Chapter 6

[Footnote 40: Then we'll take, &c.: In the old ed. this line forms a portion of the preceding speech.]

[Footnote 41: ecstasy: Equivalent here to--violent emotion. "The word was anciently used to signify some degree of alienation of mind." COLLIER (apud Dodsley's O. P.).]

[Footnote 42: Exeunt three Jews: On their departure, the scene is supposed to be changed to a street near the house of Barabas.]

[Footnote 43: reduce: If the right reading, is equivalent to--repair. But qy. "redress"?]

[Footnote 44: fond: "i.e. foolish." REED (apud Dodsley's O. P.).]

[Footnote 45: portagues: Portuguese gold coins, so called.]

[Footnote 46: sect: "i.e. sex. SECT and SEX were, in our ancient dramatic writers, used synonymously." REED (apud Dodsley's O. P.).]

[Footnote 47: Enter FRIAR JACOMO, &c.: Old ed. "Enter three Fryars and two Nuns:" but assuredly only TWO Friars figure in this play.]

[Footnote 48: Abb.: In the old ed. the prefix to this speech is "1 Nun," and to the next speech but one "Nun." That both speeches belong to the Abbess is quite evident.]

[Footnote 49: Sometimes: Equivalent here (as frequently in our early writers) to--Sometime.]

[Footnote 50: forgive me--: Old ed. "GIUE me--"]

[Footnote 51: thus: After this word the old ed. has "†",--to signify, perhaps, the motion which Barabas was to make here with his hand.]

[Footnote 52: forget not: Qy. "forget IT not"]

[Footnote 53: Enter BARABAS, with a light: The scene is now before the house of Barabas, which has been turned into a nunnery.]

[Footnote 54: Thus, like the sad-presaging raven, that tolls The sick man's passport in her hollow beak Mr. Collier (HIST. OF ENG. DRAM. POET. iii. 136) remarks that these lines are cited (with some variation, and from memory, as the present play was not printed till 1633) in an epigram on T. Deloney, in Guilpin's SKIALETHEIA OR THE SHADOWE OF TRUTH, 1598,--

"LIKE TO THE FATALL OMINOUS RAVEN, WHICH TOLLS THE SICK MAN'S DIRGE WITHIN HIS HOLLOW BEAKE, So every paper-clothed post in Poules To thee, Deloney, mourningly doth speake," &c.]

[Footnote 55: of: i.e. on.]

[Footnote 56: wake: Old ed. "walke."]

[Footnote 57: Bueno para todos mi ganado no era: Old ed. "Birn para todos, my ganada no er."]

[Footnote 58: But stay: what star shines yonder in the east, &c. Shakespeare, it would seem, recollected this passage, when he wrote,--

"But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun!" ROMEO AND JULIET, act ii. sc. 2.]

[Footnote 59: Hermoso placer de los dineros: Old ed. "Hormoso Piarer, de les Denirch."]

[Footnote 60: Enter Ferneze, &c.: The scene is the interior of the Council-house.]

[Footnote 61: entreat: i.e. treat.]

[Footnote 62: vail'd not: "i.e. did not strike or lower our flags." STEEVENS (apud Dodsley's O. P.).]

[Footnote 63: Turkish: Old ed. "Spanish."]

[Footnote 64: luff'd and tack'd: Old ed. "LEFT, and TOOKE."]

[Footnote 65: stated: i.e. estated, established, stationed.]

[Footnote 66: Enter OFFICERS, &c.: The scene being the market-place.]

[Footnote 67: Poor villains, such as were: Old ed. "SUCH AS poore villaines were", &c.]

[Footnote 68: into: i.e. unto: see note †, p. 15.

[note |, p. 15, The First Part of Tamburlaine the Great: "| into: Used here (as the word was formerly often used) for UNTO."]

[Footnote 69: city: The preceding editors have not questioned this word, which I believe to be a misprint.]

[Footnote 70: foil'd]=filed, i.e. defiled.]

[Footnote 71: I'll have a saying to that nunnery: Compare Barnaby Barnes's DIVILS CHARTER, 1607;

"Before I do this seruice, lie there, peece; For I must HAUE A SAYING to those bottels. HE DRINKETH. True stingo; stingo, by mine honour.* * * * * * * * * * * * * * * I must HAUE A SAYING to you, sir, I must, though you be prouided for his Holines owne mouth; I will be bould to be the Popes taster by his leaue." Sig. K 3.]

[Footnote 72: plates: "i.e. pieces of silver money." STEEVENS (apud Dodsley's O. P.).--Old ed. "plats."]

[Footnote 73: Slave: To the speeches of this Slave the old ed. prefixes "Itha." and "Ith.", confounding him with Ithamore.]

[Footnote 74: Lady Vanity: So Jonson in his FOX, act ii. sc. 3.,

"Get you a cittern, LADY VANITY, And be a dealer with the virtuous man," &c.;

and in his DEVIL IS AN ASS, act i. sc. 1.,--

"SATAN. What Vice? PUG. Why, any: Fraud, Or Covetousness, or LADY VANITY, Or old Iniquity."]

[Footnote 75: Katharine: Old ed. "MATER."--The name of Mathias's mother was, as we afterwards learn, Katharine.]

[Footnote 76: stay: i.e. forbear, break off our conversation.]

[Footnote 77: was: Qy. "was BUT"?]

[Footnote 78: O, brave, master: The modern editors strike out the comma after "BRAVE", understanding that word as an epithet to "MASTER": but compare what Ithamore says to Barabas in act iv.: "That's BRAVE, MASTER," p. 165, first col.]

[Footnote 79: your nose: An allusion to the large artificial nose, with which Barabas was represented on the stage. See the passage cited from W. Rowley's SEARCH FOR MONEY, 1609, in the ACCOUNT OF MARLOWE AND HIS WRITINGS.]

[Footnote 80: Ure: i.e. use, practice.]

[Footnote 81: a-good: "i.e. in good earnest. Tout de bon." REED (apud Dodsley's O. P.).]

[Footnote 82: Enter LODOWICK: A change of scene supposed here,--to the outside of Barabas's house.]

[Footnote 83: vow love to him: Old ed. "vow TO LOUE him": but compare, in Barabas's next speech but one, "And she VOWS LOVE TO HIM," &c.]

[Footnote 84: made sure: i.e. affianced.]

[Footnote 85: Ludovico: Old ed. "Lodowicke."--In act iii. we have,

"I fear she knows--'tis so--of my device In Don Mathias' and LODOVICO'S deaths." p. 162, sec. col.]

[Footnote 86: happily: i.e. haply.]

[Footnote 87: unsoil'd: "Perhaps we ought to read 'unfoil'd', consistently with what Barabas said of her before under the figure of a jewel--

'The diamond that I talk of NE'ER WAS FOIL'D'." COLLIER (apud Dodsley's O. P.). But see that passage, p. 155, sec. col., and note ||. [i.e. note 70.]]

[Footnote 88: cross: i.e. piece of money (many coins being marked with a cross on one side).]

[Footnote 89: thou: Old ed. "thee."]

[Footnote 90: resolv'd: "i.e. satisfied." GILCHRIST (apud Dodsley's O. P.).]

[Footnote 91: Enter BELLAMIRA: She appears, we may suppose, in a veranda or open portico of her house (that the scene is not the interior of the house, is proved by what follows).]

[Footnote 92: Enter MATHIAS. MATHIAS. This is the place, &c.: The scene is some pert of the town, as Barabas appears "ABOVE,"--in the balcony of a house. (He stood, of course, on what was termed the upper-stage.)

Old ed. thus;

"Enter MATHIAS.

Math. This is the place, now Abigail shall see Whether Mathias holds her deare or no.

Enter Lodow. reading.

Math. What, dares the villain write in such base terms?

Lod. I did it, and reuenge it if thou dar'st."]

[Footnote 93: Lodovico: Old ed. "Lodowicke."--See note *, p. 158. (i.e. note 85.)]

[Footnote 94: tall: i.e. bold, brave.]

[Footnote 95: What sight is this!: i.e. What A sight is this! Our early writers often omit the article in such exclamations: compare Shakespeare's JULIUS CAESAR, act i. sc. 3, where Casca says,

"Cassius, WHAT NIGHT IS THIS!"

(after which words the modern editors improperly retain the interrogation-point of the first folio).]

[Footnote 96: Lodovico: Old ed. "Lodowicke."]

[Footnote 97: These arms of mine shall be thy sepulchre: So in Shakespeare's THIRD PART OF KING HENRY VI., act ii. sc. 5, the Father says to the dead Son whom he has killed in battle,

"THESE ARMS OF MINE shall be thy winding-sheet; My heart, sweet boy, SHALL BE THY SEPULCHRE,"--

lines, let me add, not to be found in THE TRUE TRAGEDIE OF RICHARD DUKE OF YORKE, on which Shakespeare formed that play.]

[Footnote 98: Katharine: Old ed. "Katherina."]

[Footnote 99: Enter ITHAMORE: The scene a room in the house of Barabas.]

[Footnote 100: held in hand: i.e. kept in expectation, having their hopes flattered.]

[Footnote 101: bottle-nosed: See note †, p. 157. [i.e. note 79.]]

[Footnote 102: Jaques: Old ed. "Iaynes."]

[Footnote 103: sire: Old ed. "sinne" (which, modernised to "sin", the editors retain, among many other equally obvious errors of the old copy).]

[Footnote 104: As: Old ed. "And."]

[Footnote 105: Enter BARABAS: The scene is still within the house of Barabas; but some time is supposed to have elapsed since the preceding conference between Abigail and Friar Jacomo.]

[Footnote 106: pretendeth: Equivalent to PORTENDETH; as in our author's FIRST BOOK OF LUCAN, "And which (ay me) ever PRETENDETH ill," &c.]

[Footnote 107: self: Old ed. "life" (the compositor's eye having caught "life" in the preceding line).]

[Footnote 108: 'less: Old ed. "least."]

[Footnote 109: Well said: See note *, p. 69.]

(note *, p. 69, The Second Part of Tamburlaine the Great:

"* Well said: Equivalent to--Well done! as appears from innumerable passages of our early writers: see, for instances, my ed. of Beaumont and Fletcher's WORKS, vol. i. 328, vol. ii. 445, vol. viii. 254.")]

[Footnote 110: the proverb says, &c.: A proverb as old as Chaucer's time: see the SQUIERES TALE, v. 10916, ed. Tyrwhitt.]

[Footnote 111: batten: i.e. fatten.]

[Footnote 112: pot: Old ed. "plot."]

[Footnote 113: thou shalt have broth by the eye: "Perhaps he means--thou shalt SEE how the broth that is designed for thee is made, that no mischievous ingredients enter its composition. The passage is, however, obscure." STEEVENS (apud Dodsley's O. P.).--"BY THE EYE" seems to be equivalent to--in abundance. Compare THE CREED of Piers Ploughman:

"Grey grete-heded quenes With gold BY THE EIGHEN."

v. 167, ed. Wright (who has no note on the expression): and Beaumont and Fletcher's KNIGHT OF THE BURNING PESTLE, act ii. sc. 2; "here's money and gold BY TH' EYE, my boy." In Fletcher's BEGGARS' BUSH, act iii. sc. 1, we find, "Come, English beer, hostess, English beer BY THE BELLY!"]

[Footnote 114: In few: i.e. in a few words, in short.]

[Footnote 115: hebon: i.e. ebony, which was formerly supposed to be a deadly poison.]

[Footnote 116: Enter FERNEZE, &c.: The scene is the interior of the Council-house.]

[Footnote 117: basso: Old ed. "Bashaws" (the printer having added an S by mistake), and in the preceding stage-direction, and in the fifth speech of this scene, "Bashaw": but in an earlier scene (see p. 148, first col.) we have "bassoes" (and see our author's TAMBURLAINE, PASSIM).

(From p. 148, this play:

"Enter FERNEZE governor of Malta, KNIGHTS, and OFFICERS; met by CALYMATH, and BASSOES of the TURK.")]

[Footnote 118: the resistless banks: i.e. the banks not able to resist.]

[Footnote 119: basilisks: See note ||, p. 25.

(note ||, p. 25, The First Part of Tamburlaine the Great:)

"basilisks: Pieces of ordnance so called. They were of immense size; see Douce's ILLUST. OF SHAKESPEARE, i. 425."]

[Footnote 120: Enter FRIAR JACOMO, &c.: Scene, the interior of the Nunnery.]

[Footnote 121: convers'd with me: She alludes to her conversation with Jacomo, p. 162, sec. col.

(p. 162, second column, this play:

"ABIGAIL. Welcome, grave friar.--Ithamore, be gone.

Exit ITHAMORE.

Know, holy sir, I am bold to solicit thee. FRIAR JACOMO. Wherein?")]

[Footnote 122: envied: i.e. hated.]

[Footnote 123: practice: i.e. artful contrivance, stratagem.]

[Footnote 124: crucified a child: A crime with which the Jews were often charged. "Tovey, in his ANGLIA JUDAICA, has given the several instances which are upon record of these charges against the Jews; which he observes they were never accused of, but at such times as the king was manifestly in great want of money." REED (apud Dodsley's O. P.).]

[Footnote 125: Enter BARABAS, &c.: Scene a street.]

[Footnote 126: to: Which the Editor of 1826 deliberately altered to "like," means--compared to, in comparison of.]

[Footnote 127: Cazzo: Old ed. "catho."--See Florio's WORLDE OF WORDES (Ital. and Engl. Dict.) ed. 1598, in v.--"A petty oath, a cant exclamation, generally expressive, among the Italian populace, who have it constantly in their mouth, of defiance or contempt." Gifford's note on Jonson's WORKS, ii. 48.]

[Footnote 128: nose: See note †, p. 157. [i.e. note 79.]]

[Footnote 129: inmate: Old ed. "inmates."]

[Footnote 130: the burden of my sins Lie heavy, &c.: One of the modern editors altered "LIE" to "Lies": but examples of similar phraseology,--of a nominative singular followed by a plural verb when a plural genitive intervenes,--are common in our early writers; see notes on Beaumont and Fletcher's WORKS, vol. v. 7, 94, vol. ix. 185, ed. Dyce.]

[Footnote 131: sollars: "i.e. lofts, garrets." STEEVENS (apud Dodsley's O. P.).]

[Footnote 132: untold: i.e. uncounted.--Old ed. "vnsold."]

[Footnote 133: BARABAS. This is mere frailty: brethren, be content.-- Friar Barnardine, go you with Ithamore: You know my mind; let me alone with him.]

FRIAR JACOMO. Why does he go to thy house? let him be gone

Old ed. thus;

"BAR. This is meere frailty, brethren, be content. Fryar Barnardine goe you with Ithimore. ITH. You know my mind, let me alone with him; Why does he goe to thy house, let him begone."]

[Footnote 134: the Turk: "Meaning Ithamore." COLLIER (apud Dodsley's O. P.). Compare the last line but one of Barabas's next speech.]

[Footnote 135: covent: i.e. convent.]

[Footnote 136: Therefore 'tis not requisite he should live: Lest the reader should suspect that the author wrote,

"Therefore 'tis requisite he should not live," I may observe that we have had before (p. 152, first col.) a similar form of expression,-- "It is not necessary I be seen."]

[Footnote 137: fair: See note |||, p. 15. ('15' sic.)

(note |||, p. 13, The First Part of Tamburlaine the Great:)

"In fair, &c.: Here "FAIR" is to be considered as a dissyllable: compare, in the Fourth act of our author's JEW OF MALTA, "I'll feast you, lodge you, give you FAIR words, And, after that," &c."]

[Footnote 138: shall be done: Here a change of scene is supposed, to the interior of Barabas's house.]

[Footnote 139: Friar, awake: Here, most probably, Barabas drew a curtain, and discovered the sleeping Friar.]

[Footnote 140: have: Old ed. "saue."]

[Footnote 141: What time o' night is't now, sweet Ithamore?

ITHAMORE. Towards one: Might be adduced, among other passages, to shew that the modern editors are right when they print in Shakespeare's KING JOHN. act iii. sc. 3,

"If the midnight bell Did, with his iron tongue and brazen mouth, Sound ONE into the drowsy ear of NIGHT," &c.]

[Footnote 142: Enter FRIAR JACOMO: The scene is now before Barabas's house,--the audience having had to SUPPOSE that the body of Barnardine, which Ithamore had set upright, was standing outside the door.]

[Footnote 143: proceed: Seems to be used here as equivalent to--succeed.]

[Footnote 144: on's: i.e. of his.]

[Footnote 145: Enter BELLAMIRA, &c.: The scene, as in p. 160, a veranda or open portico of Bellamira's house.

(p. 160, this play:)

" Enter BELLAMIRA. (91) BELLAMIRA. Since this town was besieg'd," etc.]

[Footnote 146: tall: Which our early dramatists generally use in the sense of--bold, brave (see note ‡, p. 161), [i.e. note 94: is here perhaps equivalent to--handsome. ("Tall or SEMELY." PROMPT. PARV. ed. 1499.)]

[Footnote 147: neck-verse: i.e. the verse (generally the beginning of the 51st Psalm, MISERERE MEI, &c.) read by a criminal to entitle him to benefit of clergy.]

[Footnote 148: of: i.e. on.]

[Footnote 149: exercise: i.e. sermon, preaching.]

[Footnote 150: with a muschatoes: i.e. with a pair of mustachios. The modern editors print "with MUSTACHIOS," and "with a MUSTACHIOS": but compare,--

"My Tuskes more stiffe than are a Cats MUSCHATOES." S. Rowley's NOBLE SPANISH SOLDIER, 1634, Sig. C.

"His crow-black MUCHATOES." THE BLACK BOOK,--Middleton's WORKS, v. 516, ed. Dyce.]

[Footnote 151: Turk of tenpence: An expression not unfrequently used by our early writers. So Taylor in some verses on Coriat;

"That if he had A TURKE OF TENPENCE bin," &c. WORKES, p. 82, ed. 1630.

And see note on Middleton's WORKS, iii. 489, ed. Dyce.]

[Footnote 152: you know: Qy. "you know, SIR,"?]

[Footnote 153: I'll make him, &c.: Old ed. thus:

"I'le make him send me half he has, & glad he scapes so too. PEN AND INKE: I'll write vnto him, we'le haue mony strait."

There can be no doubt that the words "Pen and inke" were a direction to the property-man to have those articles on the stage.]

[Footnote 154: cunning: i.e. skilfully prepared.--Old ed. "running." (The MAIDS are supposed to hear their mistress' orders WITHIN.)]

[Footnote 155: Shalt live with me, and be my love: A line, slightly varied, of Marlowe's well-known song. In the preceding line, the absurdity of "by Dis ABOVE" is, of course, intentional.]

[Footnote 156: beard: Old ed. "sterd."]

[Footnote 157: give me a ream of paper: we'll have a kingdom of gold for't: A quibble. REALM was frequently written ream; and frequently (as the following passages shew), even when the former spelling was given, the L was not sounded;

"Vpon the siluer bosome of the STREAME First gan faire Themis shake her amber locks, Whom all the Nimphs that waight on Neptunes REALME Attended from the hollowe of the rocks." Lodge's SCILLAES METAMORPHOSIS, &c. 1589, Sig. A 2.

"How he may surest stablish his new conquerd REALME, How of his glorie fardest to deriue the STREAME." A HERINGS TAYLE, &c. 1598, Sig. D 3.

"Learchus slew his brother for the crowne; So did Cambyses fearing much the DREAME; Antiochus, of infamous renowne, His brother slew, to rule alone the REALME." MIROUR FOR MAGISTRATES, p. 78, ed. 1610.]

[Footnote 158: runs division: "A musical term [of very common occurrence]." STEEVENS (apud Dodsley's O. P.).]

[Footnote 159: Enter BARABAS: The scene certainly seems to be now the interior of Barabas's house, notwithstanding what he presently says to Pilia-Borza (p. 171, sec. col.), "Pray, when, sir, shall I see you at my house?"]

[Footnote 160: tatter'd: Old ed. "totter'd": but in a passage of our author's EDWARD THE SECOND the two earliest 4tos have "TATTER'D robes":--and yet Reed in a note on that passage (apud Dodsley's OLD PLAYS, where the reading of the third 4to, "tottered robes", is followed) boldly declares that "in every writer of this period the word was spelt TOTTERED"! The truth is, it was spelt sometimes one way, sometimes the other.]

[Footnote 161: catzery: i.e. cheating, roguery. It is formed from CATSO (CAZZO, see note *, p. 166 i.e. note 127), which our early writers used, not only as an exclamation, but as an opprobrious term.]

[Footnote 162: cross-biting: i.e. swindling (a cant term).--Something has dropt out here.]

[Footnote 163: tale: i.e. reckoning.]

[Footnote 164: what he writes for you: i.e. the hundred crowns to be given to the bearer: see p. 170, sec. col.

p. 170, second column, this play:

"ITHAMORE. [writing: SIRRAH JEW, AS YOU LOVE YOUR LIFE, SEND ME FIVE HUNDRED CROWNS, AND GIVE THE BEARER A HUNDRED. --Tell him I must have't."]

[Footnote 165: I should part: Qy. "I E'ER should part"?]

[Footnote 166: rid: i.e. despatch, destroy.]

[Footnote 167: Enter BELLAMIRA, &c.: They are supposed to be sitting in a veranda or open portico of Bellamira's house: see note *, p. 168. [i.e. note 145.]

[Footnote 168: Of: i.e. on.]

[Footnote 169: BELLAMIRA.: Old ed. "Pil."]

[Footnote 170: Rivo Castiliano: The origin of this Bacchanalian exclamation has not been discovered. RIVO generally is used alone; but, among passages parallel to that of our text, is the following one (which has been often cited),--

"And RYUO will he cry and CASTILE too." LOOKE ABOUT YOU, 1600, Sig. L. 4.

A writer in THE WESTMINSTER REVIEW, vol. xliii. 53, thinks that it "is a misprint for RICO-CASTELLANO, meaning a Spaniard belonging to the class of RICOS HOMBRES, and the phrase therefore is--

'Hey, NOBLE CASTILIAN, a man's a man!' 'I can pledge like a man and drink like a man, MY WORTHY TROJAN;' as some of our farce-writers would say." But the frequent occurrence of RIVO in various authors proves that it is NOT a misprint.]

[Footnote 171: he: Old ed. "you".]

[Footnote 172: and he and I, snicle hand too fast, strangled a friar] There is surely some corruption here. Steevens (apud Dodsley's O. P.) proposes to read "hand TO FIST". Gilchrist (ibid.) observes, "a snicle is a north-country word for a noose, and when a person is hanged, they say he is snicled." See too, in V. SNICKLE, Forby's VOC. OF EAST ANGLIA, and the CRAVEN DIALECT.--The Rev. J. Mitford proposes the following (very violent) alteration of this passage;

"Itha. I carried the broth that poisoned the nuns; and he and I-- Pilia. Two hands snickle-fast-- Itha. Strangled a friar."]

[Footnote 173: incony: i.e. fine, pretty, delicate.--Old ed. "incoomy."]

[Footnote 174: they stink like a hollyhock: "This flower, however, has no offensive smell. STEEVENS (apud Dodsley's O. P.). Its odour resembles that of the poppy.]

[Footnote 175: mushrooms: For this word (as, indeed, for most words) our early writers had no fixed spelling. Here the old ed. has "Mushrumbs": and in our author's EDWARD THE SECOND, the 4tos have "mushrump."]

[Footnote 176: under the elder when he hanged himself: That Judas hanged himself on an elder-tree, was a popular legend. Nay, the very tree was exhibited to the curious in Sir John Mandeville's days: "And faste by, is zit the Tree of Eldre, that Judas henge him self upon, for despeyt that he hadde, whan he solde and betrayed oure Lorde." VOIAGE AND TRAVAILE, &c. p. 112. ed. 1725. But, according to Pulci, Judas had recourse to a carob-tree:

"Era di sopra a la fonte UN CARRUBBIO, L'ARBOR, SI DICE, OVE S'IMPICCO GIUDA," &c. MORGANTE MAG. C. xxv. st. 77.]

[Footnote 177: nasty: Old ed. "masty."]

[Footnote 178: me: Old ed. "we".]

[Footnote 179: Enter Ferneze, &c.: Scene, the interior of the Council- house.]

[Footnote 180: him: Qy. "'em"?]

[Footnote 181: Exeunt all, leaving Barabas on the floor: Here the audience were to suppose that Barabas had been thrown over the walls, and that the stage now represented the outside of the city.]

[Footnote 182: Bassoes: Here old ed. "Bashawes." See note §, p. 164. [Footnote i.e. note 117.]]

[Footnote 183: trench: A doubtful reading.--Old ed. "Truce."--"Query 'sluice'? 'TRUCE' seems unintelligible." COLLIER (apud Dodsley's O. P.).--The Rev. J. Mitford proposes "turret" or "tower."]

[Footnote 184: channels: i.e. kennels.]

[Footnote 185: Enter CALYMATH, &c.: Scene, an open place in the city.]

[Footnote 186: vail: i.e. lower, stoop.]

[Footnote 187: To kept: i.e. To have kept.]

[Footnote 188: Entreat: i.e. Treat.]

[Footnote 189: Bassoes: Here old ed. "Bashawes." See note §, p. 164. [Footnote i.e. note 117.]]

[Footnote 190: Thus hast thou gotten, &c.: A change of scene is supposed here--to the Citadel, the residence of Barabas as governor.]

[Footnote 191: Whenas: i.e. When.

[Footnote 192: Within here: The usual exclamation is "Within THERE!" but compare THE HOGGE HATH LOST HIS PEARLE (by R. Tailor), 1614; "What, ho! within HERE!" Sig. E 2.]

[Footnote 193: sith: i.e. since.]

[Footnote 194: cast: i.e. plot, contrive.]

[Footnote 195: Bassoes: Here and afterwards old ed. "Bashawes." See note §, p. 164. [i.e. note 117.]--Scene, outside the walls of the city.]

[Footnote 196: basilisk[s: See note ‡, p. 25.

[note ||, p. 25, The First Part of Tamburlaine the Great: "|| basilisks: Pieces of ordnance so called. They were of immense size; see Douce's ILLUST. OF SHAKESPEARE, i. 425."]

[Footnote 197: And, toward Calabria, &c.: So the Editor of 1826.--Old ed. thus:

"And toward Calabria back'd by Sicily, Two lofty Turrets that command the Towne. WHEN Siracusian Dionisius reign'd; I wonder how it could be conquer'd thus?"]

[Footnote 198: Enter FERNEZE, &c.: Scene, a street.]

[Footnote 199: linstock: "i.e. the long match with which cannon are fired." STEEVENS (apud Dodsley's O. P.).]

[Footnote 200: Enter, above, &c.: Scene, a hall in the Citadel, with a gallery.]

[Footnote 201: FIRST CARPENTER.: Old ed. here "Serv."; but it gives "CARP." as the prefix to the second speech after this.]

[Footnote 202: off: An interpolation perhaps.]

[Footnote 203: sun: Old ed. "summe."]

[Footnote 204: ascend: Old ed. "attend."]

[Footnote 205: A charge sounded within: FERNEZE cuts the cord; the floor of the gallery gives way, and BARABAS falls into a caldron placed in a pit.

Enter KNIGHTS and MARTIN DEL BOSCO

Old ed. has merely "A charge, the cable cut, A Caldron discouered."]

[Footnote 206: Christian: Old ed. "Christians."]

[Footnote 207: train: i.e. stratagem.]

[Footnote 208: pretended: i.e. intended.]

[Footnote 209: mediate: Old ed. "meditate."]

[Footnote 210: all: Old ed. "call."]

SQUARE BRACKETS: The square brackets, i.e. [ ] are copied from the printed book, without change, except that the stage directions usually do not have closing brackets. These have been added.

FOOTNOTES: For this E-Text version of the book, the footnotes have been consolidated at the end of the play.

Numbering of the footnotes has been changed, and each footnote is given a unique identity in the form [XXX].

CHANGES TO THE TEXT: Character names were expanded. For Example, BARABAS was BARA., FERNEZE was FERN., etc.