_.
[4068] A room in Overreach’s house.
[4069] Responsibility for providing.
[4070] A coarse cloth.
[4071] One of the London prisons.
[4072] Fit.
[4073] Neck of a boar.
[4074] Fool.
[4075] So Gifford. Q. _when he is_.
[4076] Silks matched with woolen.
[4077] Gulf: here, insatiable glutton.
[4078] A writ commanding the sheriff to take bail.
[4079] Fool.
[4080] Anticipate.
[4081] If it please.
[4082] Terrifying.
[4083] Another room in Overreach’s house.
[4084] Admit.
[4085] A room in Lady Allworth’s house.
[4086] Devices.
[4087] Stainlessness.
[4088] Nothing beyond.
[4089] Wonder at.
[4090] Apparently a slip for “Parnassus.”
[4091] Promote.
[4092] Gossip.
[4093] Before Tapwell’s house.
[4094] Secret.
[4095] For “Rogue.”
[4096] Appointment.
[4097] Q. gives s. d., _This interim. Tapwell and Froth flattering and bribing Justice Greedy._
[4098] Wine from muscadel grapes.
[4099] Repairer.
[4100] Robbed.
[4101] A room in Overreach’s house.
[4102] Inserted by Dodsley.
[4103] Trifles.
[4104] Wait for.
[4105] Anticipate your objections.
[4106] Parrot.
[4107] A room in Lady Allworth’s house.
[4108] Fastidiously.
[4109] In Q. this entrance occurs after “took,” above.
[4110] Obvious.
[4111] Clothes in pawn were said to be “laid up in lavender.”
[4112] Seized.
[4113] The law against witchcraft.
[4114] Flay.
[4115] Wicker baskets filled with earth, used to protect soldiers when digging trenches.
[4116] Revealed.
[4117] Capture.
[4118] Fierce watchdog.
[4119] Q. _will I_.
[4120] Solid.
[4121] Crafty.
[4122] Q. _unsheathed_.
[4123] A writ of committal.
[4124] Q. _Gransis_, throughout.
[4125] Q. _a fiction_.
[4126] A room in Crotolon’s house.
[4127] A member of the Areopagus, the highest judicial court in Athens.
[4128] Decide.
[4129] Agree.
[4130] A room in the palace.
[4131] The laurel wreath ... conferred on those who added a province to the empire. (Gifford.)
[4132] Appropriately belittling terms.
[4133] Q. _are_.
[4134] Await.
[4135] Weave.
[4136] The gardens of the palace. A grove.
[4137] Certain.
[4138] With his arm round her waist. (Dyce.)
[4139] Coyness; over-particular scruples.
[4140] Hooks for stretching cloth; on the rack.
[4141] Rudiments.
[4142] Wait for.
[4143] Beyond what I could have planned.
[4144] A room in Bassanes’ house.
[4145] At once.
[4146] Agent.
[4147] Youth.
[4148] Embrace.
[4149] Cuckolded: the inevitable jest on the cuckold’s horns.
[4150] Direction.
[4151] Moulted.
[4152] Coaches.
[4153] Swelling.
[4154] Gifford emend, _saints_.
[4155] I did not see the point of.
[4156] The palace. Ithocles’ apartment.
[4157] Blinded by sewing up the eye-lids.
[4158] Gifford suggests _bait_.
[4159] Q. _extremities_.
[4160] Infer, understand.
[4161] Q. _Thy_.
[4162] The gardens of the palace. A grove.
[4163] Gifford’s emend. Q. reads
_as the incense smoking The holiest altars, virgin tears (like On Vesta’s odours) sprinkled dews to feed ’em, And to increase._
[4164] Course.
[4165] Apparently corrupt.
[4166] The word was pronounced _aitches_.
[4167] Jaws.
[4168] Discipline.
[4169] The study of Tecnicus.
[4170] Suspicious.
[4171] Make me ever avail myself of thy precepts.
[4172] The palace. Ithocles’ apartment.
[4173] Q. _lover-blest_.
[4174] Streams.
[4175] Q. _Which_.
[4176] Q. omits.
[4177] _’Tis_, Dyce emend. Q. _as_.
[4178] _I. e._ You do not care for me as you say.
[4179] I will attempt to devise something.
[4180] Personal characteristics.
[4181] Attendant slave.
[4182] Wonderful.
[4183] Youthful.
[4184] Feeds; fattens, as one fattens swine.
[4185] Proclaim.
[4186] Freaks.
[4187] Q. _cry a Jealousie_.
[4188] A room in the palace.
[4189] Worship, courtship.
[4190] Acquired.
[4191] A room in the house of Crotolon.
[4192] Prosperity.
[4193] Disposition.
[4194] Calantha’s apartment in the palace.
[4195] So Q. Dyce suggests _enjoin_.
[4196] The palace. Ithocles’ apartment.
[4197] Sincere.
[4198] Badge of a retainer.
[4199] Q. omits.
[4200] Q. _supplying_.
[4201] Gifford suggests _not_.
[4202] A room in Bassanes’ house.
[4203] The _Honeycomb of Honesty_, like the _Garland of Goodwill_, was probably one of the popular miscellanies of the day. (Gifford.) See Additional Notes.
[4204] Mule.
[4205] Test me.
[4206] Sight.
[4207] Q. _appear’d, Impostors_.
[4208] Puppet.
[4209] Q. _baudy_.
[4210] Q._ Paine my_, and omits [_Pen._] in next line.
[4211] Tagged laces.
[4212] Excess.
[4213] Q. _augury_.
[4214] An apartment in the palace.
[4215] Q. _to_.
[4216] To the control of Ithocles.
[4217] Penthea’s apartment in the palace.
[4218] A piece of mechanism.
[4219] Probe.
[4220] A room in Bassanes’ house.
[4221] Q. _doublers_.
[4222] The index-hand.
[4223] Satisfied.
[4224] A state-room in the palace.
[4225] Capacity.
[4226] Confuted.
[4227] Q. _Org._
[4228] Dyce’s suggestion. Q. omits.
[4229] Skill.
[4230] A temple.
[4231] Q. _vow_.
[4232] Q. _not_.
[4233] A room in Sir Thomas Bornwell’s house.
[4234] In the Q. Lady Bornwell is called _Aretina_ throughout in stage directions and speech-tags.
[4235] A common country-dance tune. Cf. p. 487.
[4236] Characters in the morris-dance.
[4237] Expense.
[4238] Unjust.
[4239] Desire.
[4240] Headdresses.
[4241] Obstruct.
[4242] A religious sect often accused of licentiousness.
[4243] “The Ball,” a comedy by Shirley and Chapman, 1632.
[4244] Moderate.
[4245] Corset.
[4246] Candied orange-peel.
[4247] Indulged.
[4248] Appeal, demand(?).
[4249] What sort of.
[4250] Like.
[4251] Gutter.
[4252] A room in Celestina’s house.
[4253] Will it? Gifford reads _with ’t_.
[4254] Courtesans.
[4255] A suburban resort for cakes and cream.
[4256] Chair-men.
[4257] Splendor.
[4258] Lower.
[4259] Jocular.
[4260] A room in Sir Thomas Bornwell’s house.
[4261] Title, ornament.
[4262] Vain-glorious.
[4263] _I. e._ Bad luck.
[4264] Hair.
[4265] Pleased.
[4266] Usually, a mould for shaping a hat; here, head.
[4267] A room in Celestina’s house.
[4268] Expensive.
[4269] Flemish.
[4270] Foolishly eager.
[4271] Devices, schemings.
[4272] Ordinary kiss of salutation.
[4273] Lover.
[4274] Lose the scent.
[4275] Cf. _1 Henry IV_, II. ii. 2, “I have hid Falstaff’s horse, and he frets like gumm’d velvet.” (Gifford.)
[4276] Chastities.
[4277] Lord ——’s house.
[4278] Undressed.
[4279] Wait.
[4280] Obligation.
[4281] Accessible.
[4282] The punishment of bawds was to be whipt and carted.
[4283] Chaste.
[4284] Pay observance, worship.
[4285] Brought back.
[4286] A room in Sir Thomas Bornwell’s house.
[4287] Absolute, unmixed.
[4288] Accuse.
[4289] Comforting.
[4290] Made of silk and gold thread.
[4291] Q. reads _least_.
[4292] A small vessel.
[4293] Cannon charged with grape-shot.
[4294] Q. continues _of the bears_ to Littleworth.
[4295] _I. e._ Were drunk.
[4296] A cheap substitute for tapestry.
[4297] A quick, lively dance.
[4298] Chaste.
[4299] Characterizing.
[4300] The place of execution.
[4301] A contemptuous term, sometimes associated with _pilchard_, a small fish like a herring.
[4302] Devices.
[4303] Guilty consciousness.
[4304] A dance like a cotillion.
[4305] Jaundice(?)
[4306] Smoke.
[4307] A game at cards.
[4308] A room in Decoy’s house.
[4309] Wrinkled, shrivelled.
[4310] A room in Sir Thomas Bornwell’s house.
[4311] Span. _Cuerpo_, stripped of the upper garment.
[4312] Lombard Street: pawn-shops were common in Long Lane.
[4313] Been on the look-out.
[4314] Go-between.
[4315] A kind of milk-pudding.
[4316] Make arrangements.
[4317] Q. reads _holds_.
[4318] Bravo.
[4319] Gay women, prostitutes.
[4320] Foresight.
[4321] All.
[4322] Precedence.
[4323] Resident.
[4324] Lecture.
[4325] Waiter.
[4326] Pour out.
[4327] City militia.
[4328] Brought in comparison.
[4329] Perhaps, _Oh_.
[4330] Q. reads _when_.
[4331] A room in Celestina’s house.
[4332] Q. _yeares_.
[4333] Q. _knowne_.
[4334] Q. _were_.
[4335] Charles I and Henrietta Maria.
[4336] A room in Sir Thomas Bornwell’s house.
[4337] Thrower of the dice.
[4338] Gulls, simpletons.
[4339] Staked their coins(?).
[4340] Slippers.
[4341] Choice viands.
[4342] “Some unidentified kind of wine.” (N. E. D.)
[4343] Baccarach, a famous Rhine wine.
[4344] Hams.
[4345] Rouse.
[4346] One of a small order of military knights with pensions and apartments in Windsor Castle.
[4347] Contrivances.
[4348] All four terms are euphemisms for courtesan.
[4349] A vague piece of contemporary slang, the meaning of which has usually to be derived from the context.
[4350] Yields.
[4351] A small fish, like a herring.
[4352] Gifford conj. Q. _myself the very same_.
[4353] A punning allusion to Dowland’s _Lacrimae or Seven Tears_, etc., a popular musical work of the time for stringed instruments.
[4354] Daphne was transformed into a bay-tree.
[4355] Own.
[4356] An apartment in the palace.
[4357] In stage directions and speech-tags throughout, Antonio is called _Secretary_.
[4358] Bridegroom, as often.
[4359] Agree.
[4360] Force, momentum.
[4361] Wait.
[4362] A room in the Duchess’s house.
[4363] Yielding.
[4364] Q. _Valeria_, but cf. vv. 45-57, above.
[4365] Q. _Val._
[4366] Foolishness.
[4367] Q. transposes _Cel._ and _Val._ throughout this conversation.
[4368] Await.
[4369] Before the walls of the frontier city.—Columbo’s tent.
[4370] Boastful.
[4371] Depreciate.
[4372] Learn to use their arms.
[4373] Young rabbits, youngsters.
[4374] A room in the Duchess’s house.
[4375] An apartment in the palace.
[4376] Q. _wounds_.
[4377] Important.
[4378] Here, a telescope.
[4379] Apparently, an allusion to the Puritans.
[4380] An apartment in the palace.
[4381] A room in the Duchess’s house.
[4382] _I. e._ For the mute who was to take the servant’s part, blue being the general colour of a servant’s livery.
[4383] Flageolets.
[4384] Brought about.
[4385] Bought off, transferred.
[4386] Untimely.
[4387] Formal justice.
[4388] An apartment in the palace.
[4389] A room in the Duchess’s house.
[4390] Merry.
[4391] Deed.
[4392] Regards.
[4393] Whether you present.
[4394] Acquired.
[4395] Supposed.
[4396] A retired spot without the city.
[4397] A garden.
[4398] A room in the Duchess’s house.
[4399] Loyal (to the Duchess).
[4400] Referring, of course, to the color of the Cardinal’s robes.
[4401] Wait.
[4402] Another room in the same.
[4403] The Cardinal.
[4404] Replies.
[4405] Q. _pinc’d._
[4406] Disguise.
[4407] Telescopes; used also of other optical instruments.
[4408] Critical and biographical articles contained in the General Works listed above, or in collected editions, or in editions of separate plays, are not repeated in this paragraph.
Corrections
In the original, the texts in footnotes 395 and 396 were reversed. The correct text has been applied.
p. 4
_Edi._ Nay, my master will match them. _Epi._ Nay, my master will match them.
p. 269
“Marco” was changed to “Macro”.
p. 689
That thou, which stood’st like a hugh pyramid That thou, which stood’st like a huge pyramid
p. 732
May made us more acquainted. This the business: May make us more acquainted. This the business:
p. 788
To you colossic greatness To your colossic greatness
p. 876
Hierononimo Hieronimo
Katharine Katherine
Lacy, Roland Lacy, Rowland
p. 877
Passerello Passarello
p. 879
Hark, how everything is still Hark, now everything is still