l. 42, Bellapert taking up again the thread of her remark which

Novall’s objection and her summary answer thereto had broken in upon.

III, i, 120. _Christian_--probably used here in the colloq. sense of: _a human being_, as distinguished from a brute; a “decent” or “respectable” person. Cf. Shakespeare, _Twelfth Night_, I, iii, 89: “Methinks ... I have no more wit than a Christian, or an ordinary man has.”

III, i, 122. _The entertaiment of your visitation_--i. e., the entertainment which your visit received.

III, i, 123. _on_ [old spelling for _one_]--i. e., a visitation.

III, i, 126. _Muske-cat_--the civet-cat; applied as a term of contempt to a fop, as being a person perfumed with musk.

III, i, 139. _there is now speaks to you_--G., S. omit _is_, at the same time clearing the construction and securing a more regular metre. The Q. reading, however, is perfectly possible, as an ellipsis, by omission of the subject relative, for, _there is that now speaks to you_ [i. e., _there is now speaking to you_], or even, by a change of punctuation, _there is--now speaks to you_--, etc.

III, i, 148. _As Caesar, did he liue, could not except at_--see Plutarch’s _Life of Julius Caesar_, Chapters 9 & 10, wherein it is narrated how Caesar divorced his wife, Pompeia, when scandal assailed her name, although he denied any knowledge as to her guilt; “‘Because’ said he, ‘I would have the chastity of my wife clear even of suspicion.’”

III, i, 148. _except at_--take exception at.

III, i, 159. _pointed_--all editors after the Q. read _painted_, an absolutely unnecessary and unwarranted emendation. _Pointed_ means “fitted or furnished with tagged points or laces;” “wearing points;” “laced.” Cf. Maurice Hewlett’s novel, _The Queen’s Quair_, p. 83: “saucy young men, trunked, puffed, pointed, trussed and doubleted.” Huloet in his Dictionary (1552) has: “Poynted, or tyed with poynts, _ligulatus_.”

III, i, 167. _This pretty rag_--i. e., the “clout” mentioned in II, ii, 123.

III, i, 173. _in spite of_--in scorn of, in defiance of.

III, i, 184. _thy_--so the Q. All later editors read _this_. It is not impossible, of course, that Romont should begin an oath “By thy hand,” and Beaumelle flash back at him “And sword,” transferring the _thy_ from herself to him. But Romont would be more likely to swear by his own hand than by Beaumelle’s.

III, i, 188. _cast suburb whores_--prostitutes who had been cashiered from service. Houses of ill-fame were customarily located in the suburbs.

III, i, 191. _legion_--i. e., of evil spirits. Cf. _Mark_, v, 9.

III, i, 193. _horne-mad_--the word was originally applied to horned beasts, in the sense: “enraged so as to horn any one;” hence of persons: “stark mad,” “mad with rage,” “furious.” By word-play it acquires its sense in the present passage. “mad with rage at having been made a cuckold.”

III, i, 202. _yellow_--this color was regarded as a token or symbol of jealousy.

III, i, 211. _Carted_--carried in a cart through the streets, by way of punishment or public exposure (especially as the punishment of a bawd).

III, i, 261. _in distance_--within reach, in striking distance.

III, i, 331. _as it would tire--as_ appears to be used for _as if_; in reality the _if_ is implied in the (conditional) subjunctive.--Abbott, S. G., § 107.

III, i, 331. _a beadle_--it was one of the duties of a beadle to whip petty offenders.

III, i, 352. _So I not heard them_--Abbott explains this construction, not uncommon in the Elizabethan period, as an omission of the auxiliary verb “do” (S. G. § 305). But here the main verb is _heard_, whereas, according to his explanation, grammar would require _hear_. May not the construction be better taken as a simple, though to our ears cumbrous, inversion of, _So I heard them not_?

III, i, 366. _cause_--affair, business--so also in III, i, 377.

III, i, 388. _Calenture_--a disease incident to sailors within the tropics; a burning fever.

III, i, 428-9. _flegme ... choller_--in the old physiologies the predominance of the “humour, phlegm,” was held to cause constitutional indolence or apathy,--the predominance of “choler” to cause irascibility.

III, i, 432. _’em_--grammatical precision would require _him_, as is substituted in M., f. In Field’s rapid, loose style, however, a change of construction in mid-sentence is not improbable, and the Q. reading may very well reproduce accurately what he wrote.

III, i, 441. _thou curious impertinent_--the epithet is from _The Curious Impertinent_ of Cervantes, a story imbedded in _Don Quixote, Part I_.

III, i, 463. _I not accuse_--cf. note on l. 354.

III, i, 467. _Ere liue--Ere I should live_ is required in full by strict grammar, but Field’s verse is frequently elliptical. Gifford’s emendation to _lived_ for the sake of grammatical regularity, which is followed by all later editors, is unwarranted.

III, i, 467. _mens marginall fingers_--the figure is an allusion to the ancient custom of placing an index hand in the margin of books, to direct the reader’s attention to a striking passage. So does Romont picture men’s fingers pointing to the story of Charalois as a noteworthy and lamentable thing. Cf. IV, i, 56.

III, i, 469-470. _An Emperour put away his wife for touching Another man._--The source of this allusion is not apparent. Can it be a perversion in the mind of Field of the story of Caesar’s divorce of his wife, to which Massinger has already referred above (l. 148)?

IV, i, 3. _a flaxe_--the flax wick of a lamp or candle.

IV, i, 3. _a red headed womans chamber_--Since early times red-haired individuals have been supposed to emit an emanation having a powerful sexually exciting influence. In the Romance countries, France and Italy, this belief is universally diffused.--Iwan Block: _The Sexual Life of our Time_--transl. by Eden Paul--p. 622.

Cf. also Gabrielle D’Annunzio: _Il Piacere_, p. 90:

“‘Have you noticed the armpits of Madame Chrysoloras? Look!’”

“The Duke di Beffi indicated a dancer, who had upon her brow, white as a marble of Luni, a firebrand of red tresses, like a priestess of Alma Tadema. Her bodice was fastened on the shoulders by mere ribbons, and there were revealed beneath the armpits two luxuriant tufts of red hair.

“Bomminaco began to discourse upon the peculiar odour which red-haired women have.”

IV, i, 13. _Cell_--so in the Q. and all later texts. Yet the word is utterly unsatisfactory to the sense of the passage; it should almost certainly be _coil_--i. e., tumult, confusion, fuss, ado. Cf. Field in _Amends for Ladies_, II, iv: “Here’s a coil with a lord and his sister.”

IV, i, 23. _a lace_--a trimming of lace.

IV, i, 27. _pickadille_--the expansive collar fashionable in the early part of the seventeenth century.

IV, i, 27. _in puncto_--in point; i. e., in proper condition, in order.

IV, i, 32. _Iacobs staffe_--an instrument formerly used for measuring the altitude of the sun; a cross-staff.

IV, i, 32. _Ephimerides_--a table showing the positions of a heavenly body for a series of successive days.

IV, i, 39-40. _if he would but cut the coate according to the cloth still_--“to cut one’s coat after one’s cloth” was: “to adapt one’s self to circumstances;” “to measure expense by income.” The point of its employment here is not plain; it is doubtful if anything were very clear in Field’s own mind, who was merely trying to hit off an epigrammatical phrase. Perhaps, “make the coat match the man.”

IV, i, 72. _Narcissus-like_--like Narcissus, in classic myth. See Ovid, _Meta._, iii, 341-510.

IV, i, 72. _should_--G., f. read _shouldst_, but the breach of agreement between subject and verb is to be explained by the attraction of the verb to the third person by the interposed _Narcissus-like_; just as four lines further on we find _shouldst_ for _should_, because of the similar intrusion between subject and verb of (_but thy selfe sweete Lord_).

IV, i, 92. _a Barber Surgeon_--formerly the barber was also a regular practitioner in surgery and dentistry. Cf. Beaumont & Fletcher, _The Knight of the Burning Pestle_, III, iv.

IV, i, 96. _ouerthrowne_--M., f. read _overflown_, i. e., become excessive or inordinate; so full that the contents run over the brim. The reading of the Q., however, is quite intelligible,--taking _overthrown_ in the sense of _thrown too strongly_.

IV, i, 135. _Colbran_--more properly _Colbrand_ or _Collebrand_, a wicked giant in the medieval romance of Guy of Warwick. He is the champion of the invading King of Denmark, who challenges the English King, Athelstan, to produce a knight who can vanquish Colbrand, or to yield as his vassal. In this hour of need Guy appears, fights with the giant, and kills him.

IV, i, 137. _hee’l make some of you smoake_,--i. e., “make some of you _suffer_.” Cf. Beaumont & Fletcher, _The Knight of the Burning Pestle_, I, ii, 136: “I’ll make some of ’em smoke for’t;” and Shakespeare, _Titus Andronicus_, IV, iii, 111: “Or some of you shall smoke for it in Rome.”

IV, i, 138. _a Consort_--“In the author’s age, the taverns were infested with itinerant bands of musicians, each of which (jointly and individually) was called a noise or _consort_: these were sometimes invited to play for the company, but seem more frequently to have thrust themselves, unasked, into it, with an offer of their services: their intrusion was usually prefaced with, ‘By your leave, gentlemen, will you hear any music?’”--Gifford.

IV, i, 145. _of_--formerly sometimes substituted, as here, for _on_ in colloquial usage. So also _on_ for _of_, as in l. 148. Cf. also l. 182.

IV, i, 197-8. _’tis Fairies treasure Which but reueal’d brings on the blabbers ruine._--To confide in any one about a fairy’s gift rendered it void, according to popular tradition, and drew down the fairy giver’s anger. In instance, see John Aubrey’s _Remains_ (Reprinted in _Publications of the Folk-Lore Society_, vol. IV, p. 102): “Not far from Sir Bennet Hoskyns, there was a labouring man, that rose up early every day to go to worke; who for a good while many dayes together found a nine-pence in the way that he went. His wife wondering how he came by so much money, was afraid he gott it not honestlye; at last he told her, and afterwards he never found any more.”

There are numerous literary allusions to this superstition: e. g., Shakespeare, _The Winter’s Tale_, III, iii, 127, ff.: “This is fairy gold, boy; and ’twill prove so. Up with’t, keep it close.... We are lucky, boy; and to be so still requires nothing but secrecy.”

And Field himself in _Woman is a Weathercock_, I, i:

“I see you labour with some serious thing, And think (like fairy’s treasure) to reveal it, Will cause it vanish.”

IV, i, 210-1. _louers periury_, etc.--that Jove laughed at and overlooked lovers’ perjuries was a familiar proverb. Cf. Massinger, _The Parliament of Love_, C-G. 192 a: “Jupiter and Venus smile At lovers’ perjuries;” and Shakespeare, _Romeo and Juliet_, II, ii, 92: “at lovers’ perjuries, They say, Jove laughs.” The saying goes back to Ovid’s _Art of Love_, book I;--as Marlowe has translated it:

“For Jove himself sits in the azure skies, And laughs below at lovers’ perjuries.”

IV, ii, 71. _On all aduantage take thy life_--i. e., “Taking every advantage of you, kill you.”

IV, ii, 84. Such whose bloods wrongs, or wrong done to _themselues_--the Q.’s regular omission of the possessive apostrophe has in this instance confused later editors in their understanding of the passage. We would write _blood’s_,--with the meaning: “Those whom wrongs to kindred or to themselves,” etc.

IV, iii, 12. _so_--there is no direct antecedent, but one is easily understandable from the general sense of what precedes; _to be so_--i. e., “as you were in thankfulness to the General.”

IV, iv, 10. _it_--another case of a pronoun with antecedent merely implied in the general sense of what precedes; _it_ = “the fact that I am not worthy the looking on, but only,” etc.

IV, iv, 30. _such defence_--i. e., “the defence of such a one.” _Such_ = qualis.

IV, iv, 66. _To this_--i. e., to tears.

IV, iv, 70. _those fam’d matrones_--cf. Massinger in _The Virgin Martyr_, C-G. 33 a:

“You will rise up with reverence, and no more, As things unworthy of your thoughts, remember What the canonized Spartan ladies were, Which lying Greece so boasts of. Your own matrons, Your Roman dames, whose figures you yet keep As holy relics, in her history Will find a second urn: Gracchus’ Cornelia, Paulina, that in death desired to follow Her husband Seneca, nor Brutus’ Portia, That swallowed burning coals to overtake him, Though all their several worths were given to one, With this is to be mention’d.”

IV, iv, 112. _on it_--i. e., “on what you say.”

IV, iv, 156. _be_--“be” expresses more doubt than “is” after a verb of _thinking_. Cf. Abbott, S. G., § 299.

V, i, 5. _lay me vp_--imprison me.

V, i, 7. _varlets_--the name given to city bailiffs or sergeants. Perhaps here, however, it is applied merely as a term of abuse.

V, i, 9. _Innes of court man_--a member of one of the four Inns of Court (The Inner Temple, The Middle Temple, Lincoln’s Inn, and Gray’s Inn), legal societies which served for the Elizabethan the function which our law-schools perform to-day. Overbury says of the Inns of Court Man, in his _Characters_: “Hee is distinguished from a scholler by a pair of silk-stockings, and a beaver hat, which make him contemn a scholler as much as a scholler doth a school-master.... He is as far behind a courtier in his fashion, as a scholler is behind him.... He laughs at every man whose band sits not well, or that hath not a faire shoo-tie, and he is ashamed to be seen in any mans company that weares not his clothes well. His very essence he placeth in his outside.... You shall never see him melancholy, but when he wants a new suit, or feares a sergeant....”

V, i, 13. _coming forth_--appearance in court, or from prison.

V, i, 28. _manchets_--small loaves or rolls of the finest wheaten bread. There seems to have been a commonplace concerning the huge quantities of bread devoured by tailors. Cf. l. 88 below, and Note.

V, i, 31. _leaue swordmen_--i. e., swordmen (swaggering ruffians who claim the profession of arms) _on leave_. It is possible, however, that _leaue_ is a misprint (by inversion of a letter) for _leane_ = hungry.

V, i, 83. _hangers_--not “short-swords”, as in l. 31, but here “pendants”, perhaps a part of the hat-band hanging loose, or else loops or straps on the swordbelt, often richly ornamented, from which the sword was hung. Cf. Shakespeare, _Hamlet_, V, ii, 157-167.

V, i, 83. _Hell_--a place under a tailor’s shop-board, in which shreds or pieces of cloth, cut off in the process of cutting clothes, are thrown, and looked upon as perquisites. Cf. Overbury’s _Characters, A Taylor_: “Hee differeth altogether from God; for with him the best pieces are still marked out for damnation, and without hope of recovery shall be cast down into hell.”

V, i, 88. _Our breakefasts famous for the buttred loaues_--Cf. above l. 28, and Note; also Glapthorne’s _Wit in a Constable_, V, i:

“as easily as a Taylor Would do six hot loaves in a morning fasting, And yet dine after.”

V, i, 90. _vse a conscience_--show or feel compunction; be tender-hearted.

V, i, 91. _hall_--a house or building belonging to a guild or fraternity of merchants or tradesmen. At such places the business of the respective guilds was transacted; and in some instances they served as the market-houses for the sale of the goods of the associated members.

V, i, 97. _compleate Mounsieur_--perfect gentleman.

V, i, 102. _pantofle_--slipper; here used figuratively for: the shoe-maker’s profession.

V, ii, 27. _a barbarous Sythian_--Cf. Purchas’ _Pilgrimage_ (ed. 1613, p. 333): “They [The Scythians] cut off the noses of men, and imprinted pictures in the flesh of women, whom they overcame: and generally their customes of warre were bloudie: what man soever the Scythian first taketh, he drinketh his bloud: he offereth to the King all the heads of the men he hath slaine in battell: otherwise he may not share in the spoile: the skinnes of their crownes flaid off, they hang at their horse bridles: their skinnes they use to flay for napkins and other uses, and some for cloathing.... These customes were generall to the Scythians of Europe and Asia (for which cause _Scytharum facinora patrare_, grew into a proverbe of immane crueltie, and their Land was justly called Barbarous).”

V, ii, 40. _made no hornes at me_--to “make horns” at any one was the common method of taunting one with having horns,--i. e., with being a cuckold.

V, ii, 51. _made vp with_--set with the expression of.

V, ii, 102. _by pieces_--in part.

V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du Croy which follows it.

V, iii, 18 ff.--M., f. insert _when_ after _that_ of l. 18. This is probably the correct reading. It would be possible, however, to let the line stand without alteration, if the _that_ of l. 20 be taken as coordinate with the _that_ of l. 18, introducing a second clause depending on _am sorry_ (instead of correlative with _so_ to introduce a result-clause). With this reading, _left_ (l. 22) would be taken as an ellipsis for _being left_; with the emended reading, for _was left_. Though the construction is in doubt, the sense is easy.

V, iii, 22. _vndermine_--an object, _it_, is understood,--i. e., _the building of my life_.

V, iii, 34. _her--its_ was rare in Elizabethan usage. Cf. Abbott, S. G., §§ 228, 229.

V, iii, 46. _compassion of_--former obsolete construction for “compassion for.” Cf. Shakespeare, _Henry VI, Part I_, IV, i, 56; “Mov’d with compassion of my country’s wreck.”

V, iii, 59. _motion_--C., f. read _motion’s_,--an uncalled-for emendation, since ellipsis of _is_ was not infrequent. Cf. Shakespeare, _Henry V_, IV, i, 197: “’Tis certain, every man that dies ill, the ill [is] upon his own head.”

V, iii, 93. _and yet the fault kept from me_--loose construction, not easily parsed, though the sense is clear.

V, iii, 98. _As ... to vndergoe_--again a loose construction. It should be, properly: _That ... he would undergo_, etc.

V, iii, 107-9. _like the fatall gold_, etc.--In this passage the two leaders of the Gauls known to history by the same name appear to be confounded--(1): Brennus, who sacked Rome in 390 B. C., and consented to withdraw after receiving a large ransom of gold;--and (2): Brennus, who led the irruption of the Gauls into Greece in the second century B. C., and attempted to despoil Delphi of its treasure, but did not succeed in doing so. The fact that their respective expeditions are said to have borne an immediate sequel of disaster and death for both alike, may be responsible for the dramatist’s mistake.

V, iii, 131. _homicide_--formerly, as here, = _murderer_.

V, iii, 139. _in way of_--in the manner of.

V, iii, 144. _the hate betweene his house and mine_--cf. III, i, 416.

V, iii, 166. _more presumptions_--C., f. read _mere presumptions_, which is probably correct. An alternative possibility should be noted, however: that _presumptions_ by mis-reading from the Ms. (or by the mere inversion of a _u_) may be a mis-print for presumptious (presumptuous) = _presumptive_, in which case _more_ would be retained, with the passage to mean: “You must find other proofs to strengthen these, and they must, moreover, be of a nature to give more reasonable grounds for presumption.”

V, iii, 174-5.--The last two lines of Charalois’ speech are addressed to his judges; what preceded them to Novall.

V, iii, 190. _bands_--the emendation _bawds_, proposed by Coxeter and followed by all subsequent editors, seems almost surely correct. “Bawd” prior to 1700 was a term applied to men as well as--and, indeed, more frequently than--to women. Cf. Shakespeare, _Hamlet_, I, iii, 130.

V, iii, 190. _tooke_--where the common Elizabethan custom of dropping the _-en_ inflectional ending of the past participle rendered a confusion with the infinitive liable, the past tense of the verb was used for the participle. Cf. Abbott, S. G., § 343.

V, iii, 193. _this matron_--i. e., Florimel.

V, iii, 205. _in Nouall_--i. e., “in the person of Novall.”

V, iii, 207. _Thy challenge now I answere_--this phrase would indicate that Romont crosses swords with Pontalier, and after a moment of fencing runs him through; instead of striking him unawares, as the modern stage direction, “_Stabs Pontalier_,” would imply.

V, iii, 226. _these--i. e._, Aymer, Florimel, and Bellapert.

_Court. Song_, l. 3. first--i. e., “in the front part of,” to meet the customers and be herself an attraction and an object of display, while the husband remains “at tother end” (l. 8) of the store.

_Court. Song_, l. 4.--This is a most unduly long line. It seems probable that, in the Ms. from which the play was printed, the three phrases, “A faire wife,” “a kinde wife,” and “a sweet wife,” were _three variant_ readings, which, by mistake, were _all_ incorporated in the text. Any one of them used alone would give a perfectly normal line.

GLOSSARY

_affection_, bent, inclination, _penchant_. I, ii, 32.

_allow_, command, approve. IV, i, 9.

_answere_, correspond to. III, i, 82.

_arrests_, stoppages, delays. III, i, 43.

_author_, to be the author, of a statement; to state, declare, say. IV, ii, 19.

_baffled_, disgraced, treated with contumely. IV, i, 112.

_balm_, an aromatic preparation for embalming the dead. II, i, 79.

_band_, a collar or ruff worn round the neck by man or woman. II, ii, 77; etc.

_banquerout_, early spelling of _bankrupt_, which was originally _banke rota_ (see N. E. D. for variants under _bankrupt_), from Italian _banca rotta_, of which _banqueroute_ is the French adaptation. The modern spelling, _bankrupt_, with the second part of the word assimilated to the equivalent Latin _ruptus_, as in _abrupt_, etc., first appears in 1543. I, i, 127; ii, 88.

_black_, a funereal drapery. II, i, 51; ii, 117.

_brabler_, a quarrelsome fellow; a brawler. III, i, 358.

_braue_, in loose sense of approbation, good, excellent, worthy, etc. I, ii, 256; 292; etc.

_bumfiddles_, beats, thumps. IV, i, 140.

_cabinet_, a secret receptacle; a jewel-box. II, ii, 34.

_canniball_, a strong term of abuse for “blood-thirsty savage.” IV, iv, 185.

_Caroch_, coach. II, ii, 28; IV, ii, 95.

_case_, exterior; skin or hide of an animal, or garments--hence, perhaps, _disguise_. V, i, 73.

_censure_, a judicial sentence. I, ii, 53.--in the sense of _sentence to punishment_. II, ii, 166; 172.

_chalenge_, demand. V, ii, 88.

_change_, exchange. III, i, 117.--_chang’d_, I, i, 66.

_charges_, expenses. I, ii, 191.

_charitable_, benevolent, kindly, showing Christian charity. I, i, 117.

_circumstance_, the adjuncts of a fact which make it more or less criminal. V, iii, 52.

_close_, close-fitting. IV, i, 124.

_cold_, unimpassioned, deliberate. V, ii, 86.

_coloured_, specious. III, i, 139.

_comely_, becoming, proper, decorous. III, i, 163.

_complement_, observing of ceremony in social relations; formal civility, politeness. III, i, 439.

_conference_, subject of conversation. II, ii, 139.

_conscious_, inwardly sensible of wrong-doing. III, i, 353.--aware. V, ii, 67.

_consists_, lies, has its place. III, i, 489.

_courtesie_, generosity, benevolence. V, iii, 73.

_Courtship_, courteous behavior, courtesy. III, i, 276; 439.

_credits_, reputations, good name. I, ii, 67.

_curiosity_, elegance of construction. II, ii, 67.

_curious_, careful, studious, solicitous. IV, i, 102.--made with art or care; elaborately or beautifully wrought; fine; “nice”. _Cit. Song._ l. 5.

_dag_, a kind of heavy pistol or hand-gun. IV, i, 170 _s. d._

_debate_, strife, dissension, quarreling. III, i, 443.

_decent_, becoming, appropriate, fitting. I, ii, 77.

_defeatures_, defeats. I, ii, 177.

_demonstrauely_, in a manner that indicates clearly or plainly. IV, i, 55.

_deserued_, deserving. II, ii, 189.

_determine_, decree. II, ii, 172.

_detract_, disparage, traduce, speak evil of. I, ii, 271.

_dis-become_, misbecome, be unfitting for or unworthy of. V, iii, 47.

_discouery_, revelation, disclosure. III, i, 91; V, iii, 194.

_distaste_, estrangement, quarrel. IV, ii, 1.--offence. V, iii, 15.

_doubtfull_, fearful, apprehensive. IV, ii, 88.

_doubts_, apprehensions. III, i, 246.

_earth’d_, buried. II, i, 126.

_edify_, gain instruction; profit, in a spiritual sense. IV, i, 62.

_engag’d_, obliged, attached by gratitude. III, i, 242.

_engender_, copulate. III, i, 423.

_engine_, device, artifice, plot. III, i, 157.

_ensignes_, signs, tokens, characteristic marks. I, i, 144.

_entertaine_, accept. V, ii, 82.

_entertainment_, provision for the support of persons in service--especially soldiers; pay, wages. I, ii, 188.

_ernest_, a sum of money paid as an installment to secure a contract. V, i, 44.

_except against_, take exception against. IV, iii, 19.

_exhaust_, “draw out”; not as to-day, “use up completely.” II, i, 103.

_expression_, designation. V, i, 33.

_factor_, one who has the charge and manages the affairs of an estate; a bailiff, land-steward. I, ii, 135. Cf. Shakespeare, _Henry IV, Part I_, III, ii, 147: “Percy is but my factor,” etc.

_familiar_, well acquainted. I, i, 3.

_feares_, fears for. IV, ii, 89.

_fit_, punish; visit with a fit penalty. III, i, 253.

_forespake_, foretold, predicted. III, i, 251.

_fortunes_, happens, chances, occurs. V, ii, 16.

_gallimaufry_, contemptuous term for “a man of many accomplishments”; a ridiculous medley; a hodge-podge. II, ii, 95.

_gamesters_, those addicted to amorous sport. III, i, 33.

_Geometrician_, one who measures the earth or land; a land-surveyor. IV, i, 21.

_get_, beget. I, ii, 246.

_gigglet_, a lewd, wanton woman. III, i, 308.

_honestie_, honorable character, in a wide, general sense. To the Elizabethan it especially connoted _fidelity_, _trustiness_. II, i, 115.

_horslock_, a shackle for a horse’s feet; hence applied to any hanging lock; a padlock. IV, i, 78.

_humanity_, learning or literature concerned with human culture: a term including the various branches of polite scholarship, as grammar, rhetoric, poetry, and esp. the study of the ancient Latin and Greek classics. II, i, 3.

_humour_, used here in the specific Jonsonian sense of a dominating trait or mood. I, i, 124; ii, 31.

_imployments_, services (to a person). I, ii, 28.

_individually_, indivisibly, inseparably. II, ii, 316.

_Infanta_, the title properly applied to a daughter of the King and Queen of Spain or Portugal. IV, i, 75.

_issues_, actions, deeds. II, ii, 198.

_kinde_, agreeable, pleasant, winsome. _Court. Song._ l. 4.

_Lard_, an obsolete form of _Lord_. IV, i, 2. Cf. Congreve, _Old Bach._, II, iii: “Lard, Cousin, you talk oddly.”

_League_, probably used for _Leaguer_ (so emended by M., f.): a military camp, especially one engaged in a siege. III, i, 175.

_learnd_, informed. III, i, 156.

_legge_, an obeisance made by drawing back one leg and bending the other; a bow, scrape. III, i, 124.

_lively_, _living_. II, i, 46.--gay, full of life. II, ii, 76.--life-like. II, ii, 232.

_map_, embodiment, incarnation. II, ii, 136. Cf. H. Smith, _Sinf. Man’s Search_, Six Sermons: “What were man if he were once left to himselfe? A map of misery.”

_mome_, blockhead, dolt, fool. Court. Song, l. 13.

_monument_, sepulchre. I, ii, 212.

_moue_, urge, appeal to, make a request to. IV, iv, 11.

_next_, shortest, most convenient or direct. V, i, 37.

_nice_, petty, insignificant, trifling. III, i, 442.

_note_, show forth; demonstrate. III, i, 504.

_Obiect_, bring forward in opposition as an adverse reason, or by way of accusation. IV, iv, 174.

_obnoxious_, liable, exposed, open, vulnerable. III, i, 354.

_obsequious_, prompt to serve or please, dutiful. V, iii, 90.

_obseruers_, those who show respect, deference, or dutiful attention; obsequious followers. IV, iv, 43.

_Orphants_, obsolete corrupt form of _Orphans_. I, ii, 206. It survives in dialect. Cf. James Whitcomb Riley’s _Little Orphant Annie_.

_overcome_, usually, “conquer”, “prevail”; but here, “out-do”, “surpass”. I, i, 187.

_parts_, function, office, business, duty. Formerly used in the plural, as here, though usually when referring to a number of persons. I, i, 9; ii, 9; V. iii, 39.--qualities. IV, iv, 105.

_pious_, used in the arch. sense of _dutiful_. I, i, 101.

_practicke_, practical work or application; practice as opposed to theory. II, i, 2.

_Praecipuce_ (mis-print for _precipice_), a precipitate or headlong fall or descent, especially to a great depth. III, i, 464.

_presently_, immediately, quickly, promptly. IV, iv, 89.

_president_ [variant of _precedent_], example, instance, illustration. V, iii, 226.

_preuent_, anticipate. I, i, 64; ii, 17; IV, ii, 32.

_Prouince_, duty, office, function; branch of the government. I, ii, 23.

_punctual_, punctilious, careful of detail. IV, i, 42.

_purl_, the pleat or fold of a ruff or band; a frill. II, ii, 77.

_quick_, alive. I, ii, 178.

_Ram-heads_, cuckolds. II, i, 31.

_recent_, fresh. II, i, 19.

_roaring_, riotous, bullying, hectoring. IV, i, 203.

_sawcily_, formerly a word of more serious reprobation than in modern usage: “with presumptuous insolence.” I, ii, 106.

_scandall_, to spread scandal concerning; to defame. I, ii, 58.

_sect_, class, order. V, i, 79.

_seene_, experienced, versed. III, i, 268.

_seruant_, a professed lover; one who is devoted to the service of a lady. II, ii, 40; etc.

_seruice_, the devotion of a lover. III, i, 81; IV, iv, 107.

_set forth_, adorned. IV, iv, 106.

_skills_, signifies, matters. I, ii, 286.

_snort_, snore. _Court. Song._ l. 12.

_soft_, tender-hearted, pitiful. II, i, 23.

_sooth’d_, assented to; humoured by agreement or concession. V, i, 55.

_Spittle_, hospital. III, i, 210. Cf. Shakespeare, _Henry V_, II, i, 78; V, i, 86.

_spleene_, caprice. I, i, 49.

_state_, estate. II, ii, 294; III, i, 24; IV, iv, 178; V, iii, 119.

_submisse_, submissive. I, i, 179.

_take_, charm, captivate. I, ii, 206.

_taske_, take to task; censure, reprove, chide, reprehend = _tax_. I, ii, 64.

_temper_, temperateness, calmness of mind, self-restraint. V, iii, 40.

_theorique_, theory; theoretical knowledge, as opposed to practice. II, i, 2.

_Thrift_, here used in the old sense of _prosperity_ or _success_. I, i, 170.

_toyes_, whims, caprices, trifles. III, i, 442.

_vncivil_, unrefined, ill-bred, not polished. III, i, 490.

_vailes_, perquisites. V, i, 83.

_Visitation_, visit. II, ii, 310.

_wagtaile_, a term of familiarity and contempt; a wanton. II, ii, 7.

_where_, whereas. I, i, 71.

_wittoll_, a man who knows of his wife’s infidelity and submits to it; a submissive cuckold. V, iii, 99.

_wreake_, vengeance, revenge. IV, iv, 183; V, ii, 43.

BIBLIOGRAPHICAL NOTE

The Quarto, and the various modern editions and translations of _The Fatal Dowry_ have already been recorded in the opening pages of the INTRODUCTION. In the editions there noted of the collected works of Massinger will be found all the plays which bear his name. (_Believe As You List_ appears only in Cunningham’s edition of Gifford and in the Mermaid Series’ _Massinger_.) Field’s two independent plays, _Woman is a Weathercock_ (Q. 1612) and _Amends for Ladies_ (Q’s. 1618, 1639), were reprinted by J. P. Collier, London, 1829. They are included in Thomas White’s _Old English Dramas_, London, 1830; in W. C. Hazlitt’s edition of Dodsley’s _Old English Plays_, London, Reeves and Turner, 1875; and in the Mermaid Series volume, _Nero and Other Plays_, with an Introduction by A. W. Verity, London and New York, 1888. All other extant dramas in which either Massinger or Field had a share may be found in any edition of the collected works of Beaumont & Fletcher, with the exception of _Sir John van Olden Barnavelt_, which appears in vol. II of Bullen’s _Old Plays_, London, Weyman and Sons, 1883.

The stage version of _The Fatal Dowry_ by Sheil is printed in _French’s Acting Edition_, vol. 9. Of the related plays, _The Lady’s Trial_ and _The Fair Penitent_ may be found in all editions of the collected works respectively of John Ford and Nicholas Rowe; _The Fair Penitent_ is also published along with Rowe’s _Jane Shore_ in the Belles Lettres Series, 1907. For _The Insolvent_, see _The Dramatic Works of Aaron Hill, Esq._, 2 vols., 1760. DER GRAF VON CHAROLAIS _ein Trauerspiel von Richard Beer-Hofmann_ is printed by S. Fischer, Berlin, 1906.

The following works have bearing upon the play or its authors:

Beck, C.: _Phil. Massinger_, THE FATALL DOWRY. _Einleitung zu einer neuen Ausgabe_. Beyreuth, 1906.

Boyle, R.: _Beaumont, Fletcher and Massinger_. Englische Studien, vol. V.

CAMBRIDGE HISTORY OF ENGLISH LITERATURE, THE,--vol. VI. Cambridge, 1910.

Courthope, W. J.: _A History of English Poetry_, vol. IV. Macmillan, 1903.

Cumberland: His famous comparison of _The Fatal Dowry_ with _The Fair Penitent_, which originally appeared in _The Observer_, Nos. LXXVII-LXXIX, is reprinted in Gifford’s Edition of Massinger.

DICTIONARY OF NATIONAL BIOGRAPHY--_Field_, by J. Knight; _Massinger_, by R. Boyle.

Fleay, F. G.: _A Biographical Chronicle of the English Drama_ (1559-1642). 2 vols. London. Reeves and Turner. 1891.

_Annals of the Career of Nathaniel Field_. Englische Studien, vol. XIII.

Genest, John: _Some Account of the English Stage from the Restoration in 1660 to 1830_. 10 vols. Bath, 1832.

Gosse, E. W.: _The Jacobean Poets_. (Univ. Series). Scribner’s, 1894.

Koeppel, E.: _Quelenstudien zu den Dramen George Chapman’s, Philip Massinger’s und John Ford’s_. Strassburg. 1897.

Murray, John Tucker: _English Dramatic Companies_ (1558-1642). 2 vols. Houghton, Mifflin & Co. 1910.

Oliphant, E. F.: _The Works of Beaumont and Fletcher_. Englische Studien, vols. XIV-XVI. [This is not concerned with _The Fatal Dowry_, but contains inquiry into other collaboration work of Massinger and Field in plays of the period, with an analysis of the distinctive characteristics of Massinger (XIV, 71-6) and the same for Field (XV, 330-1).]

Phelan, James: _On Philip Massinger_. Halle. 1878. Reprinted in _Anglia_, vol. II, 1879.

Schelling, F. E.: _Elizabethan Drama_. 2 vols. Houghton, Mifflin & Co. 1908.

Schwarz, F. H.: _Nicholas Rowe’s_ FAIR PENITENT. A Contribution to Literary Analysis. _With a Side-reference to Richard Beer-Hofmann’s_ GRAF VON CHAROLAIS. Berne. 1907.

Stephens, Sir Leslie: _Philip Massinger_. The Cornhill Magazine. Reprinted in _Hours in a Library_, Third Series. 1879.

Swinburne, A. C.: _Philip Massinger_. The Fortnightly Review. July, 1889.

Thorndike, Ashley H.: _Tragedy_. Houghton, Mifflin & Co. 1908.

Ward, A. W.: _A History of English Dramatic Literature_. 3 vols. Macmillan. 1899.

Wurzbach, W. von: _Philip Massinger_. Shakesp. Jahrb., vols. XXXV and XXXVI.

Footnotes: Preface and Introduction

[1] Fleay (_Chron. Eng. Dra._, I, 208) thinks that the otherwise lost Massinger play, _The Judge_, licensed by Herbert in 1627, and included in the list of Warburton’s collection, may have been _The Fatal Dowry_. He declares, moreover, that “the decree in favor of creditors in I, ii _a_ was a statute made in 1623,” and suggests that Massinger after this date made over an independent play of Field’s, now lost. But I think that any one who surveys in _The Fatal Dowry_ the respective hands of its authors will incline strongly to the conviction that this drama is the offspring of joint effort rather than the re-handling of one man’s work by another. The decree to which Fleay has reference appears to be that to be found in _Statutes of the Realm_, IV, ii, 1227-9, recorded as 21º Jac I, 19. This is an act passed by the parliament of 1623-4; it somewhat increases the stringency of the already-existing severe laws in regard to bankrupts, but contains nothing which even faintly suggests the decree in our play, by which the creditors are empowered to withhold the corpse of their debtor from burial; and, indeed, it is obviously impossible that a statute permitting any such practice could have been passed in Christian England of the seventeenth century. The fact is that this feature of the plot is taken direct from a classical author (see under SOURCES), and it would be gratuitous to assume in it a reference to contemporaneous legislation. As for the hypothesis that _The Fatal Dowry_ and _The Judge_ are the same play, in the utter absence of any supporting evidence it must be thrown out of court. This sort of identification is a confirmed vice with Fleay. _The Judge_ is, moreover, listed as a comedy (see reprint of Warburton’s list in Fleay’s _The Life and Work of Shakespeare_, p. 358).

[2] Two other arguments--both fallacious--have been advanced for a more assured dating.

Formal prologues and epilogues came into fashion about 1620, and the absence of such appendages in the case of _The Fatal Dowry_ has been generally taken as evidence for its appearance before that year; but for a Massinger production no such inference can be drawn--there is no formal prologue or epilogue in any of his extant plays before _The Emperor of the East_ and _Believe as You List_, which were licensed for acting in 1631.

The suggestion (Fleay: _Chron. Eng. Dra._, I, p. 208) that Field took the part of Florimel, and that the mention of her age as thirty-two years (II, ii, 17) has reference to his own age at the time the play was produced (thus fixing the date: 1619), is an idea so far-fetched and fantastic that it is amazing to find it quoted with perfect gravity by Ward (_Hist. Eng. Dra. Lit._, III, 39). That Field, second only to Burbage among the actors of his time, should have played the petty role of Florimel is a ridiculous supposition. It is strange that anyone who considered references of this sort a legitimate clue did not build rather upon the statement (II, i, 13) that Charalois was twenty-eight. But such grounds for theorizing are utterly unsubstantial; there is no earthly warrant for identifying the age of an author’s creation with the age of the author himself.

[3] I would not, however, think it very improbable that Field might have engaged in the composition of _The Fatal Dowry_ immediately after his retirement, when the ties with his old profession were, perhaps, not yet altogether broken.

[4] On a careful inspection of the entire dramatic output of Massinger, both unaided work and plays done in collaboration, I have found worthy of record parallels to passages in _The Fatal Dowry_ to the number of: 24, in _The Unnatural Combat_, 14 in the Massinger share (about ⅗) of _The Virgin Martyr_, 18 in _The Renegado_, 11 in _The Duke of Milan_, 10 in _The Guardian_, and in none of the rest as many as 8.--But Massinger’s undoubted share (⅓) of _The Little French Lawyer_ yields 6; ⅖ of _The Double Marriage_, 6; ⅖ of _The Spanish Curate_, 6; ⅖ of _Sir John van Olden Barnavelt_, 4.

[5] _E. g._, I, i (Massinger) with its grave rhetoric uniformly sustained, and, in immediate succession, II, i (Decker), a medley of coarse buffoonery and tender and beautiful verse.

[6] As witness _The False One_. Here Massinger seems to have projected a stately historical drama of war and factional intrigue, with a conception of Cleopatra as the Great Queen, more a Semiramis or a Zenobia than “the serpent of old Nile,” and so treats his subject in the first and last Acts; while Fletcher “assists” him by filling the middle section of the play with scenes theatrically effective but leading nowhere, and in them makes the heroine the traditional “gipsy” Cleopatra.

[7] The only other modern attempt to apportion the play is that of C. Beck (_The Fatal Dowry_, Friedrich-Alexander Univ. thesis, 1906, pp. 89-94). He assigns Massinger everything except the prose passages of II, ii and IV, i, and perhaps II, i, 93-109. His _a priori_ theory of distribution seems to be that all portions of the play which he deems of worth must be Massinger’s. It is difficult to speak of Beck’s monograph with sufficiently scant respect.

[8] References to the plays of Massinger are either by page and column of the Cunningham-Gifford edition of his works (designated C-G.), or, in the case of plays in the Beaumont & Fletcher _corpus_ in which he or Field collaborated, by volume and page of the Dyce edition (designated _D._). Field’s two independent comedies are referred to by page of the Mermaid Series volume which contains them: _Nero and Other Plays_ (designated _M._).

[9] The figures for the speech-ending test for each scene will be found in the table at the end of this section, and are not given in the course of the detailed examination of the play, save in the case of one passage, where the ambiguity of their testimony is noted. In all other Scenes they merely corroborate the evidence of the other tests.

[10] This is all the more rampant in that it is suddenly called back into activity after its period of obscuration while she yielded herself to a cynical, immoral opportunism, and is now brought, by a fearful shock, to confront higher ethical values and real manhood. For this time she is given not a Novall but a Charalois to idealize.

[11] See the figure of Captain Pouts in _Woman is a Weathercock_. He might easily have been made a mere _miles gloriosus_; instead he is a real man,--coarse, revengeful, dissolute, quarrelsome, hectoring--no doubt at heart a coward, but not more absurdly so in the face of his pretensions than many of his type in actual life. For characters clearly visualized in a few simple strokes, may be noted in the same play Lady Ninny, Lucida, and, apart from one speech (M. 356-7) out of character obviously for comic effect, Kate; in _Amends for Ladies_, Ingen. Examples of Field’s power in more idealistic work may be found in _The Knight of Malta_ in the delineation of Montferrat’s passion (I, i) and in the scene between Miranda and Oriana (V, i).

[12] Apparently _The Fatal Dowry_ was not performed every day.

[13] During the run of this play one Warren, who was Powell’s dresser, claimed a right of lying for his master and performing the dead part of Lothario--about the middle of the scene Powell called for Warren; who as loudly replied from the stage, “Here Sir”--Powell (who was ignorant of the part his man was doing) repeated without loss of time, “Come here this moment you Son of a Whore or I’ll break all the bones in your skin”--Warren knew his hasty temper, and therefore without any reply jumped up with all his sables about him, which unfortunately were tied to the handles of the bier and dragged after him--but this was not all--the laugh and roar began in the audience and frightened poor Warren so much that with the bier at his tail he threw down Calista and overwhelmed her, with the table, lamp, books, bones, &c.--he tugged till he broke off his trammels and made his escape, and the play at once ended with immoderate fits of laughter--Betterton would not suffer The Fair Penitent to be played again, till poor Warren’s misconduct was somewhat forgotten--this story was told to Chetwood by Bowman [Sciolto]--(GENEST, II, 281-2).

[14] This, of course, may require the substitution of a capital for a small letter, as when a mid-line word of the Quarto becomes in the re-alignment the first word of the verse.

Footnotes: the Play

[Dramatis Personae]

G. and S. omit _Officers_, and add those roles which are enclosed in brackets.

They add explanations of each character, also changing the order. For _Gaoler_, S. reads _Gaolers_.

Baumont--M., f spell _Beaumont_.

C. & M. add after the list of _Dramatis Personae: The Scene_, Dijon _in_ Burgundy.

[Act I, Scene i]

10 _As--That_ (C., M.

12, 16, etc. _then_--modernized to _than_ throughout by all later eds.

13, end s. d. _Gives him his purse_ (G., S.

19 _your--him_ (G., S.

33 _This such--This is such_ (S.

34 .--? (C., f.

45 _summes--sum_ (C., M.

46 and 47 _Dare ... oportunity?_--printed as one line in Q.

47, end s. d.: _They salute him as they pass by_ (G., S.

56, after _No_--, (C., f.

56 _’em--them_ (G., S.

70 _and in that--and, in that,_ (C., f.

71 _where--whereas_ (C, M.

90 _great men--men great_ (C., f.

92 and 93 _And ... suytor?_--printed as one line in Q.

103 _’Tis well._--G. & S. assign to _Char._ and follow with s. d.: _Tenders his petition._ The change is uncalled for.

103 s. d., after Nouall--G. & S. insert _Advocates_.

103 and 104 _You ... againe._--printed as one line in Q.

104 _Offer’t--Offer it_ (M., f.

110 end s. d. _Aside to Cred._ (G., S.

114 _I pray heare em.--Pray hear them._ (G.--_I pray hear them._ (S.

114 _Tis--It is_ (G.

116 ;--M., f. omit.

123 _Armors--Armour_ (C., M., G.

127 _banquerout_--here and elsewhere by later eds. always _bankrupt_.

133 _Sir_--assigned to _Char._ by G., who adds s. d.: _Tenders his petition._

136 and 137 _Yes ... hereby_--printed as one line in Q.

137 _hereby--whereby_ (M., G.

139 _You are--You’re_ (C., M.

139, after _so._--? (C., M.--! (G., S.

139 s. d.--The exit of Novall is placed earlier, at l. 136, by G. & S.

145 G. & S. omit s. d.

149, after _this_,--s. d.; _Beats him_ (G.--_Kicks him_ (S.

154 and 155 _Are ... then_--printed as one line in Q.

155, after _then_.--s. d.: _Kicks them_ (C., f.

157 _haue--hear_ (M.

159 _from_--omitted by C., f.

162, after _Cuckolds_--, (C., M--; (G., S.

162 _ne’er--never_ (M.

162 _prayd_--pray (G.

166 _To--T’_ (M.

168 _forhead--foreheads_ (G.

171 _then_--this form retained in C.

171 s. d. _Creditor--Creditors_ (G., S.

195 _you are--you’re_ (C., M.

[Act I, Scene ii]

first s. d., _3 Presidents--Presidents,... three Creditors_ (G., S.

1 _Lordship’s seated. May--lordships seated, may_ (G., S.

2 and 3 _prosperous ... Burgundy_.--printed as a line in Q.

7, after _resigne_--; (M., f.

13 _President--precedent_ (C., f.

13 _President they--precedent that they_ (C., M.

15 _we are--we’re_ (C., M.

35 _the--th’_ (C., M.

50 _And--I_ (G., S.

51, end --s. d.: _To Nov. sen._ (G., S.

60 _With--Which_ (C., M., G.

64 _taske--tax_ (M.

66 _become--became_ (M., f.

76 _find--finds_ (G., S.

82 and 83 _How ... Court?_--printed as one line in Q.

85 and 86 _I hope ... Lord--_--printed as one line in Q.

91, after _you_ --G. & S. insert, _sir_,

93, after _Why_ --, (C., f.

106 _tell you--tell thee_ (G.

107 _I am--I’m_ (C., M.

115 _ere--ever_ (C., M., G.

125 _purpose--purposes_ (G., S.

145, end --s. d.: _Aside to_ Charalois (G., S.

146 C., f. insert , after _counsayle_ and omit , after _it_.

180 _proud_--S. omits.

185 _enemies_--enemy’s (C., f.

186-’8 Lines in Q. are: _In ... prison._ | _Twas ... prodigall._ | _He ... Army._

187 _frô--from_ (C., f.

189 _Sufficent? My Lord,--Sufficient, my Lord?_ (C., f. G. & S. have _lords_.

194 _They are--They’re_ (M., f.

195 _’Tis--It is_ (G., S.

201 _right_--See Notes; after _or_ --G. inserts _wish_ in brackets, which S. accepts in text.

217 _th’ incounter--the incounter_ (C., f.

217, after _cold_--, (G., S.--a plausible but unnecessary emendation.

223 _not be--be or not_ (G.--_or not be_ (S.

234 _Lords--cords_ (C., f.

234 _a--in_ (G., S.

234 _’em--them_ (G., S.

243 _n_ in _tongue_ inverted in Q.

244 _u_ in _reuenge_ inverted in Q.

246 _never--ever_ (C., M.

247 _n_ in _answer_ inverted in Q.

After 255, s. d.: C. & M. substitute _Charalois_ for _Charmi_; G. & S. insert _Charalois_ before _Charmi_.

264 and 265 _You ... fit_--printed as one line in Q.

266 _’tas--’t has_ (C., M., S.; _’t’as_ (G.

279 and 280 _Am ... request?_--printed as one line in Q.

288 and 289 _I follow you_--Baumont--printed as one line in Q.

290 _th’_--the (G., S.

295 and 296 _Fie ... I?_--printed as one line in Q.

296 _There is--There’s_ (G., S.

[Act II, Scene i]

2 _m_ in _iudgement_ inverted in Q.

13 _sits--sit_ (C., f.

13 and 14 _Twenty eight ... old_--printed as one line in Q.

18 _then’s_--than his (M.

25 _he--they_ (C., M., G.

28 _their--the_ (G., S.

28 _was--were_ (G., S.

40 G. & S. insert _The_ at beginning of line.

43, after _funerall_.--_?_ (G., S.

44 and 45 G. & S. punctuate with . at end of 44 and , at end of 45. The emendation is plausible, even probable, but not warranted by necessity.

45 and 46 G. & S. omit s. d., _Recorders Musique_,

46 _interd--interr’d_ (M.--_enter’d_ (G., S. See Notes.

After 47, s. d.--G. & S. render: _Solemn music. Enter the Funeral Procession. The Coffin borne by four, preceeded by a Priest._ Captains, Lieutenants, Ensigns, _and_ Soldiers; Mourners, Scutcheons _&c., and very good order_. Romont _and_ Charalois, _followed by the_ Gaolers _and_ Officers, _with_ Creditors, _meet it_.

After 53 G. & S. insert s. d.: _To the Bearers, who set down the Coffin_.

After 64 G. & S. insert s. d.: _To the Soldiers_.

75, after _What_ --! (C., f.

93 _Would they not so?--Would they so?_ (C., M., G.--_Would they? Not so._ (S. See Notes.

94, 95, and 96 Lines in Q.: _Wee’ll ... then_: | _No ... Rogues._ | _Till ... damn’d._ | _Damn’d ... ha._

94 _’em--them_ (G., S.

95 _Rogues--rogue_ (S.

97 _weel’d--we would_ (M., f.

98 _Y’are--Ye’re_ (C., M.--_You are_ (G., S.

100 _shee--ye_ (M., f. The emendation is probably correct.

100, after rogues.--? (G., S.

104 _yee, ye’are--you, you’re_ (C., M., G.

105 _2 Cred.--1 Cred._ (M., probably misprint.

106 _They have--They’ve_ (C., M.

106 _We have--We’ve_ (C., f.

108 _We haue--we’ve_ (M.

111 _rights--right_ (M.

132 _both heere--here both_ (M.

134 s. d.: _Song. Musicke._--i. e. the First Song, on page 145.--introduced here in text by all editors save Gifford and Coleridge.

135 _’em--them_ (G., S.

137, after _were --at_ inserted by C., f.

137 _Saylor_--misprint for _Iaylor_,--emended by C., f.

143 _Turnes--Turn_ (M., f.

[Act II, Scene ii]

6 _eene--even_ (G., S.

12 _eene--even_ (G., S.

17 _serue--served_ (G., S. See Notes.

18 _Peepe--pip_ (M., f.

20 _ith’--in the_ (G., S.

22 _em--them_ G., S.

37 _Vd’d--Uds_--(M., f.

40 _can’t--can it_ (M., f.

48 _ith’--in the_ (G., S.

49 _please--pleases_ (C., M., G.

55 _Ile--I will_ (G., S.

55 _i’th--in the_ (M., f.

59 _your--you_ (M. (in corrigenda at end of vol. 4), f. A correct emendation.

60 _loue? the lesse neare you.--love the less near you?_ (M., f.

63 _Humpe--Hum_ (C., M.; _Humph_ (G., S.

64, after _shoulder_, --C. & M. insert _and_.

67 Nou.--C., f. affix Junior throughout.

71 _turn’d--trimm’d_ (G., S. Emend. sug. by M.

78 _discipline falne_) _out--discipline, fallen out_ (C., f.

81 _Lord:_ Per se, _Lord--lord_ per se, _lord_! (G., S.

94 _’em--them_ (G., S.

95 _taught--caught_ (M., f.

98 _’em--them_ (G., S.

99 _i’th--in the_ (G., S.

100 _Quirpo_--thus C. & G.; M. & S. read _Querpo_.

104 _skip_--See Notes.

105 _liue to eate_--for _liue_, G. reads _flatters_; S reads _lie_, which is probably right.

112 _Mrs.--Must_ (C., M.

122 _i’th_--in the (G., S.

125 end--s. d.: _Nov. jun. kisses her hand._ (G., S.

128 after _recant_,--s. d.: _Kisses her_ (G,. S.

131 _Cant._--i. e. the Second Song, on page 145.--introduced here in text by all editors save Gifford and Coleridge.

144 _Th’ art--Thou art_ (G., S.

153 _teares_--thus C. & M.;--G. & S. read _fears_, which seems a fitter word here.

153 s. d.--G. & S. read, _Aside and exit_.

159 _affected_--affectedly (S.

159, after _you_--C., M., & G. insert _will_.

161 _yee--you_ (C., f.

164 _opportunity--opportunely_ (M., f. The emendation is probably correct.

165 _Hum hum_--omitted by C., M., & G.

172, after _me_ --C. & M. insert _to_.

174 _bile--boil_ (C., f. See Notes.

179 _breath--breath’d_ (M., f.

193 _graue--brave_ (M., f.

194 and 195 _My Lord ... see_,--printed as one line in Q.

198, after _issues_--M., f. omit ,. A correct emendation.

205 _lsoule-esse_--misprint for _soul-less_--corrected by C., f.

211 _’em--them_ (G., S.

215 _friends--friend_ (M., f.

219 _is--it_ (C., f.

219 s. d., _Seruant--Beaumont_ (G., S.

228 _man--Men_ (C., M.

242 _ha’--have_ (C., f.

250 s. d.: _Drawes a Curtayne._--G. & S. add, _and discovers a table with money and jewels upon it_.

266 _not--no_ (G.

269 s. d.--G. & S. omit _loaden with mony_.

270 _Enfranchist--Enfranchise_ (C.

270, after _him_--G. & S. insert _to_.

277 and 278 Lines in Q.: _That ... for._ | _One ... pleaders._ | _Honord Rochfort._

279 _bushes, cal’d--blushes, scald_ (C., G., S.--_blushes scald_ (M.

281, end . --, (G., S.

282, before _assure_--C., M., & G. insert _I_.

284 s. d. placed by G. & S. _before_ instead of _after_ line.

285, after _see_--: (M., f.

285 _her education,--her education. Beaumelle_ (C.; & _for education Beaumelle_ (M., these editors taking _Beau._ in Q. s. d. to be in text!

286 First _l_ in _Followes_ almost invisible in Q.

289 _take her--take her, take_ (G.

296 _participate--precipitate_ (C., f.

301 _I--me_ (C., f.

303 _know_--its _n_ is broken in the Q.

308, end--G. & S. s. d.: _Aside._

309 _met--meet_ (G., S.

310. Beau. This might be either Beaumelle or Beaumont. The Q. generally spells the latter _Baumont_, but the present speech, none the less, probably belongs to him, and is so assigned by C., f.

315 _yet these eares--yet these tears_ (C.--_let these tears_ (M., f. The latter emendation is correct.

319 --M., f. punctuate: _Breath marry breath, and kisses mingle souls._

330 _Mistresse_--G. & S. insert s. d.: _As Beaumelle is going out._

336 1st. _Ile--I will_ (G., S.

346 _you haue--you’ve_ (C., M.

349 _’em--them_ (G., S.

350 G. & S. omit the third _ha_.

After 354 G. omits s. d., _Hoboyes_.

[Act III, Scene i]

3 _spoke--spoken_ (G., S.

3 and 4 _Good ... onely_.--printed as one line in Q.

9, end --; (C., f.

13, end . --omitted by M., f.

19, end --. (C., M.--, (G., S. The latter emendation seems preferable.

22, end --: (C., f.

24 _old_--M. omits.

37 and 38 _But ... Bellapert._--printed as one line in Q.

49, after _onely_----(C., f.

53 and 54 _Hows ... woman?_--printed as one line in Q.

56, after _qu_--C., f. insert s. d.: _Going._

61 _know--now_ (C., f. A correct emendation.

66, after _couch_ --G. suggests to insert _there_ in brackets,--accepted by S.

74 _reuerence to this likening--reference to his liking_ (M., f. The emendation appears necessary.

88, after _to_--G. inserts s. d.: _They court._

88 _Enter Romont and Florimell--Enter Romont and Florimell behind_ (G., S

88 _tis--it is_ (G., S.

91 _but due--but the due_ (G., S.

99, after _opportunity_ .--? (G., S.

99 and 100 The three speeches composing these two lines are printed in Q. severally in three lines.

101, after Rom.--G. & S. insert s. d.: _Comes forward._

111 _makes--make_ (G., S.

116 [_thee_]--so all later editors. The word in the Q. is illegible,--possibly _yee_.

117 _Thou wouldst--Thou’dst_ (C., f.

123 _on_--i. e., _one_; c. f. line 118. But C. keeps _on_.

124 and 125 _Vse ... other._--printed as one line in Q.

127 _for--as_ (M. in Corrigenda, vol. 4, p. 379, where are supplied ll. 126-130, which are omitted in his text.

139 _is_--G. & S. omit. See Notes.

150 and 151 _They ... otherwise._--printed as one line in Q.

159 _pointed--painted_ (C., f. See Notes.

172, after _And_--G. suggests to insert _then_ in brackets; accepted by S.

175 _League--Leaguer_ (M., f.

180 _Deceyued--Delivered_ (C., f.

184 _thy--this_ (C., f. See Notes.

185 _twill--it will_ (G., S.

186 _You are--You’re_ (C., M.

203 _that--this_ (G., S.

204 _You haue--You’ve_ (C., M.

221 _so indeed_--C. & M. omit _so; so--indeed_, (G., S.--The Q. reading is preferable.

222 and 223 _Women ... world._--printed as one line in Q.

223, after _world_.--G. & S. s. d.: _Aside._

231, after _inclin’d_--, (C., f.

235 s. d.--in G. & S.: _Enter_ Rochfort, _speaking to a servant within_.

241 and 242 _Your ... me?_--printed as one line in Q.

250 s. d.--in G. & S.: _Enter_ Beaumelle _and_ Bellapert, _behind_.

254 _turne--turn’d_ (M.

259, end .--_?_ (S., probably misprint for _!_

260 _This in my daughter?_--S. reads: _This is my daughter!_

260 and 261. Lines in Q.: _This ... her._ | _Now begin._ | _The ... distance._

262 Before Beaumelle’s speech G. & S. insert s. d.: _Comes forward._

267 Rom. _A weak excuse._--G. & S. assign to Beau. with the lines which follow. The change is without warrant and makes no improvement on Q reading.

272, after _sport_--C. & M. insert s. d.: _Aside._

272 _Reproue_--Reproved (M., f.

278 and 279 _Does ... this?_--printed as one line in Q.

300 _the--his_ (S.

316 _you are--you’re_ (C., M.

318 s. d.--G. & S. read: _Aside to them, and exit._

322 _Now the fashion--The fashion now_ (G., S.

324 _Rogues_ in Q. begins the succeeding line.

328 _shall--should_ (G., S.

334 _grown--grow_ (G., S.

334 and 335 _Take ... you._--printed as one line in Q.

335 _Gods--Gads_ (C., M., G.

339 and 340 _Will ... disgrace?_--printed as one line in Q.

342 _I am--I’m_ (C., f.

350 _reflects--reflect_ (G., S.

352 _’em--them_ (C., f.

352 _beate--bait_ (M.

354 ,--omitted by C., f.,--a probably correct emendation.

356 _detect--defect_ (C., f.,--a correct emendation.

356 _right--rightly_ (M., f.,--an unnecessary emendation for the sense, but probably correct, as it improves the metre.

357 and 358 --the ( )’s are omitted by M., f.

372 _a_--C. & M. omit.

373 _They are--They’re_ (C., M.

395, end--. (C., f.

396 _Ile--I will_ (G.

398 _Hump--Hum_ (C., f.

403 _you_--C., f. make obvious correction to _your_.

405 _whatsoeuer--whatsoe’er_ (M., f.

409, after _with_ . --_?_ (G., S.

410 _heare_--G. & S. read _heard_. The final _e_ is blurred in Q., but certainly _e_, not _d_.

412 and 413 _Why ... possibility_--printed as one line in Q.

416 _u_ in _your_ inverted in Q.

417 _my_--G. & S. omit.

419 _Tye--tied_ (G.

432 _’em--him_ (M., f. See Notes.

434 _yee--you_ (C., f.

434 _eene--even_ (G., S.

436 _ha--have_ (M., f.

460 _my--thy_ (C., f.--The emendation is probably correct.

461 _I administer--I did administer_ (M., f. The Ms. reading may have been: _administer’d_.

464 _Praecipuce--precipice_ (C., f.

467 _liue--lived_ (G., S. See Notes.

471 _Puffe--Phoh_ (C., M., G.

473 _Bleed--Blood_ (C., M.

482 _this: sir,--this, sir!_ (C., G., S.--_this, sir?_ (M.

483 _Thou art--Thou’rt_ (C., M.

484 _thou art--thou’rt_ (C., M.

[Act IV, Scene i]

_Enter Nouall_, etc.--G. & S. introduce the scene with the following variant s. d., also omitting s. d. of lines 5-8 of Q.: Noval _junior discovered seated before a looking-glass, with a Barber and_ Perfumer _dressing his hair, while a Tailor adjusts a new suit which he wears._ Liladam, Aymer, _and_ a Page _attending_.

13 _Cell_--See Notes.

14 _will--wit_ (C., f. The emendation is probably correct.

19, end--G. & S. insert s. d.: _Aside_, as also after the speeches of _Page_ ending lines, 25, 36, 40, 62, 66, and 70.

26 _haire breadth’s--hair’s breadth’s_ (C., M., G.--_hair’s breadth_ (S.

29 _’em--them_ (G., S.

30, after _Lordship_--_;_ (C., f.

34 _t’ee--t’ye_ (C., f.

36 _’em--them_ (G., S.

39 _I--Ay_ (G., S.

41 _misters--mistress’s_ (C., M.--_mistress’_ (G., S.

48 _a--O_ (C., M.--_o’_ (G., S.

59 after _then--a_ inserted by C., f.

66 _a--the_ (G.

67 _a--o_ (G., S.

71, after _Flatters,--!_ (G., S.

72 _should--shouldst_ (G., S.

74 _forme--form_ (C., f.

76 _shouldst--should_ (C., f. See Note on l. 72.

77 _oth’--o’ the_ (G., S.

80 _i’th--in the_ (G., S.

84 _pown’d--pounded_ (M.

86 _w’ee--with you_ (C., M.--_wi’ ye_ (G., S.

86 _not take it well--take it not well_ (C., M.

88 _d’ee--d’ye_ (C., f.

90 _ne’re--never_ (M., f.

91 and 92 _Art ... Surgeon?_--printed as one line in Q.

94 _Humph--Hum_ (G., S.

95 _’em--them_ (G., S.

96 _ouer throwne_--overflown (M., f. See Notes.

100 _Thou’ idst--Thou’ldst_ (C., f.

102, _end_ .--omitted by C., f.

103 G. makes _Trim_ last word of line 102, and lengthens _’twere_ to _It were_.

110 _towne talkes--Town-Talk_ (C., M.

110, after _beleeue_--G. & S. insert _it_.

111 _you are--you’re_ C., M.

116 _Sent_--i. e. _Scent_; so all later editors.

123 _ha’--have_ (G., S.

125 _I am--I’m_ (C., M.

131 and 132 _Farewell ... you._--printed as one line in Q.

133 _louing--living_ (G., S.

137 _d’ee--d’ye_ (C., f.

138 _D’ee--D’ye_ (C., M.--_Do you_ (G., S.

139 In Q., _For_ is last word of line 138.

139 _ya’re--you’re_ (G., S.

145 _of--o’_ (C., f.

147 _arme--aim_ (M., f.

150, end--G. & S. insert s. d.: _Going._

158 _’em--them_ (G., S.

161 _And doore’s--And your door’s_ (G., S.

162-164 --printed as two lines in Q.: _But ... do_ | _Beseach ... circumstance._

163 --this line is omitted in M.

168 _Tell you why sir--Tell you? why sir?_ (C., M.--_Tell you! why, sir._ G., S.

171. s. d. _dag.--dagger_ (C., M.

174 _I am--I’m_ (C., M.

178 _wrongs--wooing_ (M., f. Perhaps the Ms. reading was _wooings_.

180 and 181 _But ... assurance?_--printed as one line in Q.

188, after _see_ ,--omitted by G. & S.

189, end G. & S. insert s. d.: _Reading_.

194, after _So_--, (C., M.--_!_ (G., S.

198 _blabbers, ruine--blabber’s ruin_ (M., f. The emendation is plausible, but not absolutely required.

202, s. d. _Exit_--C., f. place at end of line 200, its obviously correct position, as would undoubtedly Q., but for insufficient margin in the page at this point.

203 G. & S. give s. d.: _Enter_ Bellapert, _hastily_.

204 _Coach--caroch_ (G., S.

205 _D’ee--D’ye_ (C., M.--_Do you_ (G., S.

211 _loue--Jove_ (C., f.

[Act IV, Scene ii]

6 _on_--omitted by C., M.

9 , following _something_ transferred to follow _else_ by C., f.

31 _of it--of’t_ (G., S.

32 and 33 _He ... him._--printed as one line in Q.

33, s. d.--G. & S. read: _Enter_ Aymer, _speaking to one within_.

45, after _ayre._--G. & S. insert s. d.: _To the_ Musicians _within_.

48 _consent--content_ (C., f--a correct emendation.

48 _Y’are--You are_ (G., S.

48, end--G. & S. insert s. d.: _To the_ Musicians.

Before 49 --S. inserts s. d.: _Aside._

After 50, s. d.: _Song_--i. e. the _Cittizens Song of the Courtier_, on page 146.--introduced here in text by Cunningham and S.

52, end--C. & M. punctuate with--; G. & S. with ..

54, after _thanks_--G. & S. insert s. d.: _Aside._

58, end--G. & S. insert s. d.: _Aside._

62 _Pray sing--Pray you sing_ (G.

s. d. after 62, _Song below--Song by Aymer_ (G., S.; it is the _Courtiers Song of the Citizen_, page 146.--introduced here in text by Cunningham and S.

63 and 64 _Doe ... doubtfull?_--printed as one line in Q.

66 _they are--they’re_ (C., f.

67, s. d.--_Enter Nouall Iu. Charaloys_,--_Enter_ Charalois, _with his sword drawn, pursuing_ Novall _junior_, etc. (G., S.

68 _Vndone foreuer--Undone, undone, forever!_ (G.--C. & M. give this speech to _Bellapert_.

74 _th’--the_ (G., S.

82 M., f. omit _,_’s after _honest_ and _valiant_.

86 _daring looke--daring._ _Look_ (C., f.

89 and 90 _No ... flesh_--printed as one line in Q.

93 _of_--its _f_ is almost invisible in Q.

95 _haue_--its _e_ is almost invisible in Q.

96 _:_ --_?_ (G.

96, after _shall_ G. & S. insert s. d.: _Exeunt_ Beaumont _and_ Bellapert, _with the body of Nouall_; _followed by Beaumelle_.

97 _Y’are--you are_ (G., S.

97, end G. & S. insert s. d.: _Re-enter Beaumont._

[Act IV, Scene iii]

3 _not--nor_ (C.

8 .--_?_ (C., f.

[Act IV, Scene iv]

4 and 5 _Nor ... but--_ --printed as one line in Q.

6, end--C., f. insert s. d.: _Exit_ Beaumont.

7, end--C., f. insert s. d.: Beaumelle _kneels_.

8 _worthy--worth_ (G., S.

30 _th’--the_ (G., S.

33 variously emended for defective metre: _That you have done but what’s warranted,_ (C., M.; _That you have done but what is warranted,_ (G.; _You have done merely but what’s warranted,_ (S.

36 _of me in--in me of_ (C., M., S. The emendation is unnecessary.

38 _now they--they now_ (G.

50 _thou wert--you were_ (G., S.

60, after _was_--; (C., f.

61 _Within--Which in_ (M., f.

77, _post_--The three s. d.’s are made by C., f. to follow respectively lines 76, 77, and 78.

89 _be for--before_ (C., M.

90 _destruction--induction_ (G., S., following the suggestion of M.

91, s. d.--G. & S. omit phrase _with Nouals body_. and affix to s. d. _with Servants bearing the Body of_ Novall _junior_.

92, after _seate_,--G. & S. insert s. d.: _Exeunt Servants._

93 _me_--the _e_ is obliterated in Q.

93 _?_--,(C., f.

96, end--C. & M. insert s. d.: _He hoodwinks_ Rochfort. G. & S. place a similar s. d. at the end of the following line.

101 and 102 _It ... iustice_--printed as one line in Q.

121, end--G. & S. insert s. d.: Charalois _unbinds his eyes_.

131 _With--Which_ (M., f.

131, after _thy_--G. says a monosyllable has been lost here. S. inserts _foul_. But an acceptable rhythm is secured by the natural stress of the voice, which emphasizes and dwells upon _thy_, and again stresses _kept_.

133 _owne--one_ (M., f.

140, after _her_ .--? (C., f.

141 _liue no--liue. No_ (C., M.--_liue_: _no_ (G., S.

143 _on--one_ (C., f.

147, end--G. & S. insert _out_, changing first word of l. 148 to _Of_. C. & M. make _Off_ of l. 148 conclude 147, and insert _From_ to begin l. 148. It is preferable to let the line stand as it is, letting the voice, in reading, dwell and pause upon _are_.

148 s. d., _He kils her_. transferred to end of line by C., f.

149 _I am. Sure--I am sure_ (M.--_I’m sure_ (G., S.

154, after _nourished_. --C., f. inserts s. d.: _Dies._

156 and 157 _True ... doome_--printed as one line in Q.

158 _and friend--and a friend_ (C., f.

175 _Flinty- -- Flint-_ (G., S.

175 and 176 _Nature ... vertue._--printed as one line in Q.

177, after _of_--C., f. insert _your_. But the change is not required by the sense; nor by the metre, if the voice be allowed to dwell on _heart_.

184 s. d.: _Enter Nouall_, etc.--G. & S. place after _doors_ in next line.

185, before _Force_ --G. & S. insert s. d.: _Within._

190 and 191 _Call ... blood._--printed as one line in Q.

[Act V, Scene i]

_Enter_, etc. _Officers--two_ Bailiffs. (G., S.

2 _T’arrest--To arrest_ (G., S.

4 _for me--for form_ (M., f.

16 _you haue--you’ve_ (C., M.

22 _them--him_ (C., f. The Q. reading is preferable in every way.

24 _so_--M. omits.

26 _You are--You’re_ (C., M.

32, after _and_--G. & S. insert _the_.

33 _are these--or thief_ (M.--_and thief_ (G., S., which seems slightly the more probable correction.

34 _Synonima--synonymous_ (C., M.

36, end s. d.--C., f. place s. d. after _selfe_.

39 _I will--I’ll_ (C., m.

47 _reueng’d--un-revenged_ (C., f.,--an obviously correct emendation.

57, end .--, (C., f.

61 _’Tas--It has_ (M., f.

68 _obiect--abject_ (C., f.

70 and 71 _Away ... deadly:_--printed as one line in Q.

71, after _know_--G. & S. insert _thee_, which secures a smoother metre, but is not warranted.

79 _I am--I’m_ (C., f.

84 _sits_--M. reads _fits_, the first letter in Q. not being certainly distinguishable as _s_ or _f_.

85 _cape--cap_ (C., f.

86 _sate.--sat,_ (C., f.

93 Offi.--1 Bail. (G., S.

97 _Hath--Have_ (M., G.

105 _ones--one_ (C., f.

106 _Additions--Addition_ (C., f.

[Act V, Scene ii]

2 _thou thinkst--you think_ (G., S.

7 _new--now_ (M.

15, after _Nouall_ .--_?_ (G., S.

18 _grieue--grieved_ (M., f., a correct emendation.

23, after _haue_--C., f. insert , .

23 _promis’d--promise_ (C., f.

26 _heires_--i. e., of course, _hairs_;--so modernized by C., f.

33 _worrhy_--Q. misprint for _worthy_;--corrected by C., f.

39, after _people_--C., f. insert ,.

42, after _knowing_--M., f. insert _too_.

55, after _cause_--.--(C., M.--?--(G., S., which is right.

67 _I am--I’m_ (C., M.

68, after _man_--M. inserts , , and G. & S. ;--.

76, end G. & S. omit , .

77, after _But_--G. & S. insert , .

80 and 81 _You ... cause._--printed as one line in Q.

88 _chalenge--challenged_ (G., S.--a correct emendation.

91 _Tygre--tigress_ (C., M.

104 _breed--bread_ (C., f. The Q. reading is perfectly satisfactory.

117 _You haue--You’ve_ (C., M.

[Act V, Scene iii]

_Scaena 3_--omitted by G. & S.,--and correctly so, for there is no change in place from the preceding, and the action is uninterrupted.

18, after _that_--M., f. insert _when_. See Notes.

30 _fain’d-- -famed_ (M., f.

32 --, after _neyghbour-hood_ in Q. is placed after _ill_ by C., f.

35 _by--my_ (C., f.

44, after _pray_--G. & S. insert _you_.

47 _dis-become--mis-become_ (C., M.

50 --_u_ in _accuser_ is inverted in Q.

51 _or--nor_ (C., f.

59 _motion--motion’s_ (C., f.

60 --_n_ in _confesse_ is inverted in Q.

68 _freed--feed_ (M., f.

68, end--_?_ (C., f.

73 _courtesie--courtesies_ (C., f. Q. reading is preferable. See Glossary.

77 _that--they_ (S.

88 _dowry--dower_ (G., S.

91 _could preserue--could not preserve_ (C., f. The emendation is clearly required.

137, after _truth_ ,--. (M., f.

138, after _begin_ .--, (G., S.--C. & M. inclose _For ... begin_ in ( )’s.

139 _n_ in _French_ is inverted in Q.

150 _appou’d_--i. e., _approu’d_; in Q. the _r_ is wanting as above. Later editors correct.

166 _more--mere_ (C., f. See Notes.

168 _fall--fail_ (M.

169 _like_--omitted by G. & S.

170 _signe--signs_ (S.

180 _against--’gainst_ (G., S.

184 _had_--omitted by G.

190 _bands--bawds_ (C., f.

190 s. d. _Enter Aymer_, etc.--_Enter Officers with_ Aymer, etc. (G., S.

190, _tooke--ta’en_ (G.

201 _iniurie:_--C., f. read _injuries_, the colon in the Q. being blurred to appear like a broken _s_.

205, end. --C., f. insert s. d.: _Stabs him._

206 _I am--I’m_ (C., M.

207, end--C., f. insert s. d.: _Stabs Pontalier._ See Notes.

215 after _mee_.--C., f. insert s. d.: _Dies._

215-217 --lines in Q. are: _I ... loue_ | _Not ... of._

217 _worthy, worthy of--worthy of_ (C., M.

217, after _of_.--C., f. insert s. d.: _Dies._

217 _We are--We’re_ (C., M.

220 _We are--We’re_ (C., M.

227 _As--A_ (M., misprint.

228 _Be set--Or be set_ (C., M., G.--_Be or set_ (S.

[Songs]

These songs are printed thus in an Appendix at the end of the play in Q., G., and the edition of Hartley Coleridge. The _First Song_ is inserted at its proper point in the text--II, i, after line 134--by C., M., Cunningham, and S.;--so, too, the _Second Song_, after line 131 of II, ii. The other two songs were omitted in C., and appear in an appendix of vol. 4 of M.,--there wrongly assigned (by D.) to the “passage over the stage” which closes Act II. Gifford correctly assigns them to follow respectively IV, ii, 50; and IV, ii, 62;--where they are printed in the text of Cunningham and S.

_First Song_--A DIRGE (G., S.

_Second Song_--A SONG BY AYMER (G., S.

_A_ ... Nouall, _and_ Beaumelle.--_A ... a Man and a Woman._ (C., f.

2-4 --lines in Q.: _From ... begat’st._ | _I dare ... line,_ | _Each word ... hooke,_.

7 _doest--dost_ (C., f.

8 _Come strangled--Come, strangle_ (M., f.

(_Citizens Song_) 3 and 4: _If ... state,_--printed as one line in Q.

7 _seruants_--its _u_ is inverted in Q.

(_Courtiers Song_) 16: _Tradesmen--tradesman_ (M.

* * * * *

Transcriber’s Notes

In the play itself all apparent printing errors have been retained; no attempt has been made to standardise formatting.

In the front and end matter, simple typographical errors have been corrected; variant spelling, punctuation, and inconsistent hyphenation have been preserved as printed.

On some reading devices, inline stage directions are set off from the text by parentheses added by the transcriber. Footnote headings and navigational [links] in brackets were also added.

The following shows the changed text below the original text:

Page 34: the repentent sinner the repentant sinner

Page 163: --life-like. II, i, 232. --life-like. II, ii, 232.

Page 164: _skills_, signifies, matters. I, i, 286. _skills_, signifies, matters. I, ii, 286.