Act V, Scene I

Act V, Scene I

A great hall in the Duke’s Palace.

Enter GUARDIANO and the Ward.

GUAR. Speak, hast thou any sense of thy abuse? Dost thou know what wrong’s done thee? WARD. I were an ass else; I cannot wash my face but I am feeling on’t. GUAR. Here, take this caltrop[1110] then [_giving caltrop_], convey it secretly Into the place I shew’d you: look you, sir, This is the trap-door to’t. WARD. I know’t of old, uncle, since the last triumph;[1111] here rose up a devil with one eye, I remember, with a company of fireworks at’s tail. GUAR. Prithee, leave squibbing now: mark me, and fail not; But when thou hear’st me give a stamp, down with’t, The villain’s caught then. WARD. If I miss you, hang me: I love to catch a villain, and your stamp[1112] shall go current, I warrant you. But how shall I rise up and let him down too all at one hole? that will be a horrible puzzle. You know I have a part in’t, I play Slander. GUAR. True, but never make you ready for’t. WARD. No? my clothes are bought and all, and a foul fiend’s head, with a long, contumelious tongue i' the chaps on’t, a very fit shape for Slander i' th' out-parishes. GUAR. It shall not come so far; thou understand’st it not. WARD. O, O! GUAR. He shall lie deep enough ere that time, And stick first upon those. WARD. Now I conceive you, guardianer. GUAR. Away! List to the privy stamp, that’s all thy part. WARD. Stamp my horns in a mortar, if I miss you, and give the powder in white wine to sick cuckolds, a very present remedy for the headach. [Exit. GUAR. If this should any way miscarry now— As, if the fool be nimble enough, ’tis certain— The pages, that present the swift-wing’d Cupids, Are taught to hit him with their shafts of love, Fitting his part, which I have cunningly poison’d: He cannot ’scape my fury; and those ills Will be laid all on fortune, not our wills; That’s all the sport on’t: for who will imagine That, at the celebration of this night, Any mischance that haps can flow from spite? [Exit.

Flourish. Enter above[1113] Duke, BIANCA, Lord Cardinal, FABRICIO, other Cardinals, and Lords and Ladies in state.

DUKE. Now, our fair duchess, your delight shall witness How you’re belov’d and honour’d; all the glories Bestow’d upon the gladness of this night Are done for your bright sake. BIAN. I am the more In debt, my lord, to loves and courtesies That offer up themselves so bounteously To do me honour’d grace, without my merit. DUKE. A goodness set in greatness; how it sparkles Afar off, like pure diamonds set in gold! How perfect my desires were, might I witness But a fair noble peace ’twixt your two spirits! The reconcilement would be more sweet to me Than longer life to him that fears to die.— Good sir— CAR. I profess peace, and am content. DUKE. I'll see the seal upon’t, and then ’tis firm. CAR. You shall have all you wish. [Kisses BIANCA. DUKE. I've all indeed now. BIAN. But I've made surer work; this shall not blind me; He that begins so early to reprove, Quickly rid him, or look for little love: Beware a brother’s envy; he’s next heir too. Cardinal, you die this night; the plot’s laid surely; In time of sports death may steal in securely, Then ’tis least thought on; For he that’s most religious, holy friend, Does not at all hours think upon his end; He has his times of frailty, and his thoughts Their transportations too through flesh and blood, For all his zeal, his learning, and his light, As well as we, poor soul, that sin by night. [Aside. DUKE [looking at a paper]. What’s this, Fabricio? FAB. Marry, my lord, the model Of what’s presented. DUKE. O, we thank their loves.— Sweet duchess, take your seat; list to the argument. [Reads. _There is a Nymph, that haunts the woods and springs, In love with two at once, and they with her;_ _Equal it runs; but, to decide these things, The cause to mighty Juno they refer, She being the marriage-goddess: the two lovers They offer sighs, the Nymph a sacrifice, All to please Juno, who by signs discovers How the event shall be; so that strife dies: Then springs a second; for the man refus’d Grows discontent, and, out of love abus’d, He raises Slander up, like a black fiend, To disgrace th' other, which pays him i' th' end._ BIAN. In troth, my lord, a pretty, pleasing argument, And fits th' occasion well: envy and slander Are things soon rais’d against two faithful lovers; But comfort is, they’re not long unrewarded. [Music. DUKE. This music shews they’re upon entrance now. BIAN. Then enter all my wishes. [Aside.

Enter HYMEN in a yellow robe, GANYMEDE in a blue robe powdered with stars, and HEBE in a white robe with golden stars, each bearing a covered cup: they dance a short dance, and then make obeisance to the Duke, &c.

HYM. _To thee, fair bride, Hymen offers up Of nuptial joys this the celestial cup; Taste it, and thou shalt ever find Love in thy bed, peace in thy mind._ BIAN. We’ll taste you, sure; ’twere pity to disgrace So pretty a beginning. [Takes cup from HYMEN, and drinks. DUKE. ’Twas spoke nobly. GAN. _Two cups of nectar have we begg’d from Jove; Hebe, give that to innocence, I this to love: Take heed of stumbling more, look to your way; Remember still the_ Via Lactea. [GANYMEDE and HEBE _respectively offer their cups to the Duke and Cardinal, who drink_. HEBE. _Well, Ganymede, you’ve more faults, though not so known; I spill’d one cup, but you’ve filch’d many a one._ HYM. _No more; forbear for Hymen’s sake: In love we met, and so let’s part._[1114] [Exeunt. HYMEN, GANYMEDE, and HEBE. DUKE. But, soft; here’s no such persons in the argument As these three, Hymen, Hebe, Ganymede; The actors that this model here discovers Are only four,—Juno, a Nymph, two lovers. BIAN. This is some antimasque[1115] belike, my lord, To entertain time.—Now my peace is perfect, Let sports come on apace. [Aside.]—Now is their time, my lord: [Music. Hark you! you hear from ’em. DUKE. The Nymph indeed!

Enter two Nymphs, bearing tapers lighted; then ISABELLA _as a Nymph, dressed with flowers and garlands, carrying a censer with fire in it: they set the censer and tapers on Juno’s altar with much reverence, singing this ditty in parts_:

_Juno, nuptial goddess, Thou that rul’st o’er coupled bodies, Tiest man to woman, never to forsake her, Thou only powerful marriage-maker, Pity this amaz’d affection! I love both, and both love me; Nor know I where to give rejection, My heart likes so equally, Till thou sett’st right my peace of life, And with thy power conclude this strife._ ISA. _Now, with my thanks, depart you to the springs, I to these wells of love._ [Exeunt the two Nymphs.]— _Thou sacred goddess And queen of nuptials, daughter to great Saturn, Sister and wife to Jove, imperial Juno, Pity this passionate conflict in my breast, This tedious war ’twixt two affections; Crown me with victory, and my heart’s at peace!_

Enter HIPPOLITO and GUARDIANO as shepherds.

HIP. Make me that happy man, thou mighty goddess! GUAR. But I live most in hope, if truest love Merit the greatest comfort. ISA. _I love both With such an even and fair affection, I know not which to speak for, which to wish for, Till thou, great arbitress ’twixt lovers' hearts, By thy auspicious grace design the man; Which pity I implore!_ HIP. } We all implore it! GUAR. } ISA. _And after sighs—contrition’s truest odours— I offer to thy powerful deity This precious incense_ [waving the censer]; _may it ascend peacefully!_— And if it keep true touch, my good aunt Juno, 'Twill try your immortality ere’t be long: I fear you’ll ne’er get so nigh heaven again, When you’re once down. [Aside. [LIVIA descends, as JUNO, _attended by pages as Cupids_. LIV. _Though you and your affections Seem all as dark to our illustrious brightness As night’s inheritance, hell, we pity you, And your requests are granted. You ask signs, They shall be given you; we’ll be gracious to you: He of those twain which we determine for you, Love’s arrows shall wound twice; the later wound Betokens love in age; for so are all Whose love continues firmly all their lifetime Twice wounded at their marriage, else affection Dies when youth ends._—This savour overcomes me! [Aside. _Now, for a sign of wealth and golden days, Bright-ey’d prosperity—which all couples love, Ay, and makes love—take that;[1116] our brother Jove Never denies us of his burning treasure To express bounty._ [ISABELLA falls down and dies. DUKE. She falls down upon’t; What’s the conceit of that? FAB. As o’erjoy’d belike: Too much prosperity o’erjoys us all, And she has her lapful, it seems, my lord. DUKE. This swerves a little from the argument though: Look you, my lords. [Shewing paper. GUAR. All’s fast: now comes my part to tole him hither; Then, with a stamp given, he’s despatch’d as cunningly. [Aside. HIP. [raising the body of ISA.] Stark dead! O treachery! cruelly made away! [GUARDIANO _stamps, and falls through a trap-door_. How’s that? FAB. Look, there’s one of the lovers dropt away too! DUKE. Why, sure, this plot’s drawn false; here’s no such thing. LIV. O, I am sick to the death! let me down quickly, This fume is deadly; O, ’t has poison’d me! My subtlety is sped, her art has quitted me; My own ambition pulls me down to ruin. [Falls down and dies. HIP. Nay, then, I kiss thy cold lips, and applaud This thy revenge in death. [Kisses the body of ISABELLA. FAB. Look, Juno’s down too! [Cupids shoot at HIPPOLITO. What makes she there? her pride should keep aloft: She was wont to scorn the earth in other shows; Methinks her peacocks' feathers are much pull’d. HIP. O, death runs through my blood, in a wild flame too! Plague of those Cupids! some lay hold on ’em, Let ’em not scape; they’ve spoil’d me, the shaft’s deadly. DUKE. I've lost myself in this quite. HIP. My great lords, We’re all confounded. DUKE. How? HIP. Dead; and I worse. FAB. Dead! my girl dead? I hope My sister Juno has not serv’d me so. HIP. Lust and forgetfulness have[1117] been amongst us, And we are brought to nothing; some blest charity Lend me the speeding pity of his sword, To quench this fire in blood! Leantio’s death Has brought all this upon us—now I taste it— And made us lay plots to confound each other; Th' event so proves it; and man’s understanding Is riper at his fall than all his lifetime. She, in a madness for her lover’s death, Reveal’d a fearful lust in our near bloods, For which I'm punish’d dreadfully and unlook’d for; Prov’d her own ruin too; vengeance met vengeance, Like a set match, as if the plague[s] of sin Had been agreed to meet here altogether: But how her fawning partner fell I reach not, Unless caught by some springe of his own setting,— For, on my pain, he never dream’d of dying; The plot was all his own, and he had cunning Enough to save himself: but' tis the property Of guilty deeds to draw your wise men downward; Therefore the wonder ceases. O, this torment! DUKE. Our guard below there!

Enter a Lord with a Guard.

LORD. My lord? HIP. Run and meet death then, And cut off time and pain! [Runs on a sword,[1118] and dies. LORD. Behold, my lord, Has run his breast upon a weapon’s point! DUKE. Upon the first night of our nuptial honours Destruction play her triumph, and great mischiefs Mask in expected pleasures! ’tis prodigious! They’re things most fearfully ominous; I like ’em not.— Remove these ruin’d bodies from our eyes.

[The Guard remove the bodies of ISABELLA, LIVIA, and HIPPOLITO.

BIAN. Not yet, no change? when falls he to the earth? [Aside. LORD. Please but your excellence to peruse that paper, [Giving paper to the Duke. Which is a brief confession from the heart Of him that fell first, ere his soul departed; And there the darkness of these deeds speaks plainly, ’Tis the full scope, the manner, and intent: His ward, that ignorantly let him down, Fear put to present flight at the voice of him. BIAN. Nor yet? [Aside. DUKE. Read, read, for I am lost in sight and strength! [Falls. CAR. My noble brother! BIAN. O, the curse of wretchedness! My deadly hand is faln upon my lord: Destruction, take me to thee! give me way; The pains and plagues of a lost soul upon him That hinders me a moment! DUKE. My heart swells bigger yet; help here, break’t ope! My breast flies open next. [Dies. BIAN. O, with the poison That was prepar’d for thee! thee, Cardinal, ’Twas meant for thee. CAR. Poor prince! BIAN. Accursèd error! Give me thy last breath, thou infected bosom, And wrap two spirits in one poison’d vapour! Thus, thus, reward thy murderer, and turn death [Kisses the dead body of the Duke. Into a parting kiss! my soul stands ready at my lips, Even vex’d to stay one minute after thee. CAR. The greatest sorrow and astonishment That ever struck the general peace of Florence Dwells in this hour. BIAN. So, my desires are satisfied, I feel death’s power within me: Thou hast prevail’d in something, cursed poison! Though thy chief force was spent in my lord’s bosom; But my deformity in spirit’s more foul, A blemish’d face best fits a leprous soul. What make I here? these are all strangers to me, Not known but by their malice now thou’rt gone, Nor do I seek their pities. [Drinks from the poisoned cup.[1119] CAR. O restrain Her ignorant, wilful hand! BIAN. Now do; ’tis done. Leantio, now I feel the breach of marriage At my heart-breaking. O, the deadly snares That women set for women, without pity Either to soul or honour! learn by me To know your foes: in this belief I die,— Like our own sex we have no enemy.[1120] LORD. See, my lord, What shift sh’as made to be her own destruction! BIAN. Pride, greatness, honours, beauty, youth, ambition, You must all down together, there’s no help for’t: Yet this my gladness is, that I remove Tasting the same death in a cup of love. [Dies. CAR. Sin, what thou art, these ruins shew too piteously: Two kings on one throne cannot sit together, But one must needs down, for his title’s wrong; So where lust reigns, that prince cannot reign long. Exeunt omnes.

END OF VOL. IV.

LONDON: PRINTED BY LEVEY, ROBSON, AND FRANKLYN, 46 St. Martin’s Lane.

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Footnotes

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# 1:

Kix] Or kex is a dry stalk, properly of hemlock. Why this name (which Middleton has used in another play, see vol. ii. p. 4) is given to Sir Oliver, the reader will presently discover.

# 2:

Dahanna] Old ed. in Dram. Pers., and more than once in the text, “Dahumma.”

# 3:

virginals] See note, vol. iii. p. 112.

# 4:

Yes? you are, &c.] Was not this speech originally verse, though the present state of the text will not admit of its being arranged as such?

# 5:

board] Old ed. “bord”—perhaps a misprint.

# 6:

I ha', &c.] Qy. “Ay, ha’,” &c.? but compare p. 27, l. 13.

# 7:

bracks] i. e. breaks.

# 8:

Hobson’s porters] Hobson was the celebrated Cambridge-carrier, on whose death, in Jan. 1630-1, Milton, while a student at that university, composed a copy of verses. There are three epitaphs on Hobson in Wit’s Recreations, p. 249, reprint 1817; and his will, dated Dec. 1630, is printed in the Coll. of Pieces appended to Peck’s Memoirs of Cromwell, p. 44. A tract, published in 1617, 4to, is called, from him, Hobson’s Horse-load of Letters, or a President for Epistles; and he is said (see The Spectator, No. 509,) to have given rise to the expression Hobson’s choice.

# 9:

the Bell] Qy. “the Bull?”

“He is not dead, but left his mansion here, Has left the Bull, and flitted to the Beare.” First Epitaph on Hobson—Wit’s Recr. p. 249.

“This memorable man [Hobson] stands drawn in fresco, at an inn, which he used in Bishopsgate-Street, with an hundred pound bag under his arm, with this inscription upon the said bag:

The fruitful mother of a hundred more.” The Spectator, No. 509.

# 10:

tester] i. e. sixpence: see note, vol. i. p. 258.

# 11:

gear] i. e. matter.

# 12:

What is’t you lack] See note, vol. i. p. 447.

# 13:

marks] A mark was 13_s._ 4_d._

# 14:

wound] Qy. “sound?”

# 15:

serve] Old ed. “serues.”

# 16:

pick] i. e. peak—grow meagre.

# 17:

Turn not, &c.] Corrupted text, I believe; the whole speech having been originally verse.

# 18:

O turn, sir, turn There appears to be some grievous corruption here. Perhaps for “turn” we ought to read “Tim,”—of whom Yellowhammer proceeds to speak: the hopeful youth is certainly not present; he does not arrive from Cambridge till act iii. sc. 2.

# 19:

What is’t you lack] See note, vol. i. p. 447.

# 20:

rules] i. e. sports, games: compare in vol. ii. p. 124, “how go the squares?” and see Steevens’s note on the word “night-rule,” Shakespeare’s Mid.'s Night’s Dream, act iii. sc. 2, and Douce’s Illust. of Shak., vol. i. p. 192.

# 21:

wittol] i. e. tame cuckold.

# 22:

gaudy-shops] i. e. shops where they sell gauds, finery.

# 23:

Gresham’s Burse] i. e. the Royal Exchange, built by Sir Thomas Gresham.

# 24:

think’s] i.e. think these things is mine—an expression which, on account of the metre, cannot be altered.

# 25:

where] i. e. whereas.

# 26:

string] Old ed. “strings.”

# 27:

meet] Old ed. “meets.”

# 28:

and] i. e. if.

# 29:

Put on] i. e. put on your hat.

# 30:

God-den] A corruption of Good even.

# 31:

Thus do I rid myself of fear, &c.] An imperfect couplet: compare vol. i. p. 424, vol. ii. p. 7, vol. iii. p. 52, &c.

# 32:

will] Old ed. “willes”—but a rhyme is intended here.

# 33:

gear] i. e. stuff.

# 34:

progress] i. e. the travelling of the sovereign and court to different parts of the kingdom.

# 35:

snaphance] “A spring-lock to a gun or pistol; a fire-lock, which term, as snaphance sometimes was, is since given to the gun itself.” Nares, Gloss. in v., where see more concerning the word. The metaphorical sense in which the lady uses it is sufficiently obvious.

# 36:

mutton] See note, vol. iii. p. 102.

# 37:

have] Old ed. “has.”

# 38:

promoters] See note, p. 31.

# 39:

passion] i. e. sorrow.

# 40:

Touch. jun.] Old ed. “Lady.”

# 41:

mark ... for thirteen shillings fourpence] A play on words: see note, p. 10.

# 42:

I cannot do withal] i. e. I cannot help it: see Gifford’s note on Ben Jonson’s Works, vol. iii. p. 470, and my note on Webster’s Works, vol. iii. p. 215.

# 43:

kersten] A corruption of Christian.

# 44:

And that’s worth, &c.] Thus in old ed.;

“I'le about it. And that’s worth all sweet Husband.”

# 45:

Before Allwit’s house] If the reader, during the earlier part of this scene, should wonder why I have not placed it within the house, he will presently see the reason. Perhaps, indeed, as there was no painted moveable scenery when the play was written, the author might have meant the audience to suppose that the stage represented a chamber, until the entrance of the Promoters, when it was suddenly to be taken for a street. See notes, vol. ii. pp. 142, 147.

# 46:

o’erthrows] Qy. “o’ergrows?”

# 47:

Dahanna] Old ed. here “Dahumma:” see note, p. 4.

# 48:

Promoters] “Be those which in popular and penall actions do deferre the names, or complaine of offenders, having part of the profit for their reward.” Cowell’s Interpreter, ed. 1637, in v.—But the Promoters in our play do more than inform,—they execute the law.

# 49:

corps] A plural: compare vol. ii. p. 135, l. 6, and p. 162, (note 310).

# 50:

golls] A cant term for hands,—fists, paws.

# 51:

colon] i. e. hunger—properly, the largest of the intestines.

# 52:

a foutra for] Equivalent to—a fig for: the expression is used by Pistol in Shakespeare’s Henry IV. P. Sec. act v. sc. 3.

# 53:

Turnbull Street] A corruption of Turnmill Street, near Clerkenwell: repeatedly mentioned in our early dramas as the residence of dissolute persons of both sexes.

# 54:

band] Not a misprint for hand.—Old ed. “Band.”

# 55:

Queenhive] A corruption of Queenhithe.

# 56:

Branford] Or Brainford—an old and corrupt form of Brentford.

# 57:

trussing him] i. e. tying his points: see note, vol. iii. p. 319.

# 58:

kursning-day] i. e. christening-day.

# 59:

and] i. e. if.

# 60:

come] Old ed. “comes.”

# 61:

beholding] i. e. beholden—a form common in old writers.

# 62:

Enter from the house, &c.] The direction in old ed. is, “Enter Midwife with the Child, and the Gossips to the Kursning.” That the christening did not take place at home appears from the opening of the second scene of the next act.

# 63:

it] i. e. the precedence.

# 64:

And] i.e. if.

# 65:

Here’s no, &c.] See note, vol. i. p. 169.

# 66:

receiv’d baffling] i. e. put up with insult: see note, vol. ii. p. 449.

# 67:

A bed-chamber, &c.] Old ed. “A Bed thrust out vpon the Stage, Allwit’s wife in it, Enter all the Gossips.”

# 68:

kursen] i.e. christened.

# 69:

Amsterdam] See note, vol. i. p. 205.

# 70:

Ey’d] Old ed. “Ey’s.”

# 71:

spiny] i.e. slender.

# 72:

'postle-spoons] i. e. apostle-spoons,—the usual gift of sponsors at christenings—spoons of silver, sometimes gilt, the handle of each ending in the figure of an apostle.

# 73:

Judas with the red beard] Judas Iscariot, according to the common notion, had red hair and beard, and was so represented in tapestries and pictures: see note, vol. i. p. 259.

# 74:

come] Old ed. “comes.”

# 75:

go] Old ed. “goes.”

# 76:

and] i. e. if.

# 77:

mar’l] i. e. marvel.

# 78:

fitters] i. e. pieces,—small fragments.

# 79:

Bucklersbury] When this play was written, was chiefly occupied by druggists; at whose shops, it appears, sweetmeats were to be purchased. “Go into Bucklersbury and fetch me two ounces of preserved melons.” Westward Ho,—Webster’s Works, vol. iii. p. 19.

# 80:

and] i. e. if.

# 81:

Lady Kix] Old ed. has merely “Lady:” but such is the prefix to all the speeches of Lady Kix throughout the play; and see p. 27, l. 13.

# 82:

towards] i. e. in preparation.

# 83:

cattle] i. e. the Welsh runts, of which we hear more afterwards.

# 84:

fresh-woman] A term invented by Tim,—corresponding to freshman, one lately come to the university, and unacquainted with its customs.

# 85:

lin] i. e. cease.

# 86:

Dunces] i.e. the schoolmen,—properly the disciples of Duns Scotus: see Todd’s Johnson’s Dict. in v. Dunce.

# 87:

beholding] See note, p. 40.

# 88:

Pissing-conduit] A little conduit, which ran a small stream, near the Royal Exchange.

# 89:

rushes] With which, previous to the introduction of carpets, the floors were strewed.

# 90:

shittle-cork] The proper form of the word—now corrupted to shittle-cock.

# 91:

bankrout] i. e. bankrupt.

# 92:

And lay him level, &c.

Get but his wife, &c.] I may just notice, that by “him” is meant Sir Walter Whorehound—by “his wife,” Sir Oliver Kix’s wife.

# 93:

and] i. e. if.

# 94:

common-place] i. e. common-pleas: compare vol. ii. p. 336, and note.

# 95:

go] Old ed. “goes.”

# 96:

out-cry] i. e. an auction (announced by the common crier).

# 97:

pranking up] i. e. decking out.

# 98:

her] Old ed. “their.”

# 99:

And] i. e. if.

# 100:

———] So old ed.

# 101:

figient] i.e. fidging, fidgetty.

# 102:

this] A table or chair, perhaps.

# 103:

wife] Old ed. “wifes.”

# 104:

rationalis] Old ed. “rationalibus.”

# 105:

dici] Old ed. “dicere”—Middleton, I fear, having written “diceri.”

# 106:

haberdines] Perhaps Tim alludes to some childish sport: a kind of cod, generally salted, was called haberdine.

# 107:

sir-reverence] See note, vol. i. p. 171.

# 108:

mar’l] i. e. marvel.—I have deviated but slightly from the old ed. in arranging the lines of this speech. The probability is, that the genuine text has not come down to us.

# 109:

kiff nor kin] A not uncommon corruption of kith nor kin.

# 110:

runts] i. e. cattle of a small size.

# 111:

Rider’s Dictionary] A Dict. Engl. and Lat., and Lat. and Engl., by John Rider, first printed 1589, was a work once in great repute at Oxford.

# 112:

tu virgo, &c.] Old ed. “abundis:” as, in the next speech of Tim, the old ed. has “abundat,” I should have supposed, but for the lady’s reply “abundand_is_,” and what has been previously said of her wealth, that Middleton wrote here, “tua, virgo, Wallia ut opibus abundat maximis.”

# 113:

simul et ... parato] Old ed. “simule ... parata.” I am by no means satisfied with my alterations; indeed, I do not quite understand the drift of Tim’s oration.

# 114:

cog] i.e. lie, deceive, wheedle.

# 115:

proceeded] i. e. taken a degree.

# 116:

and] i. e. if.

# 117:

Welsh. [sings] Old ed. “Musicke and Welch Song,”— the words probably being adapted to some Welsh air.

# 118:

Cupid is Venus', &c. . . . . . . . . To keep a lady’s lips in play] This portion of the song, with two additional lines, occurs in our author’s More Dissemblers besides Women, vol. iii. p. 574.

# 119:

thought] Old ed. “taught:” but see vol. iii. p. 575.

# 120:

lose it] Qy. “lost is?”

# 121:

I can do somewhat] Here, it would seem, from what Yellowhammer says on entering, that Tim either kisses the Welshwoman, or proceeds to sing.

# 122:

a' life] i. e. as my life, extremely.

# 123:

Resolve] i. e. satisfy, inform.

# 124:

——] So old ed.

# 125:

——] So old ed.

# 126:

Poulters ... conies] i.e. Poulterers ... rabbits.

# 127:

wittol’s] i.e. tame cuckold’s.

# 128:

Cato] i.e. the Disticha de Moribus, to which the name of Cato is prefixed.

# 129:

Corderius] Old ed. “Cordelius.”

# 130:

kursen’d] i. e. christen’d.

# 131:

mark] See note, p. 10.

# 132:

anno——] The player, perhaps, was to fill up the date.

# 133:

lay] See note, vol. ii. p. 11.

# 134:

Blackfriars] i. e. Blackfriars' Theatre.

# 135:

gill] i. e. wanton.

# 136:

up on] Old ed. “vp vpon.”

# 137:

tongue] i. e. perhaps, suit—if it be not a misprint.

# 138:

first] Old ed. “at first.”

# 139:

she smiles] Qy. “she smiles [on you],” for the measure?

# 140:

darken] Old ed. “darkens.”

# 141:

stand] Old ed. “stands.”

# 142:

O too] I can make nothing else of the “ho to” of old ed.

# 143:

have] Old ed. “hath.”

# 144:

seven] i. e. the seven children: see p. 73, l. 6 from bottom.

# 145:

wittol] i. e. tame cuckold.

# 146:

with part] Qy. “any part”—for the measure?

# 147:

wittols] i. e. tame cuckolds.

# 148:

push] See note, vol. i. p. 29.

# 149:

you taught me, &c.] Does he allude to the foolish game called A thing done, &c.? See B. Jonson’s Cynthia’s Revels—Works, vol. ii. p. 306, ed. Giff.

# 150:

Ovid] Qy. “Ovidius”—for the measure?

# 151:

joy] Old ed. “ioyes.”

# 152:

cast] i. e. contrived.

# 153:

Recorders] i. e. flageolets.

# 154:

epitaphs pinned on it] According to the custom of the time.

# 155:

music-room] On the present stage-direction Mr. J. P. Collier (Hist. of Engl. Dram. Poetry, vol. iii. p. 447) founds a conjecture, which, to me at least, is not quite satisfactory—viz. that as in our early theatres the boxes were called rooms, one of them was probably appropriated to the musicians.

# 156:

What nature could there shine] i. e., perhaps, what good qualities, &c.—A friend conjectures “shrine.”

# 157:

First Mour.] Old ed. prefixes “All” to the speeches which I have assigned to different mourners.

# 158:

Touch. jun.] Old. ed. “T. S.”

# 159:

First Mour.] Old ed. “All” (see note in preceding page): but as Mistress Allwit spoke last, the speech perhaps belongs to her husband, though in this scene old ed. gives the abbreviation of his name “Allw.”

# 160:

prevent] i. e. anticipate.

# 161:

Knights' ward] See note, vol. i. p. 392.

# 162:

and] i. e. if.

# 163:

saw] Old ed. “say.”

# 164:

Brainford] See note, p. 37.

# 165:

runts] See note, p. 66.

# 166:

Flectere, &c.] Virg. Æn. vii. 312.

# 167:

falleris] Old ed. “falacis.” Compare p. 62, where Tim says “falleris sane.”

# 168:

——] So old ed.

# 169:

Scene, Madrid, &c.] Old eds. “The Scene, Allegant” [i. e. Alicant].

# 170:

borachio] i. e. drunkard. “A borachio is a vessel made of skins, in which wine is kept in Spain.” Editor of 1816.

# 171:

for gentlemen] First ed. “for a gentlemen.” Ed. 1661, “for a’ gentleman.”

# 172:

be] So ed. 1661. Not in first ed.

# 173:

Madrill] i. e. Madrid—a form of the word repeatedly found in our early writers.

# 174:

alablaster] See note, vol. i. p. 281.

# 175:

is] Old eds. “are.”

# 176:

penance] i. e. penitence.

# 177:

Live Is one of several important corrections made with a pen in a copy of the first 4to, by some early possessor, who, as he has also inserted some additions to the text, had, in all probability, seen a manuscript of the piece.—Both eds. “Lay,” which, before the copy just mentioned came into my hands, I had altered to “Play.”

# 178:

lodgings] Must mean his apartments in Fernando’s house: see p. 106, l. 1.

# 179:

Exit Louis, &c.] At p. 115, Diego tells Louis,

“as we parted, I perceiv’d A walking thing before me,” &c.;

but I cannot help suspecting (as there was no painted moveable scenery when this drama was written: see notes, vol. ii. pp. 142, 147, and p. 29 of the present vol.), that as soon as Diego had said, “I this way,” the audience was to imagine a change in the place of action; and, perhaps, after these words, he made his exit “at one door,” and “entered presently at the other:” see note on the commencement of the 2d sc. of act v.

# 180:

reading] By this direction we are to understand, perhaps, that John is looking on a paper which he afterwards gives to Constanza (“this paper tells you more,” p. 128); for, surely, the rhyming lines now spoken by him are a soliloquy.

# 181:

ennoble] Old eds. “enable.”

# 182:

keep] Old eds. “keeps.”

# 183:

float] i. e. flow, flood.

# 184:

conjure] Old eds. “conjures.”

# 185:

temption] Altered by the editor of 1816 to “temptation;” and, I believe, with similar inconsiderateness, by myself, in a prose passage of one of the preceding plays, though I cannot recollect where.

# 186:

and] Qy. “of?”

# 187:

fegary] i. e. vagary.

# 188:

Of the sweet voyage, &c.] Here the editor of 1816, “to complete the measure,” prints,

“Of the sweet voyage [that] he stole to-night;”

and a little after,

“You’re i' the right, [it was] not you indeed;”

but I apprehend that the speeches of Roderigo, “You’re pleasant,” and “Not I,” make up the lines.

# 189:

lin’d] Qy. “lim’d?”

# 190:

I have, &c.] The editor of 1816, boldly deviating from the old eds., gives,

“I have observ’d him often to frequent The sports the gipsies newly come present;”

which, as he thinks, “improves the measure without affecting the sense.”

# 191:

pullen] i. e. poultry.

# 192:

the arts of Cocoquismo and Germania, &c.] Alvarez proceeds to explain his meaning; but I may just observe that Cocoquismo should perhaps be Cacoquismo, formed from the Spanish caco, a pickpocket (unless indeed it has some affinity with the phrase hacer cocos, to wheedle), and that Germania signifies, in that language, the jargon of the gipsies: see Neuman’s Span. and Engl. Dict. in vv.

# 193:

pickaroes] i. e. rogues.—“Picaro, knavish, roguish,” &c. Neuman’s Span. and Engl. Dict. in v.

# 194:

foisting] See note, vol. ii. p. 544.

# 195:

defy] i. e. reject, renounce.

# 196:

teniente] “Teniente de una compania, lieutenant of a company.” Neuman’s Span. and Engl. Dict. in v.

# 197:

Madrill] See note, p. 104.

# 198:

grandees] Old eds. “grandos,” which, perhaps, the author wrote.

# 199:

We shall ... short] One speech in old eds., with the prefix “Both.”

# 200:

tweezes] i. e. tweezers.

# 201:

marvedi] Or maravedi—“an extremely small [copper] Spanish coin.” Editor of 1816.

# 202:

blank “Blanquilla, doit, a very small coin.” Neuman’s Span. and Engl. Dict. in v.—Blanks “are said to be coins struck by Henry V. in France, of baser alloy than sterling [silver], and running for eightpence. They were called Blanks or Whites from their colour.” Ruding’s Ann. of the Coinage, vol. ii. p. 8, ed. 4to.

# 203:

pullen] i. e. poultry.

# 204:

Valladolid ... Cordova] Old eds. “Vallidoly ... Cordica.”

# 205:

Rochelle] “In the time of our poets, seems to have been a general asylum for those persecuted Protestants who knew not where to go; and Alvarez intimates that the whole world was equally open to people of their description, who had no settled home.” Editor of 1816,—whether rightly or not, I cannot determine.

# 206:

sack-buts] See the same play on the meanings of the word—musical instruments and buts of sack—in vol. i. p. 177.

# 207:

the] Editor of 1816, “thee.”

# 208:

bubbers] Which Nares (Gloss. in v.) would alter to “lubbers”—is (see Grose’s Class. Dict. of Vulg. Tongue, in v.) a vulgarised form of bibbers, Constanza having used the word butt in the double sense of mark and liquor-vessel.

# 209:

gave aim] See note, vol. ii. p. 335. The editor of 1816 wrongly follows the reading of ed. 1661, “give.”

# 210:

a parrot ... almond] See note, vol. iii. p. 112.

# 211:

woman’s] Old eds. “womens.”

# 212:

try that conclusion] i. e. make that experiment.

# 213:

alcumy] Or alchemy—a sort of base mixed metal (supposed originally to have been formed by the alchemist). Compare vol. ii. p. 249, “here be the tavern beakers, and here peep out the fine alchemy knaves.”

# 214:

in musses] “i. e. to make a scramble of.” Editor of 1816.

# 215:

sakers] “A species of hawk.” Editor of 1816.

# 216:

Thyself] A MS. addition in copy of the first 4to: see note, p. 109.

# 217:

None but myself, &c.] Here the editor of 1816 thinks that “perhaps the performer who personated Pretiosa [Constanza] had before met with applause in Antonio, the character in The Changeling that gives name to the piece.”

# 218:

come aloft] See note, vol. iii. p. 112.

# 219:

cogs] i. e. teeth of the wheels.

# 220:

cummin-seeds] Were used for luring pigeons to a dove-cote.

# 221:

mother Bumby] Or Bomby—was a wise or cunning woman of great celebrity, who told fortunes, cast waters, &c. Lilly wrote a comedy called Mother Bombie (first ed. 1594), in which she figures.

# 222:

yon] Old eds. “you.”

# 223:

San. Hum, hum] A MS. addition in copy of the first 4to: see note, p. 109.

# 224:

nuncle] i. e. uncle—contracted from mine uncle.

# 225:

Alv. And of as long a style] A MS. addition in copy of the first 4to: see note, p. 109.

# 226:

be] Old eds. “been.”

# 227:

do you wish me blind] “The whitish spots in the eye, arising from the small pox or other causes, and occasioning blindness, are still frequently called pearls.” Editor of 1816.

# 228:

rhymes] A MS. correction in copy of the first 4to: see note, p. 109. Old eds. “crime.”

# 229:

then] A MS. addition, ibid.

# 230:

Soto. Do, master, and I'll run division behind your back

# 231:

maunders] “i. e. speaks obscurely [rather,—whines], as beggars do. [See note, vol. ii. p. 536.]” Editor of 1816.

# 232:

Const., Car., &c.] Old eds. “Omnes.”

# 233:

thy] Old eds. “thee.”

# 234:

a pistolet] A play on the word—which meant both a small coin and a small pistol.

# 235:

Alv., Car., &c.] Old eds. “Omnes.”

# 236:

told] Qy. “trowed?”

# 237:

task] Old eds. “taste” and “tast.”

# 238:

turn gipsy] “Vincent and Hilliard are required by Rachel and Meriel, in the Jovial Crew of Brome, to give a similar proof of their affection.” Editor of 1816. If there be any imitation in the case, it is on the part of Brome.

# 239:

[heaven with] So the editor of 1816. There is certainly some imperfection in the line.

# 240:

Mar.] Old eds. “Ped.”

# 241:

Here comes, &c.] To this line old eds. prefix DIE., which in copy of the first 4to (see note, p. 109) is rightly drawn through with a pen.

# 242:

when] The editor of 1816 follows the reading of ed. 1661, “then.”

# 243:

cast] i. e. couple: see Gifford’s note on B. Jonson’s Works, vol. iii. p. 447, and my note on Webster’s Works, vol. iv. p. 295.

# 244:

without his cloak, &c.] See p. 125.

# 245:

How, &c.] Given to “Soto” in old eds.

# 246:

beg me for a fool] See note, vol. iii. p. 16.

# 247:

cony-catched] i. e. cheated, deceived: see vol. i. p. 290.

# 248:

haut] i. e. high, lofty: “to brave his enemy in the rich and lofty Castilian [tongue].” Dekker’s English Villanies, &c. sig. M 4, ed. 1632.

# 249:

brave] A play on the word—fine.

# 250:

cloth] Improperly altered by the editor of 1816 to “clothes.”

# 251:

maps] i. e. mops.

# 252:

in Rome, I'll go to him with a mortar “The clown in Fletcher’s Fair Maid of the Inn, act v. sc. 2, makes use of a similar expression: ‘He did measure the stars with a false yard, and may now travel to Rome with a mortar on’s head, to see if he can recover his money.’ On this Mason observes, ‘One class of presidents in the parliament of Paris were styled présidents à mortier, for a cap they wore resembling in shape a mortar.’” Editor of 1816. See also Cotgrave’s Fr. Engl. Dict. in v. mortier; but in this expression, which seems to have been proverbial, does mortar mean a cap? “So that methinkes I could flye to Rome (at least hop to Rome, as the olde Prouerb is) with a morter on my head.” Dedicatory Epistle to Kemps nine daies wonder, 1600.

# 253:

woods] Old eds. “wookes.”

# 254:

marvedi] See note, p. 119.

# 255:

larks] So editor of 1816. Old eds. “markes.”

# 256:

cog] See note, p. 67.

# 257:

the elephant and camels] The writer thought only of London, where such shows were much followed: see Gifford’s notes on B. Jonson’s Works, vol. ii. pp. 149, 152; and Chalmers’s Suppl. Apol., p. 208.

# 258:

vild] i. e. vile—a form common in our old authors.

# 259:

about] Qy. “above?”

# 260:

Madrill] See note, p. 104.

# 261:

Who are] A MS. addition in copy of the first 4to: see note, p. 109. The editor of 1816 supplied “But who are.”

# 262:

gaberdines] i. e. coarse loose frocks.

# 263:

tiring-house] i. e. the dressing-room—in theatrical language.

# 264:

do our tops, &c.] Qy. ought Alvarez and his companions to enter before these words?

# 265:

Alv. Gui., &c.] Old eds. “Omnes.”

# 266:

grandees] Old eds. “grandoes:” see note, p. 119.

# 267:

San. [sings] I suspect that only a portion of this song should be assigned to Sancho.

# 268:

threading-needles] “Thread my needle is yet a common sport; and to this, probably, the song alludes.” Editor of 1816.

# 269:

ging] i. e. gang: see note, vol. ii. p. 532.

# 270:

Mull-sack] A familiar contraction: so “mull-wines,” vol. i. p. 391.

# 271:

Peter-see-me] A corruption of Pedro-Ximenes: see note, vol. iii. p. 213.

# 272:

noul] i. e. noddle, head.

# 273:

fox] “i. e. intoxicate.” Editor of 1816.

# 274:

A garden, &c.] See note, p. 154.

# 275:

quarrels] Old eds. “families.”—“I have no doubt the printer caught the word from the preceding lines.” Editor of 1816.

# 276:

his] Old eds. “he.”

# 277:

Mar.] Old ed. “Al.”

# 278:

in your t’other hose]—hose, i. e. breeches—a sort of proverbial expression: compare vol. i. p. 262, and B. Jonson’s Tale of a Tub;

“We robb’d in St. John’s wood! In my t’other hose!” Works (by Gifford), vol. vi. p. 164.

# 279:

report] Ed. 1661, “a report.”

# 280:

Madrill] See note, p. 104.

# 281:

trow] i. e. think you.

# 282:

Yes, sure, &c.] To this line, which in old eds. forms part of Francisco’s speech, the prefix “Joh.” is added with a pen in copy of the first 4to: see note, p. 109.

# 283:

As hotly, &c.] To this line in old eds. is prefixed “Ans.” i. e., perhaps, the Answer of those who form the rear.

# 284:

Ped.] Old eds. “Ro.”

# 285:

father] Old eds. “fathers.”

# 286:

need] Old eds. “needs.”

# 287:

have] Old eds. “hath.”

# 288:

Gui. Car., &c.] Old eds. “Omnes.”

# 289:

and] i. e. if.

# 290:

we’d] Old eds. “hee’d.”

# 291:

your] Qy. “you?” compare p. 145, 3d line from bottom.

# 292:

[straightway] Inserted by the editor of 1816.

# 293:

Sir] A MS. correction in copy of the first 4to: see note, p. 109. Old eds. “For.” The editor of 1816 makes “For she’s past the worst” the conclusion of Louis’s speech.

# 294:

You shall not part, &c.] The audience, it seems, was to suppose that, after Francisco (p. 152) had said, “With your favour, We will attend you home,” the scene had changed to the neighbourhood of Fernando’s house!

# 295:

alablaster] See note, vol. i. p. 281.

# 296:

Thy griefs grow wild] So editor of 1816. Old eds. “The griefs grow wide.”

# 297:

Azevida] A MS. correction in copy of the first 4to: see note, p. 109. Old eds. “Azeutda.”

# 298:

Madrill] See note, p. 109.

# 299:

a wife, young lady] The editor of 1816 strangely follows the reading of ed. 1661, “a wise young lady.”

# 300:

style] Old eds. “stiles.”

# 301:

crucifix] See p. 108.

# 302:

one] Qy. “son?”

# 303:

What I have suffer’d, what thou ought’st to do] “I cannot but believe that the line that should follow this has been lost.” Editor of 1816.—I see no reason for believing so.

# 304:

Sir] Qy. “Sit?”

# 305:

gules] i. e., in heraldic language, red.

# 306:

This] The editor of 1816 prints “Thy.”

# 307:

Night] Old eds. “Might.”

# 308:

Alv., Gui., &c.] Old ed. here and afterwards, “All.”

# 309:

mutton] See note, vol. iii. p. 102.

# 310:

Muly Crag a whee] A corrupted name probably, used with a quibble.

# 311:

[sings] Had there not been a “Chorus” (in old eds. “Omnes”), I should have supposed that the rhyming lines in this initiation-scene were spoken, not sung.

# 312:

best] Qy. “left?”

# 313:

leman] i. e. mistress.

# 314:

Now mark, &c.] Before these words in the old eds. is a direction (printed as part of the verse), “Teach him how,” merely intended for the actor who played Alvarez,—not, as the editor of 1816 thinks, “a direction to the other gipsies to instruct Don John how he is to perform the directions of their chief.”

# 315:

Car.] Old eds. “Cla.”

# 316:

hey-de-guize] A kind of rural dance—a word variously spelt, and of doubtful etymology.

# 317:

lopes] i. e. leaps.

# 318:

wench] Qy. “wrench?” Compare Sir John Davies’s Orchestra, or a Poeme of Dauncing;

“Such winding sleights, such turns and tricks he hath, Such creeks, such wrenches, and such dalliaunce.” St. 53.

# 319:

growt] a corruption of great.

# 320:

because the beast is corn-fed] “This seems so odd a reason why the elephant could not go, that I believe we should read, ‘is not fed.’” Editor of 1816.—But does not corn-fed mean, even in the present day, fattened up? and, perhaps, there is a quibble— cornified (having corns).

# 321:

Jack[s]-in-boxes I have to regret that the following passage does not well admit of abridgment: “This Jacke in a Boxe, or this Diuell in mans shape, wearing (like a player on a stage, good clothes on his backe) comes to a Goldsmiths Stall, to a Drapers, a Habberdashers, or into any other shoppe, where he knowes good store of siluer faces are to be seene. And there drawing foorth a faire new boxe, hammered all out of Siluer plate, he opens it, and powres forth twenty or forty Twenty-shillings pieces in new Gold. To which heape of worldly temptation thus much hee addes in words, that either he himselfe, or such a Gentleman (to whom he belongs) hath an occasion for foure or fiue dayes to vse forty pound. But because he is very shortly (nay he knowes not how suddenly) to trauaile to Venice, to Jerusalem or so, and would not willingly bee disfurnished of Gold, he doth therefore request the Citizen to lend (vpon those Forty Twenty-shilling pieces) so much in white money (but for foure, or fiue, or sixe dayes at the most) and for his good will he shall receiue any reasonable satisfaction. The Citizen (knowing the pawne to be better then a Bond) powreth downe forty pound in siluer: the other drawes it, and hauing so much gold in hostage, marcheth away with Bag and Baggage. Fiue dayes being expired, Jacke in a Boxe (according to his bargaine) beeing a man of his word, comes againe to the shop or stall, (at which he Angles for fresh Fish) and there casting out his line with a siluer hooke, that is to say, powring out the forty pound which he borrowed. The Citizen sends in, or steppes himselfe for the Boxe with the Golden Deuill in it: it is opened, and the army of Angels being mustered together, they are all found to be there. The Boxe is shut againe and set on the stall whilest the Citizen is telling of his mony: But whilest the musicke is sounding, Jacke in a Boxe actes his part in a dumbe shew thus; he shifts out of his fingers another Boxe of the same mettall and making that the former beares, which second Boxe is filled only with shillings, and being poized in the hand, shall seeme to carry the weight of the former, and is clap’d downe in place of the first. The Citizen in the meane time (whilest this Pitfall is made for him) telling the forty pounds, misseth thirty or forty shillings in the whole summe, at which the Jacke in a Boxe starting backe (as if it were a matter strange vnto him) at last (making a gathering within himselfe for his wits) he remembers, he sayes, that he layd by so much money as is wanting (of the forty pounds) to dispatch some businesse or other, and forgot to put it into the bag againe; notwithstanding, he intreats the Citizen to keepe his Gold still, he will take the white money home to fetch the rest and make vp the summe, his absence shall not bee aboue an houre or two: before which time hee shall bee sure to heare of him, and with this the little Deuil vanisheth carrying that away with him which in the end will send him to the Gallowes, (that is to say, his owne Gold) and forty pound besides of the Shop-keepers which he borrowed, the other being glad to take forty shillings for the whole debt, and yet is soundly boxt for his labor.” English Villanies, &c., sig. H, ed. 1632.

# 322:

cozen fools with gilt rings “You haue another kind of Lifter, or more properly a cunning night shifter, and it is thus: You shall haue a fellow that in an euening or night time, or some time at noone dayes, as hee likes the company and sorts his opportunity, that will wilfully drop sometime a spoone, other while a ring or else some peece of coyned money, as the likenes of gold and siluer, and so spurning it afore them in the view of others, to the end they should cry halfe part; which he taking hold of, sayth, nay by my troth, what will you giue me and take it all? and so some greedy fooles offer thus much, thinking it gold, which the Lifter takes as knowing it counterfeit, and so are they cunny-caught.” Dekker’s Belman of London, sig. G 4, ed. 1608.

# 323:

Not] Ed. of 1816, “Rot,” mistaking for an r the broken n of ed. 1661.

# 324:

such a motion as the city Nineveh] See note, vol. i. p. 229.

# 325:

black] May be the right reading: but qy. “back?”

# 326:

Car.] Old eds. “Cla.”

# 327:

mall’d] So written for the rhyme.

# 328:

all to-be-dabbled A writer in the additions to Boucher’s Gloss. (new ed. in v. All) has well observed, that in such expressions as this it is a mistake to suppose that all is coupled with to, and that it becomes equivalent to omnino from being thus conjoined: the to is connected with the following participle as a prefix.

# 329:

dill] i. e., perhaps, darling: see Nares’s Gloss. in v. Dilling, and Moor’s Suff. Words in v. Dills; or, perhaps, another form of dell—see note, vol. ii. p. 538.

# 330:

Jet] i. e. strut.

# 331:

bravery] i. e. finery.

# 332:

like] i. e. please.

# 333:

young] A MS. correction in copy of the first 4to, see note, p. 109, and so the editor of 1816. Old eds. “younger.”

# 334:

reals] “Real, a Spanish sixp_Guide into Tongues_ in v.—“A coin worth forty maravedis.” Neuman’s Span. and Engl. Dict. in v.

# 335:

since] A MS. correction ubi sup., and so the editor of 1816. Old eds. “sinne,” and “sin.”

# 336:

a striker] A quibble:

“nor was old Laïs liker Unto herselfe then shee is to a striker.” Brathwait’s Honest Ghost, 1658, p. 167.

The word is more frequently applied to the dissolute of the other sex: note, vol. ii. p. 454.

# 337:

arm] A MS. correction ubi sup. Old eds. “army,” which the editor of 1816 vainly endeavoured to explain.

# 338:

See they, &c.] Given to “Al.” in first ed. by a mistake, which is corrected in ed. 1661.

# 339:

not like a pantaloon] “i. e. represent him in the full possession of his strength and mental faculties, and not like a feeble old man. ‘The lean and slipper’d pantaloon’ of Shakespeare will occur to every reader.” Editor of 1816.

# 340:

canaries] A quick and lively dance: see note, vol. iii. p. 39.

# 341:

jet] i. e. strut.

# 342:

[pleasures] Compare p. 172, last line; but I am by no means confident that I have supplied the right word.

# 343:

property] i. e. in theatrical language, a thing necessary for the scene.

# 344:

Take you pepper in the nose] “i. e. if you be captious and ready to take offence.” Editor of 1816.

# 345:

like an owl, &c.] “To look like an owl in an ivy-bush” is a proverbial expression: see Ray’s Proverbs, p. 61, ed. 1768. A tuft or bush of ivy was formerly hung out at the door of a vintner.

# 346:

marvedi] See note, p. 119.

# 347:

Hold his nose, &c.] i. e. “confine him to a short allowance.” Editor of 1816.

# 348:

case] i. e. pair.

# 349:

anon, anon] “Was the reply of the waiters [drawers] when called, as sufficiently appears in act ii. sc. iv. of the First Part of Henry IV.” Editor of 1816.

# 350:

ningle] i. e. intimate, favourite: see note, vol. ii. p. 498.

# 351:

Alv.] Old eds. “An.”

# 352:

visitation] Ed. 1661, “visitations.”

# 353:

Madrill] See note, p. 104.

# 354:

Exit Sancho] So the editor of 1816: but I suspect a misprint in the words “Away you.” It is necessary, however, that Sancho should quit the stage: see p. 180.

# 355:

haberdine] See note, p. 64.

# 356:

I make buttons] Compare vol. i. p. 135 and note.

# 357:

Madrill] See note, p. 104.

# 358:

sell] A MS. correction in copy of the first 4to: see note, p. 109. Old eds. “see.”

# 359:

she] A MS. correction ubi sup. Old eds. “how.”

# 360:

lannard] “Or laner, is a species of hawk.” Editor of 1816.

# 361:

sin] Old eds. “sins.”

# 362:

stamp] So ed. 1661. First ed. “stamps.”

# 363:

fall] Old eds. “full.”

# 364:

flow] Old eds. “flew.”

# 365:

storm] Ed. 1661, “storms.”

# 366:

Sir, I am, &c.] Qy.

“_Sir, I'm not So poor_ in spirit to put this injury up?”

Six lines after, the metre is imperfect.

# 367:

lovely] So MS. correction in copy of the first 4to: see note, p. 109. Old eds. “lively.”

# 368:

sweet] A MS. correction ubi sup. Old eds. “sir.”

# 369:

here sit they] A MS. correction ubi sup. First ed. “he sit they.” Ed. 1661 has only “they sit.”

# 370:

white] Qy. for the metre, “whiter”? The double comp. was common: “his more braver daughter.” Shakespeare’s Tempest, act ii. sc. 1.

# 371:

it] Old eds. “it is.”

# 372:

sometimes heard] A MS. correction ubi sup., which the editor of 1816 had anticipated. Old eds. “_some_thing hard.”

# 373:

friends] Qy. “friend”?

# 374:

First promise, &c.] The editor of 1816 gives the line thus: “First, promise me [that] you will get reprieve;” but the preceding “Despatch!” makes up the measure.

# 375:

Madrill] See note, p. 104.

# 376:

Scene II. A field] Old eds. have only “Ex. at one dore, Enter presently at the other” (a stage-direction which occurs again in The Changeling]: as there was no moveable painted scenery (see notes, vol. ii. pp. 142, 147, and pp. 29, 111, 154, of this vol.), the audience was to suppose that, on the re-entrance of Alvarez and Louis, the stage represented a field.

# 377:

scurvily] A MS. correction in copy of the first 4to: see note, p. 109. Old eds. “securely.”

# 378:

age] A MS. correction ubi sup. Old eds. “rage;” which the editor of 1816 altered to “rags.” Compare The Old Law;

“Take hence that pile of years.” Vol. i. p. 31.

# 379:

transform] Old eds. “transforms.”

# 380:

disgest] Frequently used for digest by our old writers.

# 381:

assur’d] i. e. affianced.

# 382:

Fran., Ped., &c.] Old eds. “Omnes.”

# 383:

Me thine] For these words the editor of 1816 rashly substituted “And me,” observing, in a note, “‘Me thine’ is the reading of the quartos; but as Francisco and Fernando both address Don John, the change was, I think, necessary to make sense of the passage.” Fernando evidently addresses Constanza, and taking her hand, gives it to John.

# 384:

Fran., Rod., &c.] Old eds. “Omnes.”

# 385:

you be] Qy. “be you.”

# 386:

bent knees] Here, of course, the performers were to kneel—perhaps, to pray, according to the old custom: see note, vol. ii. p. 418.

# 387:

Malta “Yet his [Alsemero’s] thoughts ran still on the Wars, in which Heroick and Illustrious profession he conceived his chiefest delight and felicity; and so taking order for his Lands and affairs, he resolves to see Malta, that inexpugnable Rampier of Mars, the glory of Christendome and the terrour of Turkey, to see if he could gain any place of command and honour either in that Island or in their Gallies ... and so building many Castles in the air, he comes to Alicant, hoping to find passage there for Naples, and from thence to ship himself upon the Neapolitan Gallies for Malta.” Reynolds’s Triumphs of God’s Revenge against Murther, p. 34, ed. 1726.—See note, p. 205.

# 388:

buy a gale, &c.] “It has been observed by Steevens, in a note on Macbeth, act i. sc. 3, that the selling of winds was an usual practice amongst the witches,” &c. &c. Editor of 1816.

# 389:

inclination to travel] Old ed. “inclinations to travels.”

# 390:

There’s one, &c.] So editor of 1816: old ed.;

“Oh there’s one above me, sir, for five dayes past.”

# 391:

you must stale] “The quartos [there is but one 4to: see note, p. 205] read ‘you must stall,’ and it may be understood for forestall; I have no doubt, however, that the right word is restored. So Montaigne, in the Unnatural Combat of Massinger, act iv. sc. ii.:

——‘I'll not stale the jest By my relation.’

[i. e. “render flat, deprive it of zest by previous intimation.” Gifford ad loc.] And many other places.” Editor of 1816.

# 392:

of] Old ed. “or.”

# 393:

What] Old ed. “And what.”

# 394:

ingredience] Compare p. 88, 1. 14. Old ed. “ingredian.”

# 396:

beholding] See note, p. 40.

# 397:

your castle] “He [Vermandero] being Captain of the castle of that City [Alicant].” Reynolds’s Triumphs of God’s Revenge against Murther, p. 34, ed. 1726.— See note, p. 205.

# 398:

promonts] i. e. promontories.

# 399:

iulan down] i. e. the first tender down (Gr. ἴουλος)—a somewhat pedantic expression. Old ed. has “Julan;” and the editor of 1816, thinking that the word was a dissyllable, and that it contained an allusion to the beard of the emperor Julian, printed “[the] Julan,” &c.

# 400:

Whose death I had reveng’d, &c. “Boyling thus in the heat of his youthful blood, and contemplating often on the death of his father, he [Alsemero] resolves to go to Validolyd, and to imploy some Grandee either to the King or the Duke of Lerma his great favourit, to procure him a Captains place and a Company under the Arch-Duke Albertus, who at that time made bloody Wars against the Netherlands, thereby to draw them to obedience: But as he began this sute, a general truce of both sides laid aside Arms, which (by the mediation of England and France) was shortly followed by a peace, as a Mother by the Daughter; which was concluded at the Hague by his Excellency of Nassaw and Marquess Spinold, being chief Commissioners of either party.” Reynolds’s Triumphs of God’s Revenge against Murther, p. 34, ed. 1726.—See note, p. 205.

# 401:

this] Qy. “his.”

# 402:

toy] i. e. trifle.

# 403:

Aligant] i. e. Alicant: compare vol. iii. p. 8, and note.

# 404:

murderers] The same as murdering-pieces: see note, vol. iii. p. 466.

# 405:

pelt] i.e. skin.

# 406:

Assure] Old ed. “Assures.”

# 407:

these] Old ed. “this.”

# 408:

Shrewd application] “The ‘shrewd application’ meant is, I conceive, to that perpetual jest of the age, the cuckold’s horns; which Lollio supposes might raise Alibius’s head above his wife’s.” Editor of 1816.

# 409:

ward] i. e. guard—(in fencing).

# 410:

pluck a rose] See Grose’s Class. Dict. of Vulgar Tongue, in v. Pluck.

# 411:

the] Old ed. “his.”

# 412:

able] i. e. warrant, answer for.

# 413:

what state] “i. e. as a keeper of fools and madmen.” Editor of 1816.

# 414:

true] “i. e. honest.” Editor of 1816.

# 415:

go] Old ed. “goes.”

# 416:

parlous] A corruption of perilous,—dangerously shrewd.

# 417:

we three] “Antonio probably alludes to the old sign of two idiots' heads, with an inscription,

We three Loggerheads be.” Editor of 1816.—

Perhaps the allusion is to some song.

# 418:

crag] i. e. neck.

# 419:

go] Old ed. “goes.”

# 420:

wire] i. e. whip.

# 421:

parmasant] i. e. Parmesan cheese: compare Ford’s Works, vol. i. p. 148, ed. Giff.

# 422:

plucks] Old ed. “pluckt”

# 423:

Garden-bull] The allusion is to Paris Garden in Southwark, where both bears and bulls were baited.

# 424:

their] So the editor of 1816. Old ed. “his.”

# 425:

She helps, &c.] “The reading of the quartos [there is but one 4to: see note, p. 205]—

“She helps to get ’em for him, in his passions, and how dangerous”—

not only destroys the measure, but obscures the sense.” Editor of 1816.—See notes 241 and 244, vol. ii. p. 134.

# 426:

and] i. e. if.

# 427:

bring] Old ed. “brings.”

# 428:

condition] i. e. quality.

# 429:

prun’d yourself] i. e. beautified yourself, improved your looks. Birds (hawks especially) are said to prune themselves when they pick, oil, and set in order their feathers.

# 430:

so amorously] i. e. so much an object of love. Compare Epigrams and Satyres, by Richard Middleton, 1608;

“Longato amorous in his Maias eie,” &c. P. 3.

# 431:

amber] i.e. ambergris.

# 432:

[hands] So the editor of 1816: but, perhaps, the author considered “cure” as a dissyllable.

# 433:

We shall try you, &c. ... You are too quick, sir] So these speeches are arranged by

the editor of 1816: but, perhaps, the following disposition of the lines is preferable;

“BEAT. We shall try you: O my De Flores! DE F. How’s that? She calls me hers already, my De Flores!— [Aside. You were about to sigh out somewhat, madam? BEAT. No, was I? I forgot,—O!— DE F. There ’tis again, The very fellow on’t. BEAT. You are too quick, sir.”

# 434:

There’s no excuse, &c.] The editor of 1816, by the insertion of a syllable, has given a perhaps more musical arrangement of this speech: but he did not perceive that the conclusion of it, “beat at your bosom,” was evidently intended to make up a line with “Would creation.”

# 435:

[De Flores] So the editor of 1816.

# 436:

In the act-time, &c.] i. e. while the music plays before the commencement of the act, &c. This circumstance is taken from the “history,” where the murder of Alonzo (there called Alfonso) is thus narrated: “Whiles Piracquo is at dinner with Vermandero, De Flores is providing of a bloody banquet in the East Casemate; where of purpose he goes and hides a naked Sword and Ponyard behind the door. Now dinner being ended, Piracquo finds out De Flores, and summons him of his promise; who tells him he is ready to wait on him: so away they go from the Walls to the Ravelins, Sconces, and Bulwarks, and from thence by a Postern to the Ditches; and so, in again to the Casemates, whereof they have already viewed three, and are now going to the last, which is the Theater whereon we shall presently see acted a mournful and bloody Tragedy. At the descent hereof De Flores puts off his Rapier, and leaves it behind him; treacherously informing Piracquo that the descent is narrow and craggy. See here the Policy and Villany of this devillish and treacherous Miscreant. Piracquo, not doubting nor dreaming of any Treason, follows his example, and so casts off his Rapier: De Flores leads the way, and he follows him; but alas! poor Gentleman, he shall never return with his life. They enter the Vault of the Casemate, De Flores opens the door, and throws it back, thereby to hide his Sword and Ponyard: he stoops and looks thorow a Port-hole, and tells him that that Peece doth thorowly scour the Ditch. Piracquo stoops likewise down to view it, when (O grief to think thereon) De Flores steps for his Weapons, and with his Ponyard stabs him thorow the back, and swiftly redoubling blow upon blow kills him dead at his feet, and without going farther, buries him there, right under the ruins of an old wall, whereof that Casemate was built.” Reynolds’s Triumphs of God’s Revenge against Murther, p. 40, ed. 1726.

# 437:

Scene II. A vault] Old ed. has only (after the words “Lead, I'll follow thee,”) “Ex. at one door and enter at the other.” See note, p. 195.

# 438:

approve] i.e. prove the performance of.

# 439:

proper] i. e. handsome.

# 440:

proper] See note, p. 244.

# 441:

prophet] Old ed. “poet.”

# 442:

we’ll beat the bush, and kick the dog] “The quartos [there is but one 4to: see note, p. 205] read, 'we’ll kick the dog, and beat the bush:' the transposition will, I think, be approved.” Editor of 1816.

# 443:

lycanthropi] i. e. frenzied persons labouring under the delusion that they are turned into wolves: see the description in Webster’s Duchess of Malfi—Works, vol. i. p. 290, and my note there.

# 444:

walk] Old ed. “walks.”

# 445:

aunt? Yes, ’tis one of ’em] See note, vol. iii. p. 16.

# 446:

nigget] Nidget, or nigeot—i. e. idiot.

# 447:

bauble] The sceptre of the licensed fool: see Douce’s Illust. of Shak., vol, ii. p. 318, and plates.

# 448:

parlous] See note, p. 225.

# 449:

he] Old ed. “she.”

# 450:

the last couple in hell] “The allusion here is to the game of barley-break.” Editor of 1816.—See note, vol. iii. p. 114.

# 451:

Lipsius] Is it necessary to notice that the name of this great scholar is introduced merely for the sake of its first syllable?

# 452:

way] Old ed. “wayes.”

# 453:

statue] Qy. “statua”?—a form which repeatedly occurs in our old writers.

# 454:

the ring] Qy. “the ring and the finger”?

# 455:

golden florens] Pieces first coined by the Florentines: the floren of Spain (according to the Dictionaries) is 4_s._ 4-1/2_d._—Does Beatrice offer here a paper to De Flores?

# 456:

[slept at ease] Supplied by the editor of 1816.

# 457:

Push] See note, vol. i. p. 29.

# 458:

have] Old ed. “has.”

# 459:

the] Old ed. “thy.”

# 460:

love’s] Old ed. “lovers.”—I suspect the author wrote;

“I shall rest from all plagues then; I live in pain now; that love-shooting eye.”

# 461:

Dumb Show] “These dumb shows are common enough in the dramas of our poets' age.” Editor of 1816.—They had fallen much into disrepute when the present play was written.

# 462:

smiling at the accident] So old ed. The editor of 1816 gives “smiling scornfully at the ceremony;” but I doubt if that be the meaning of the original words.

# 463:

who’s] So editor of 1816. Old ed. “both.”

# 464:

Secrets in Nature] In Antonii Mizaldi Monluciani De Arcanis Naturæ, Libelli quatuor, ed. tertia, 1558, 12mo, I find no passages resembling those which are read by Beatrice.

# 465:

slight] i. e. artifice, contrivance.

# 466:

incontinently] i. e. immediately.

# 467:

ow’d ’em not] i. e. owned them not,—they were not hers.

# 468:

I'd] Old ed. “I will.”

# 469:

Briamata] “Briamata, a fair house of his [Vermandero’s] ten leagues from Alicant.” Reynolds’s Triumphs of God’s Revenge against Murther, p. 36, ed. 1726; see note, p. 205.

# 470:

An] Old ed. “One.”

# 471:

round-pack’d] Qy. “round-pac’d”?

# 472:

sins and vices] Surely the right reading is “chins and noses.”

# 473:

'Twill] Old ed. “I will.”

# 474:

pretend] i. e. offer.

# 475:

prevent] i. e. anticipate.

# 476:

touch’d] i. e. infected, stained.

# 477:

resolv’d] i. e. satisfied.

# 478:

Push] See note, vol. i. p. 29.

# 479:

waning] Old ed. “waiting.” “I am inclined to read, Oh, heaven! is this the new or waning moon?” Editor of 1816.

# 480:

To the bright ... Pay the post] Given to Lollio in old ed.

# 481:

Why] Old ed. “We.”

# 482:

Nay, the fair, &c.] “i. e. Nay, understand my speeches in the fair and modest sense in which they are uttered.” Editor of 1816.

# 483:

and] i. e. if.

# 484:

he] Old ed. “she.”

# 485:

straits] Old ed. “streets.”

# 486:

desire] Qy. “desert”?

# 487:

[off] See p. 274.

# 488:

true] See note, p. 224.

# 489:

begg’d] See note, vol. iii. p. 16.

# 490:

Pist] See note, vol. ii. p. 460.

# 491:

Push] See note, vol. i. p. 29.

# 492:

harsh] Qy. “rash”?

# 493:

of] i. e. on: see vol. iii. p. 556, and note.

# 494:

And] i. e. if.

# 495:

[I threw] Compare ninth line preceding.

# 496:

Briamata] Old ed. “Bramata:” see note, p. 267.

# 497:

Alsemero’s apartment] So, on account of what follows, it is necessary to mark this scene; but as Jasperino presently says, “She meets you opportunely from that walk,” I suspect that Middleton intended the audience to imagine that the earlier part of the scene did not pass where the latter part certainly does, in Alsemero’s apartment: see notes, pp. 28, 154, 195, 242.

# 498:

garden has shew’d] The editor of 1816 prints “garden [must] have shew’d;” but, probably, “garden” was used here as a trisyllable.

# 499:

Clip] i. e. embrace.

# 500:

hung] Old ed. “hang.”

# 501:

I ne’er, &c.] The editor of 1816 gives the passage thus:

“I ne’er could pluck it from him; [though] my loathing Was prophet to the rest, I ne’er believ’d Mine honour [should] fall with him, and now my life.”

# 502:

barley-break] See note, vol. iii. p. 114.

# 503:

hence] Old ed. “thence.”

# 504:

innocence] A play on the word,—idiotcy.

# 505:

All we can do, &c.] These lines in old ed. are printed on a page by themselves, with the prefix Als., and headed Epilogue.

# 506:

Gifford, misled by a MS. note of Oldys on Langbaine, says that A Game at Chess “was embellished with an engraved frontispiece, where Gondomar was introduced in propria persona in no very friendly conversation with Loyola.” Note on B. Jonson’s Works, vol. v. p. 248. There is no figure of Ignatius in either of the engraved title-pages.

# 507:

States] i. e. personages of high rank.

# 508:

angle] i. e. corner.

# 509:

taste] So two eds. Quarto C. “cast.”

# 510:

Roch] St. Roch “was honoured, especially in France and Italy, amongst the most illustrious saints in the fourteenth century.... Many cities have been speedily delivered from the plague by imploring his intercession,” &c.! Butler’s Lives of the Saints, vol. viii. p. 206, sec. ed.

# 511:

Main] St. Main, an abbot; who appears to have been of no great eminence. Id. vol. i. p. 172.

# 512:

Petronill] i. e. Petronilla, a holy virgin, according to some the daughter, or, as seems to be more generally supposed, only the spiritual daughter of the apostle St. Peter. Id. vol. v. p. 439.

# 513:

Your abbess Aldegund] Or Aldegundes—“daughter of Walbert of the royal blood of France,” &c. Id. vol. i. p. 451.

# 514:

Cunegund] i. e. the Empress Cunegundes, wife of St. Henry duke of Bavaria, afterwards king of the Romans: she and her husband received the imperial crown at Rome, &c. Id. vol. iii. p. 17.

# 515:

the widow Marcell] i. e. Marcella, the Roman lady celebrated by St. Jerome. Id. vol. i. p. 459.—So two eds. Quarto C. “Alarcell.”

# 516:

parson Polycarp] The famous bishop of Smyrna. Id. vol. i. p. 289.

# 517:

Cecily] See account of St. Cecily. Id. vol. xi. p. 395.

# 518:

Ursula] See account of “St. Ursula and her Companions.” Id. vol. x. p. 463.

# 519:

a lame soldier] Ignatius had his leg broken by a cannon-shot at the siege of Pampeluna, where he displayed great valour. Id. vol. vii. p. 405.

# 520:

mastery] i. e. masterly operation (a sense of the word common in our earliest poetry).

# 521:

I behold] So two eds. Quarto C. “I could behold.”

# 522:

Le roc, &c.] “In modern times,” says Strutt, “the roc is corruptedly called a rook, but formerly it signified a rock or fortress, or rather, perhaps, the keeper of the fortress.” Sports, &c., p. 233.

# 523:

custode] “A guardian, keeper.” Cotgrave in v.—Two eds. “custodie”—better for the metre, but contrary to the sense.

# 524:

daughter] So two eds. Quarto C. “daughters.”

# 525:

Black] So two eds. Quarto C. “the.”

# 526:

performents] i. e. performances. So two eds. Quarto C. “preferments.”

# 527:

one] So two eds. Quarto C. “me.”

# 528:

weep] So two eds. Quarto C. “wept.”

# 529:

firmer] So two eds. Quarto C. “firme.”

# 530:

Disarms] So two eds. Quarto C. “This-Armes.”

# 531:

the] So two eds. Not in Quarto C.

# 532:

Can] So two eds. Quarto C. “Will.”

# 533:

Jesuitess] So two eds. Quarto C. “Jesuite.”

# 534:

worth] So two eds. Quarto C. “wealth.”

# 535:

the] So two eds. Quarto C. “their.”

# 536:

by] So two eds. Quarto C. “by’th.”

# 537:

important] So both MSS. Eds. “importune” and “importinant.”

# 538:

Dost] So two eds. Quarto C. “Doe you.”

# 539:

made] So two eds. Not in Quarto C.

# 540:

the opening eyelids of the morn] Adopted by Milton;

“Together both, ere the high lawns appear’d Under the opening eyelids of the morn,” &c. Lycidas.

# 541:

discovering] So Bridge. MS. Eds. “disclosing.”

# 542:

that] So two eds. Quarto C. “the.”

# 543:

your night-counsels] Two eds. and MS. Bridge, have “yours might counsell neerer;” but that the reading of Quarto C., which I have followed, is the right one, appears from the second line of the next speech, “Guilty of that black time.” MS. Lansd. differs only from Quarto C. in having “counsell.”

# 544:

fond] i. e. foolish. So both MSS. Quarto C. “sound.” Other eds. have “some sinful, some sound.”

# 545:

Clad] So two eds. Quarto C. “Cal’d.”

# 546:

competitor] So two eds. Quarto C. “competitors.”

# 547:

fond] See note in preceding page.

# 548:

I] So two eds. Quarto C. “Il’d.”

# 549:

Have I] So two eds. Quarto C. “I haue.”

# 550:

of it] So two eds. Quarto C. “of.”

# 551:

destroy fruit] “The leaues of Sauin boyled in Wine and drunke ... expell the dead childe, and kill the quick.” Gerarde’s Herball, p. 1378, ed. 1633.

# 552:

resolved] i. e. satisfied.

# 553:

An] So two eds. Quarto C. “And.”

# 554:

casible] Or chesible: “Fyrst do on the amys, than the albe, than the gyrdell, than the manyple, than the stoole, than the chesyble.” Hormanni Vulgaria, sig. E iiii. ed. 1530.

# 555:

great] So two eds. Not in Quarto C.

# 556:

diviner] So two eds. Quarto C. “diuine.”

# 557:

have] So two eds. Quarto C. “I haue.”

# 558:

And what I've done, &c.] “Gondomar was at this time the Spanish Ambassador in England; a man whose flattery was the more artful, because covered with the appearance of frankness and sincerity; whose politics were the more dangerous, because disguised under the masque of mirth and pleasantry.” Hume’s Hist. of England, vol. vi. p. 40, ed. 1763.

# 559:

these] So two eds. Quarto C. “this.”

# 560:

guitonens] A word of reproach, I suppose, formed from the Spanish guiton, vagrant, vagabond. Quarto C. and MS. Lansd. “Guytinens.” MS. Bridge. “Guitenens.” Two eds. “great ones.”

# 561:

pusills] So Quarto C. and both MSS. Two eds. “pupills.”—Pusill, written variously, puzzel, &c., meant a drab: see notes of the commentators on the line “Pucelle or puzzel,” &c., in Shakespeare’s Henry VI. Part First, act i. sc. 4.

# 562:

the great work, the main existence] So MS. Bridge. Eds. “the maine worke, the great existence.”

# 563:

fame] So two eds. Quarto C. “name.”

# 564:

jealious] A trisyllable, for the metre.

# 565:

heard] So two eds. Quarto C. “read.”

# 566:

gently] So two eds. Quarto C. “lately.”

# 567:

what have we here] So MS. Lansd. Not in eds.

# 568:

Strange! &c.] So two eds. The line not in Quarto C.

# 569:

what] So two eds. Quarto C. “that.”

# 570:

Well here set down] So both MSS. Quarto C. “Well, here I set downe.” Other eds. “Well set her downe.”

# 571:

in] So two eds. Quarto C. “and.”

# 572:

much] So two eds. Quarto C. “most.”

# 573:

stir] So both MSS. Quarto C. “spread.” Other eds. “flye.”

# 574:

never was] So two eds. Quarto C. “was neuer.”

# 575:

safety] MS. Bridge. “faith.”

# 576:

Yours] So two eds. and MS. Bridge. Quarto C. and MS. Lansd. “Yon’d.”

# 577:

offerer] So both MSS. Quarto C. “Officer.” Other eds. “offerors.”

# 578:

thy] So two eds. Quarto C. “the.”

# 579:

deep] So two eds. Quarto C. “great.”

# 580:

my love] Qy. “my loss”? MS. Lansd. “thy loue.”

# 581:

make] So both MSS. Eds. “make me.”

# 582:

But by, &c.] So two eds. Quarto C. “But thine Honors losse, that Act must arme thee.”

# 583:

thou] So MS. Bridge. Not in eds.

# 584:

resist] So two eds. and both MSS. Quarto C. “reiect.”

# 585:

confound] Eds. and MSS. “confound noise.”

# 586:

that] So two eds. Quarto C. “the.”

# 587:

pliant] So two eds. Quarto C. “pleasant.”

# 588:

cautelous] i. e. artfully cautious.

# 589:

word] i. e. motto: compare vol. iii. p. 537, note.

# 590:

B. Bishop] So two eds. Quarto C. “Bl. Kin.”

# 591:

hath] To this word here and in the two following lines Quarto C. prefixes “he;” but two eds. omit it.

# 592:

trow?] i. e. think you?

# 593:

an] So two eds. Quarto C. “one.”

# 594:

able] i. e. warrant, answer for.

# 595:

me ’em] So MS. Bridge. Quarto C. “’em me.” In two eds. “me” omitted.

# 596:

all] So two eds. and both MSS. Omitted in Quarto C.

# 597:

in] So two eds. Omitted in Quarto C.

# 598:

Fat Bishop] “He [Antonio] was of a comely personage, tall stature, gray beard, graue countenance, fair language, fluent expression, somewhat abdominous, and corpulent in his body.” Fuller’s Church History, B. x. p. 100, ed. 1655. “Allowing Spalato diligent in writing, his expression was a notorious hyperbole, when saying, In reading, meditation, and writing I am almost pined away; otherwise his fat cheeks did confute his false tongue in that expression.” Id. B. x. p. 95.

# 599:

my books] “He [Antonio] falls now [after receiving his preferments in England] to perfect his Books. For his Works were not now composed, but corrected; not compiled, but completed; as being, though of English birth, of Italian conception. For formerly the Collections were made by him at Spalato, but he durst not make them publick for fear of the Inquisition. His Works (being three fair Folios, De Republica Ecclesiastica) give ample testimony of his sufficiency. Indeed he had a controversial head, with a strong and clear stile, nor doth an hair hang at the neb of his pen to blurre his writings with obscurity: but, first understanding himself, he could make others understand him. His writings are of great use for the Protestant cause.” Fuller’s Church History, B. x. p. 95, ed. 1655.—When Bedell was at Venice (as chaplain to Sir Henry Wotton, then ambassador there), Antonio “discovered his secret to him, and shewed him his ten Books De Republica Ecclesiastica, which he afterwards printed at London: Bedell took the freedom which he allowed him, and corrected many ill applications of Texts of Scripture and Quotations of Fathers. For that Prelate being utterly ignorant of the Greek Tongue, could not but be guilty of many mistakes both in the one and the other.” Burnet’s Life of Bedell, p. 10, ed. 1692.

# 600:

drink] So two eds. Quarto C. “feede.”

# 601:

cullis] See note, vol. iii. p. 271.

# 602:

master of the beds] i. e. master of the Hospital of the Savoy. On his first arrival in England Antonio resided with the Archbishop of Canterbury; “and having lived long at Lambeth House, they grew even weary of him, for he was somewhat an unquiet man, and not of that fair, quiet, civil carriage as would give contentment. This he perceiving made bold to write unto the king, desiring him that he might not live always at another man’s table, but that he might have some subsistence of his own: whereupon the King so contrived it, that although the mastership of the Savoy had been given to another, yet was it resigned and conferred upon him.” Goodman’s Court of King James, vol. i. p. 339—an interesting work, now at press under the editorship of the Rev. J. S. Brewer.

# 603:

shut and open] Eds. “shuts and opens.”

# 604:

the fistula, &c.] Gondomar, as various writers mention, was troubled with that disease.

# 605:

prescrib’d] So MS. Lansd. Eds. “prouided.”

# 606:

provided] So MS. Lansd. Eds. “inuented.”

# 607:

what a most uncatholic jest, &c.] “Amongst other of his ill qualities, he [Antonio] delighted in jeering, and would spare none who came in his way. One of his sarcasmes he unhappily bestowed on Count Gondomar, the Spanish Ambassador, telling him, That three turns at Tiburne was the onely way to cure his Fistula. The Don, highly offended hereat (pained for the present more with this flout than his fistula) meditates revenge, and repairs to King James. He told His Majesty, that His charity (an errour common in good Princes) abused His judgment, in conceiving Spalato a true convert, who still in heart remained a Roman Catholick. Indeed, His Majesty had a rare felicity in discovering the falsity of Witches and forgery of such who pretended themselves possessed: but, under favour, was deluded with this mans false spirit, and, by His Majesties leave, he would detect unto Him this his hypocrisie. The King cheerfully embraced his motion, and left him to the liberty of his own undertakings. The Ambassadour writeth to His Catholick Majesty; He to his Holinesse Gregory the fifteenth, that Spalato might be pardoned, and preferred in the Church of Rome, which was easily obtained. Letters are sent from Rome to Count Gondomar, written by the Cardinal Millin, to impart them to Spalato, informing him that the Pope had forgiven and forgotten all which he had done or written against the Catholick Religion; and upon his return, would preferre him to the Bishoprick of Salerno in Naples, worth twelve thousand crowns by the year. A Cardinal’s Hat also should be bestowed upon him. And if Spalato, with his hand subscribed to this Letter, would renounce and disclaim what formerly he had printed, an Apostolical Breve, with pardon, should solemnly be sent him to Bruxels. Spalato embraceth the motion, likes the pardon well, the preferment better, accepts both, recants his opinions largely, subscribes solemnly, and thanks his Holinesse affectionately for his favour. Gondomar carries his subscription to King James, who is glad to behold the Hypocrite unmasked, appearing in his own colours; yet the discovery was concealed and lay dormant some daies in the deck [i. e. pack—of cards], which was in due time to be awakened.” Fuller’s Church History, B. x. p. 95, ed. 1655. The circumstances which led to Antonio’s departure from England are differently related, and without any mention of Gondomar, in Goodman’s Court of King James, vol. i. p. 345.

# 608:

balloon-ball] i. e. a large inflated ball of leather. The game of balloon, in which the player strikes the ball with a flat piece of wood fastened to the arm, is still (as Gifford observes,—note on B. Jonson’s Works, vol. iii. p. 216) very common on the continent.

# 609:

bishop absent] So Quarto C. and MS. Lansd. Two eds. “bishops dead.” MS. Bridge. deficient here, and to the end of the act.—Neither reading agrees well with what follows: see p. 353.

# 610:

blindness] So two eds. Quarto C. “boldnesse.”

# 611:

I must confess] So two eds. and MS. Lansd. Not in Quarto C.

# 612:

W. Bish.] So two eds. Quarto C. “Wh. P.”

# 613:

Have] Eds. “Hath” and “Has.”

# 614:

terrors] So two eds. Quarto C. “terrour.”

# 615:

Quit] Eds. “Quits.”

# 616:

wonder] So two eds. Quarto C. “wounds.”

# 617:

scar’d] So two eds. Quarto C. “seiz’d.”

# 618:

his] So two eds. Quarto C. “this.”

# 619:

B. Bish.] So two eds. Quarto C. “Bl. Bi. P.”

# 620:

after] So two eds. Quarto C. “following.”

# 621:

or] So two eds. Quarto C. “&.”

# 622:

quit] i. e. acquit.

# 623:

remove] So two eds. Quarto C. “roome.”

# 624:

Craft] So MS. Lansd. Quarto C. “Crafts.” Other eds. “Trust” (misprint for “Lust”).

# 625:

more unclean] So two eds. Quarto C. “vncleaner.”

# 626:

Vild] See note, p. 137.

# 627:

more] So MS. Lansd. Quarto C. “most.” Not in other eds.

# 628:

Yesterday’s] So two eds. Quarto C. “Yesterday.”

# 629:

Ruin] Eds. and MS. Lansd. “Ruin enough.”

# 630:

W. King] So MS. Lansd. Eds. “Wh. Kni.”

# 631:

W. King] So two eds. Quarto C. “Wh. Kni.”

# 632:

W. Kg.'s Pawn] So MS. Lansd. Quarto C. “Wh. Q. P.” Two eds. “W. Kt. p.” That the White King’s Pawn is the speaker appears from the next speech; and compare p. 326.

# 633:

W. King] So two eds. Quarto C. “Wh. Kni.”

# 634:

strong] So two eds. Quarto C. “wrong.”

# 635:

W. Kg.'s Pawn] So MS. Lansd. Quarto C. “W. Qu. P.” Two eds. “W. Kt. p.”

# 636:

endear’d] Two eds. “indeede.” But compare p. 325, last line.

# 637:

W. King] So two eds. here and at next speech but one. Quarto C. “Wh. Kni.”

# 638:

that] So MS. Lansd. Not in eds.

# 639:

thou left] So two eds. and MS. Lansd. Quarto C. “thou so left.”

# 640:

flight] Meant, in archery, a long, light-feathered, straight-flying arrow.

# 641:

niceness] i. e. squeamishness, scrupulousness.

# 642:

B. King] So two eds. and MS. Lansd. Quarto C. “Bl. Bish.”

# 643:

luxury] i. e. lust.

# 644:

diseas’d bed-rid] So both MSS. Quarto C. “disea’d Bed-rid.” Other eds. “disease-bred.”

# 645: master of an hospital . . . . . . . . Or dean of the poor alms-knights that wear badges] See note, p. 339. The poor alms-knights—i. e. the Poor Knights of Windsor.—“About half a year after [his appointment to the Mastership of the Savoy, Antonio received] the deanery of Windsor; both which preferments might amount to four hundred and thirty pounds per annum, or thereabout.” Goodman’s _Court of King James_, vol. i. p. 340. According to Hacket, “these together were worth to him 800_l._ per Annum. They brought in no less, and he would not loose a Peny of his Due; but studied to exact more than ever by Custom had been received by any of those Dignitaries. Of which Sharking, his Majesty once admonished him: Yet his Veins were not full, but he got himself presented by the Church of Windsor to a good Benefice, says Mr. Ri. Montagu, West Ilsly in Barkshire, where he made a shift to read the Articles of 1562 in English, pro more Clericali, and subscribed to them.” Life of Archb. Williams, P. i. p. 98, ed. 1693.

# 646:

other titles] “Now it happened a false rumour was spread that Tobie Matthew, Archbishop of Yorke (who died yearly in report) was certainly deceased. Presently posts Spalato to Theobalds; becomes an importunate Petitioner to the King for the vacant Archbishoprick, and is as flatly denied; the King conceiving, He had given enough already to him if gratefull, too much if ungratefull. Besides the King would never bestow an Episcopal charge in England on a forraigner, no not on His own Countrey-men; some Scotish-men being preferred to Deanries, none to Bishopricks. Spalato offended at this repulse (for he had rather had Yorke than Salerno [see quotation from Fuller, note, p. 341], as equal in wealth, higher in dignity, neerer in place) requests His Majesty by his Letter to grant His good leave to depart the Kingdome, and to return into Italy.” Fuller’s Church History, B. x. p. 96, ed. 1655. See also Hacket’s Life of Archb. Williams, P. i. p. 98. ed. 1693.

# 647:

skip] So both MSS. Eds. “slip.”

# 648:

true] So two eds. and both MSS. Omitted in Quarto C.

# 649: _It is but penning Another recantation_, &c.] So two eds. and both MSS. Quarto C. thus: “It is but penning Two or three bitter bookes against the White-house, And inuenting another Recantation.”

# 650:

And let forth, &c.] So two eds. and MS. Bridge. The line not in Quarto C. or MS. Lansd.

# 651:

With] So two eds. Quarto C. “In.”

# 652:

gallant fleet] So two eds. and both MSS. Quarto C. “pretious safe-guard.”—“By his Artifices and Negotiations (having been time enough Ambassador in England to gain credit with the King) he [Gondomar] got Sir Robert Mansell (the Vice-Admirall) to go into the Mediterranean sea, with a Fleet of Ships to fight against the Turks at Algier, who were grown too strong and formidable for the Spaniard (most of the King of Spains Gallions attending the Indian Trade, as Convoys for his Treasures, which he wanted to supply his Armies) and he transported Ordnance and other Warlike Provisions to furnish the Spanish Arsenalls, even while the Armies of Spain were battering the English in the Palatinate.” Wilson’s Life and Reign of James, p. 145, ed. 1653.

# 653:

jails fly open, &c.] “Count Gondomar was the active Instrument to advance this Match [of Prince Charles with the Infanta], who so carried himself in the twilight of jest-earnest, that with his jests he pleased His Majesty of England, and with his earnest he pleasured his Master of Spaine. Having found out the length of King James’s foot, he fitted Him with so easie a shooe, which pained Him not (no, not when he was troubled with the gout), this cunning Don being able to please Him in His greatest passion. And although the Match was never effected, yet Gondomar whilst negotiating the same, in favour to the Catholick cause, procured of his Majesty the enlargment of all Priests and Jesuits through the English Dominions.... These Jesuits, when at liberty, did not gratefully ascribe their freedome to his Majestie’s mercy, but onely to His willingnesse to rid and clear His gaoles over-pestered with prisoners.” Fuller’s Church History, B. x. p. 100, ed. 1655. See also Wilson’s Life and Reign of James, p. 145, ed. 1653.

# 654:

there’s] So both MSS. Eds. “their.”

# 655:

a silenc’d muzzle] “The Pulpits were the most bold Opposers, but if they toucht any thing upon the Spanish policie, or the intended Treaties (for the Restitution of the Palatinate was included in the Mariage before it was the Spaniards to give) their mouthes must be stopt by Gondamar ... and (it may be) confined, or imprisoned for it.” Wilson’s Life and Reign of James, p. 151, ed. 1653.

# 656:

angle] i. e. corner.

# 657:

too] So two eds. and both MSS. Not in Quarto C.

# 658:

state-] So two eds. Not in Quarto C.

# 659:

pick] So two eds. Quarto C. “pricke.”

# 660:

every] So two eds. Quarto C. “the.”

# 661:

The White Bishop’s Pawn] So two eds. and MS. Bridge. Quarto C. and MS. Lansd., more metrically, “The Bishops White Pawne.”

# 662:

flight] See note, p. 349.

# 663:

Enough of them in all parts] So both MSS. Not in Quarto C. Two eds. “There’s enough,” &c.

# 664:

that] So two eds. Quarto C. “the.”

# 665:

that] So two eds. Quarto C. “the.”

# 666:

fames] So MS. Lansd. Eds. and MS. Bridge. “fame.”

# 667:

Duke] So two eds. and both MSS. Quarto C. “Piece.”

# 668:

munificence] So both MSS. Quarto C. “Magnificence.” Two eds. “munificency.”

# 669:

that’s] So two eds. Quarto C. “’tis.”

# 670:

I've maz’d ’em] So two eds. Quarto C. “amaz’d.”

# 671:

ships] So two eds. Quarto C. “ship.”

# 672:

_the fleet In eighty-eight_] i. e. the Spanish Armada in 1588.

# 673:

W. King] So two eds. and both MSS. Quarto C. “Wh. Kni.”

# 674:

attempter] So two eds. Quarto C. “attempt.”

# 675:

impudent] So two eds. and both MSS. Quarto C. “impudence.”

# 676:

piece] So both MSS. Quarto C. “price.” Two eds. “prize.”

# 677:

value] i. e. equal in value.

# 678:

This] So two eds. Quarto C. “The.”

# 679:

however] So two eds. Quarto C. and both MSS. “How any.”

# 680:

W. King] So two eds. and both MSS. Quarto C. “Wh. Kni.”

# 681:

stand] So both MSS. Quarto C. “stood.” Two eds. “stands.”

# 682:

W. King] So two eds. and both MSS. Quarto C. “Wh. Kni.”

# 683:

B. King] So two eds. and both MSS. Quarto C. “W. Kni.”

# 684:

beside] So both MSS. Eds. “besides.”

# 685:

B. King] So two eds. and both MSS. here and at next speech but three. Quarto C. “B. D.”

# 686:

Do’t] So two eds. Quarto C. “Doe.”

# 687:

lock] So two eds. and both MSS. Quarto C. “tooke.”

# 688:

W. King] MS. Lansd. “W. Knight”—rightly, perhaps.

# 689:

this] Both MSS. “their”—rightly, perhaps.

# 690:

B. Knight] So two eds. and both MSS. Quarto C. “W. Kni.”

# 691:

W. King] MS. Lansd. “W. Knight”—rightly, perhaps.

# 692:

B. King] So two eds. and both MSS. Quarto C. “Fat B.”

# 693:

Spalato] So the word Spalatro was generally written.—Eds. and MSS. “Spolletta,” “Spolleta,” “Spallato.”

# 694:

water] Two eds. “water-gate.”

# 695:

of] So two eds. and both MSS. Quarto C. “to.”

# 696:

mazzard] i. e. head.

# 697:

know me] Here, perhaps, the Black Knight thrust the White King’s Pawn into the bag on the stage: compare the concluding scene of the play.

# 698:

my] So two eds. Quarto C. “many.”

# 699:

That] So two eds. Quarto C. “Thus.”

# 700:

us] So MS. Lansd. Quarto C. “vs all.”

# 701:

handsome] So two eds. Quarto C. “honest.”

# 702:

in] So MS. Lansd. Eds. “for.”

# 703:

person] So two eds. Quarto C. “persons.”

# 704:

the] So two eds. Quarto C. “our.”

# 705:

nor] So two eds. Quarto C. “or.”

# 706:

So ... prance it] So two eds. Quarto C. “I’d ... praunc’d.”

# 707:

A pox on you] So two eds. and MS. Bridge. Not in Quarto C. MS. Lansd. omits the whole of this scene between the Black Jesting Pawn and the other two Pawns.

# 708:

snapt] So two eds. Quarto C. “scap’d.”

# 709:

a monkey’s ordinary] Compare Brome’s City Wit; “Knavery is restoratiue to me, as spiders to monkeys.” Sig. F V. (Fiue New Playes, 1653.)

# 710:

firk] i. e. beat.

# 711:

Mass] So two eds. Not in Quarto C.

# 712:

old] i. e. abundant: compare vol. ii. p. 538.

# 713:

for] So two eds. Not in Quarto C.

# 714:

Exeunt.] Not in eds. Perhaps they went into the bag on the stage: compare the concluding scene of the play.

# 715:

your] So two eds. Not in Quarto C.

# 716:

With stay] So all the eds. and both MSS. The meaning is far from clear. Qy. “Withstay”?

# 717:

kind] i. e. nature.

# 718:

are] So two eds. Quarto C. “is.”

# 719:

passion] i. e. sorrow, lament.

# 720:

merely] i. e. wholly.

# 721:

In his gallant habit] Not in Quarto C. nor MSS.: found in two eds., printed as the first line of the opening speech of the scene, thus; “The Jesuit in his gallant habit, Tis he my Confessor,” &c.

# 722:

with] So two eds. Quarto C. “by.”

# 723:

feather] So two eds. Quarto C. “father.”

# 724:

highly] So two eds. Quarto C. “mightie.”

# 725:

trim] So two eds. Quarto C. “trane.”

# 726:

catholical] So two eds. Quarto C. “catholicke.”

# 727:

Suffices] So two eds. Quarto C. “Suffice.”

# 728:

’tis he] In MS. Lansd. only.

# 729:

A most regardless] So two eds. Quarto C. “A most strange reguardles.”

# 730:

Merely] i. e. wholly.

# 731:

now] So two eds. Not in Quarto C.

# 732:

unclose] Quarto C. “vncloses.” Other eds. “incloses.”

# 733:

Put] Eds. “Puts.”

# 734:

mark’d] So two eds. and both MSS. Quarto C. “work’d.”

# 735:

irrevocable] So two eds. Quarto C. “irrecouerable.”

# 736:

shame] So two eds. and both MSS. Quarto C. “chance.”

# 737:

be man] So two eds. Quarto C. “be both man.”

# 738:

grieves] So two eds. Quarto C. “giues.”

# 739:

marry] So two eds. Quarto C. “be married.”

# 740:

a' life] i. e. as my life—exceedingly. So two eds. Quarto C. has the more unusual form “of life.”

# 741:

a foul flaw, &c.] See note, p. 339.

# 742:

treacher] i. e. deceiver, cozener, cheater.

# 743:

gull’d] i. e. swallowed.

# 744:

rear] i. e. under-dressed.

# 745:

poach’d] So two eds. (where the line in other respects is different). Quarto C. “pouch’d.”

# 746:

Unjointed, &c.] So two eds. The line not in Quarto C.

# 747:

stares] i. e. starlings.

# 748:

lightly] So two eds. Quarto C. “titelie.”

# 749:

three] So two eds. Quarto C. “thee.”

# 750:

turn] So two eds. Quarto C. “turned.”

# 751:

chares] i. e. works, jobs.

# 752:

learn’d] So two eds. Quarto C. “and learn’d.”

# 753:

murderers] See note, p. 218.

# 754:

breast] So both MSS. Eds. “best.”

# 755:

the jails, &c.] See note, p. 355.

# 756:

into] So two eds. Quarto C. “in.”

# 757:

Mass] So two eds. Not in Quarto C.

# 758:

or] So two eds. Quarto C. “and.”

# 759:

and] So two eds. Not in Quarto C.

# 760:

sums] So two eds. Quarto C. “sinnes.”

# 761:

thousand] So two eds. Quarto C. “thousands.”

# 762:

doctor Lopez, &c.] Lopez, domestic physician to Queen Elizabeth, was executed for having accepted a bribe from Spain to destroy her. Taylor, the water-poet, in the 13th stanza (or sonnet) of The Churches Deliuerances, tells, in his own homely and facetious manner, the story of Lopez, p. 145— Workes, 1630. Dekker introduces him actually making an attempt on the queen’s life, in the following passage of The Whore of Babylon, 1607:

“TITANIA. Is Lupus here, our Doctor? LUPUS. Gratious Lady. TITANIA. You haue a lucky hand since you were ours, It quickens our tast well; fill vs of that You last did minister: a draught, no more, And giue it fire, euen Doctor how thou wilt. LUPUS. I made a new extraction, you shall neuer Rellish the like. TITANIA. Why, shall that be my last? LUPUS. Oh my deere Mistres! TITANIA. Go, go, I dare sware thou lou’st my very heart. . . . . . . . . TITANIA. Sure ’tis too hot. FIDELI. Oh roague! TITANIA. Set it to coole. FIDELI. Hell and damnation, Diuels. FLORIMELL. What’s that? FIDELI. The damned’st treason! Dog, you whorsen dog; O blessed mayd: let not the toad come neere her: What’s this? If’t be his brewing, touch it not, For ’tis a drench to kill the strongest Deuill That’s Druncke all day with brimstone: come sucke, Weezell, Sucke your owne teat, you—pray. Thou art preseru’d. TITANIA. From what? From whome? FIDELI. Looke to that Glister-pipe: One crowne doe’s serue thy tourne, but heere’s a theefe, That must haue 50000 crownes to steale Thy life: Here ’tis in blacke and white—thy life. Sirra thou Vrinall, Tynoco, Gama, Andrada, and Ibarra, names of Diuels, Or names to fetch vp Diuels: thou knowest these Scar-crowes. LUPUS. Oh mee! O mercy, mercy! I confesse. FIDELI. Well sayd, thou shalt be hang’d then. TITANIA. Haue we for this _Shee reades the letter._ Heap’d fauours on thee? Enter Gard. FIDELI. Heape halters on him: call the Guard: out polecat: He smels, thy conscience stincks Doctor, goe purge Thy soule, for ’tis diseas’d. Away with Lupus. OMNES. Away with him: foh. LUPUS. Here my tale but out. FIDELI. Ther’s too much out already. LUPUS. Oh me accursed! and most miserable. Exit with Guard.” Sigs. G 4, H.

In the above passage the old ed. has, by a misprint, “Ropus” instead of “Lupus:” when he appears in an earlier scene he is called “Lupus,” which a marginal note explains to mean “Lopes.” Sig. F.

# 763:

estate] So two eds. Quarto C. “state.”

# 764:

B. King] So two eds. Quarto C. “Bl. Kni.”

# 765:

Bishop] So two eds. Quarto C. “Bishops.”

# 766:

snapt] So two eds. Quarto C. “snatch’d.”

# 767:

next] So MS. Bridge. Eds. “at next.”

# 768:

her night-attire ... his night-habit] So MS. Lansd. only.

# 769:

virtue’s] So two eds. Quarto C. “vertue.”

# 770:

prevent] i. e. anticipate.

# 771:

eighty-eight] i. e. 1588—the year of the Spanish armada.

# 772:

glittering’st] So both MSS. Eds. “glittering.”

# 773:

sit] Eds. “sits.”

# 774:

face] So two eds. Quarto C. “falce.”

# 775:

your] So two eds. Quarto C. “you.”

# 776:

sire] So both MSS. Eds. “sir” and “sice.”

# 777:

could] Two eds. “would:” but see the third line following.

# 778:

Rumbant’s] So all the eds. and both MSS. The right reading, I have little doubt, is “Rumbold’s,” or rather “Rumold’s.”—“A great and sumptuous church was built at Mechlin to receive his [St. Rumold’s] precious relicks, which is still possessed of that treasure, and bears the name of this saint.” Butler’s Lives of the Saints, vol. vii. p. 2, sec. ed. In the title-page of his Life, 1662, written in Latin by Ward, he is termed “advocati sterilium conjugum.”

# 779:

hose] i. e. breeches.

# 780:

deliverance] So MS. Bridge. Eds. “deliuer” and “deliuerer.”

# 781:

luxury] i. e. lust.

# 782:

O] So two eds. Not in Quarto C.

# 783:

live] Eds. “liues.”

# 784:

were never] So two eds. Quarto C. “neuer were.”

# 785:

strong] So two eds. Quarto C. “good.”

# 786:

Loud music] So MS. Bridge. only.

# 787:

in his litter, &c.] So two eds. Not in Quarto C.—“As he [Gondomar] was carried in his Litter or bottomless Chair (the easiest seat for his Fistula),” &c. Wilson’s Life and Reign of James, p. 146, ed. 1653.

# 788:

concise oration] So both MSS. Quarto C. “course oration.” Other eds. “consecration.”

# 789:

triumphantis] Eds. and MSS. “triumphanti.”

# 790:

snapt] So two eds. Quarto C. “snap.”

# 791:

Hautboys again] So MS. Bridge. only.

# 792:

him] i. e. the White Knight.

# 793:

Enter Black King ... Latin oration] So two eds. Quarto C. has only “_Enter Bl. K. Q. D. K. and Wh. Kni. and D._”

# 794:

fix] So two eds. Quarto C. “fixed.”

# 795:

W. Duke. Th' erroneous relish] So two eds. Not in Quarto C.

# 796:

the fair] So both MSS. Eds. “thee the faire.”

# 797:

approve] i. e. prove.

# 798:

B. King] So two eds. Quarto C. “Bl. K. P.”

# 799:

more] So two eds. Quarto C. “most.”

# 800:

much has wrong’d] So MS. Bridge. Eds. “ill hath (and “has”) vs’d.”

# 801:

judgments] So two eds. Quarto C. “judgement.”

# 802:

when] So MS. Bridge. Eds. “if.”

# 803:

cast] So two eds. Quarto C. “last.”

# 804:

by] So MS. Bridge. Eds. “aside.”

# 805:

You’ll] So MSS. Eds. “Youl’d.”

# 806:

luxury] i. e. lust, incontinence.

# 807:

cunning] So two eds. Quarto C. “cunnings.”

# 808:

Thou] Eds. and both MSS. “That.”

# 809:

some] So two eds. Quarto C. “a.”

# 810:

ears] So two eds. Quarto C. “eare.”

# 811:

W. Queen] So both MSS. Eds. “W. Q. P.”

# 812:

cockatrice] A cant term for a harlot.

# 813:

Death] So two eds. Quarto C. “How.”

# 814:

royal] So two eds. Quarto C. “noble.”

# 815:

Ebusus] Quarto C. and both MSS. “Eleusis.” Two eds. “Ebusis.”—“Circa Ebusum [i. e. Ivica] salpa.” Plin. Hist. Nat. l. ix. c. 18. t. i. p. 511, ed. Hard. 1723.

# 816:

frank’d] i. e. stuft, crammed. (A frank meant a place to fatten hogs and other animals in).

# 817:

far and sapa] The remainder of the line is an explanation of these words; yet it may be necessary to add that cocted is boiled.

# 818:

Epicurean] So two eds. Quarto C. “Epicidean.”

# 819:

Orata] Eds. and both MSS. “Crata.”—Sergius was so called from the fish orata or aurata: see Macr. (Sat. l. ii. c. xi. p. 361, ed. 1670), Pliny, Festus, &c.—Middleton, perhaps, intended only one of the names—“Sergius” or “Orata”—to stand in the line.

# 820:

his successor Julian] Did Middleton confound Didius Julianus (who purchased the empire on the murder of Pertinax,) with Julian the apostate?

# 821:

often] So both MSS. Eds. “after.”

# 822:

triumphs] i. e. public shows.

# 823:

the hogs which Scaliger cites] An allusion, perhaps, to the following passage: “Pinguescit autem longe magis sus: adeoque pinguescit, ut pene totus immobilis reddatur. Neque enim fabulosum est, in eorum clunibus excavare sibi mures foveas; non equidem ut nidificent, sed ut saginentur.” J. C. Scaliger De Subtilitate ad Cardanum, Exer.. cxcix. 2. p. 610, ed. 1634.

# 824:

needle] i. e. nestle.

# 825:

Cyrene’s governor] i. e. Magas: see Athenæus, l. xii. c. 12, t. iv. p. 544, ed. Schw.

# 826:

Sanctius] So two eds. Quarto C. “Sauetius.”—Wanley states that Sanctius, “by the advice of Garsia King of Navarre, made peace with Miramoline King of Corduba, went over to him, was honourably receiv’d, and in his Court was cured by an herb prescribed by the Physicians of that King.” Wonders, &c., p. 47, ed. 1678. See also Grimeston’s (translation of Turquet’s) Historie of Spaine, p. 205, ed. 1612.

# 827:

stunk] So both MSS. Eds. “strucke” and “stung.”

# 828:

sure] So both MSS. Eds. “sir.”

# 829:

kid, cabrito, calf, and tons] “Kid” and “cabrito,”—the latter a Spanish word—are, I believe, synonymous; tons means, perhaps, tunny-fish.

# 830:

frank’d] See note, p. 401.

# 831:

resolv’d] i. e. satisfied.

# 832:

manchet] i. e. small loaf or roll of fine white bread.

# 833:

Below the salt] See note, vol. iii. p. 40.

# 834:

voider] i. e. basket or tray, into which the trenchers, broken meat, &c., were swept from the table with a wooden knife.

# 835:

in] So two eds. Quarto C. “on.”

# 836:

faith] So two eds. Quarto C. “faiths.”

# 837:

her] So two eds. Quarto C. “their.”

# 838:

whom] So two eds. Quarto C. “which.”

# 839:

there] So two eds. Quarto C. “within ’em.”

# 840:

vild] See note, p. 137.

# 841:

a] So two eds. Quarto C. “the.”

# 842:

Epistle to Nicholas the first] B. Udalrici, Episcopi Augustani, pro conjugio clericorum ad Nicolaum primum, Romanum Pontificem, epistola, contains the following passage: “Sunt vero aliqui, qui sanctum Gregorium suæ sectæ sumunt adjutorium: quorum quidem temeritatem rideo, ignorantiam doleo. Ignorant enim, quod periculosum hujus hæresis decretum, a sancto Gregorio factum, condigno pœnitentiæ fructu postmodum ab eodem sit purgatum. Quippe quum die quadem in vivarium suum propter pisces misisset, et allata inde plus quam sex millia infantum capita videret; intima mox ductus pœnitentia ingemuit, et factum a se de abstinentia decretum, tantæ cædis caussam confessus, condigno illud, ut dixi, pœnitentiæ fructu purgavit, suoque decreto prorsus damnato, Apostolicum illud (1 Cor. 9. 7.) laudavit consilium: Melius est nubere, quam uri, addens ex sua parte, Melius est nubere, quam mortis occasionem præbere.” Appendix to Calixti de Conjugio Clericorum Liber, Pars ii. p. 550, ed. Henke.

# 843:

B. Knight] One ed. and MS. Lansd. “B. K.[ing],” which may be right; B. B. Pawn presently says, “King taken.”

# 844:

B. King] Two eds. and MS. Lansd. “B. Kt.”

# 845:

We] So MS. Bridge. Eds. “I.”—Compare l. 25 of preceding page.

# 846:

the bag, like hell-mouth] So MS. Bridge. Eds. “the bags mouth like hell.”

# 847:

The bag opens, &c.] So MS. Lansd., except that it makes no mention of the Fat Bishop. Quarto C. “The Bagge opens the Bl. Side in it.” Two eds. “The Bag opens, the B. B. slides in it.”—The bag, probably, was either on one side, or at the back, of the stage, during the whole of the play: see notes pp. 366, 370.

# 848:

King] So two eds. Quarto C. “King’s.”

# 849:

given us the bag] i. e. cheated, or rather, put a trick on us: a colloquial phrase, common in our old writers.

# 850:

'Sfoot, this Fat Bishop] Quarto C. “This Blacke Bishop.” Other eds. “Sfoot this blacke Bishop.” MS. Lansd. “This Fat Black Bishop.” MS. Bridge. “Slid this fat Bishop.”

# 851:

squelch’d] i. e. crushed. So two eds. Quarto C. “quelch’d.”

# 852:

Spalato] See note, p. 365.

# 853:

so] So MS. Bridge. Not in eds.

# 854:

But I shall] So MS. Bridge. Eds. “I’em (and “I’me”) sure to.”

# 855:

greatness ever] After these words MS. Bridge. has,

“For the Politician is not sound i’ th' vent, I smell him hither.”

which does not connect well with the rest of the speech.

# 856:

Room for, &c.] I have not ventured to insert a stage-direction here, being doubtful which character is meant by the “olive-coloured Ganymede.”

# 857:

cease] Though there is no corresponding rhyme to this word, it does not appear that a line has dropt out, the sense being complete.

# 858:

yield] Old ed. “yields.”

# 859:

improve] i. e. prove.

# 860:

Nothing new there] My attempt to restore the prose speeches in this scene to the blank verse in which they appear to have been originally written, proved on the whole so unsuccessful, that I now give them as exhibited in the 4to. The text of the play is, I believe, corrupted throughout: and perhaps the reader, when he meets with sundry passages which are scarcely metrical, will be of opinion that I ought more frequently to have left the prose of the old edition undisturbed.

# 861:

the Standard] See note, vol. i. p. 438; but I find nothing in Stow to illustrate the present passage.

# 862:

brave] i. e. finely dressed.

# 863:

farcels] Is, perhaps, a word formed from the verb farce (to stuff), though I have not elsewhere met with it.

# 864:

do] Old ed. “does.”

# 865:

George] Old ed. “Franck.”

# 866:

foxed] i. e. drunk.

# 867:

Artillery Garden] “A field enclosed with a bricke wall, without Bishopsgate.” Stow’s Annales, p. 1084, ed. 1631: see, too, his account of “The practise in the Artillery Garden reuiued [in 161O],” ibid. p. 995. At a later period, “the practice” was generally held in Moorfields: vide Stow’s Survey, b. iii. p. 70, ed. 1720.

# 868:

fustian and apes breeches] May be right, though I cannot explain it: but qy. “Naples breeches”? In The Rates of Marchandizes (reign of James I.) various sorts of “Naples Fustians” are mentioned.

# 869:

the Quest-house] Was generally the chief watch-house in a parish: to it those were brought who were taken up by the common watchmen; and there, I believe, about Christmas, the aldermen and citizens of the ward used to hold a quest, to inquire concerning misdemeanours and annoyances. Some parishes in London still have Quest-houses; St. Giles, Cripplegate, for instance. From the present passage it would seem that gambling was sometimes carried on there.

# 870:

voyage to Guiana] i. e., I presume, the first voyage, under Raleigh, in 1595: there were three voyages to Guiana; see Southey’s excellent Lives of Brit. Admirals, vol. iv. pp. 257, 317, 324.

# 871:

mark] See note, p. 10.

# 872:

play at the ordinary] See note, vol. i. p. 434.

# 873:

bevers] i. e. potations—(the word generally means— refreshments between meals.)

# 874:

possess’d] i. e. informed: or, perhaps, convinced: see note, vol. i. p. 420.

# 875:

reclaim] i. e. tame.

# 876:

set up my rest for] i. e. stand upon, take my chance with: a metaphor from the game of primero: see the long article in Nares’s Gloss. (Rest, to set up.)

# 877:

and] i. e. if.

# 878:

sumner] i. e. apparitor.

# 879:

stale] See note, p. 213.

# 880:

felfare] A corruption of fieldfare.

# 881:

even there] Old. ed. “ever there.” Qy. “even then”?

# 882:

Have you drunk, &c.] After arranging the whole of this scene as blank verse, I found it so intolerably rugged and halting, that, with the exception of a few speeches, I have thrown it again into prose.

# 883:

And] i. e. if.

# 884:

dead pays] i. e. pay continued to soldiers who were dead, taken by dishonest officers for themselves.

# 885:

rushes] With which the floor was strewed.

# 886:

changeling] i. e. fool.

# 887:

Familists] See note, vol. i. p. 104.

# 888:

and] i. e. if.

# 889:

resolve] i. e. inform, satisfy.

# 890:

and] i. e. if.

# 891:

table] i. e. palm of the hand.

# 892:

manchet] See note, p. 405.

# 893:

brave] i. e. fine.

# 894:

shop] See note, vol. iii. p. 54.

# 895:

What is’t you lack] See note, vol. i. p. 447.

# 896:

carnadine] Or carnardine—“Is,” says Steevens, who quotes the present passage, “the old term for carnation.” Note on Shakespeare’s Macbeth, act ii. sc. 2.

# 897:

tabine] A sort of wrought silk: see in v. The Rates of Marchandizes, &c. in the reign of James I. Old ed. “Tobine.”

# 898:

eyne] i. e. eyes.

# 899:

an ell] i. e. an ell-wand: compare vol. iii. p. 166.

# 900:

And] i. e. if.

# 901:

vent] i. e. vend.

# 902:

deceiving lights] See note, vol. i. p. 482.

# 903:

cousin] See notes, vol. i. p. 499, vol. iii. p. 60.

# 904:

gummed] “Velvet and taffeta,” says Nares, “were sometimes stiffened with gum, to make them sit better.” Gloss. (in Gumm’d velvet.)—Brathwait gives another reason for the use of gum;

“If a penurious Master have a mind To Satten-face his doublet, &c.

. . . . . . . . . .

Yet I confesse this Remnant that he bought Such a commoditie ’twas good for nought, Being gumm’d throughout to make it neatly shine, Which gave content unto this spruce Divine.” Honest Ghost, 1658, p. 189.

# 905:

How] Old ed. “for how.”

# 906:

stript] i. e. striped: why I have not altered the old spelling will appear from what follows.

# 907:

stript and whipt too] An allusion, perhaps, to the celebrated poetical work of Wither, entitled Abuses Stript and Whipt.

# 908:

the open part, which is now called the placket] Another passage which disproves the assertion of Nares: see notes, vol. ii. p. 497, vol. iii. p. 241.

# 909:

con him thanks] i. e. feel thankful to him: see Richardson’s Dict. in v. Con.—Tyrwhitt thinks the expression equivalent to the French sçavoir gré. Gloss. to Chaucer’s Cant. Tales.

# 910:

so forward for a knave] i. e. so forward a knave: compare vol. ii. p. 421, and note.

# 911:

Right, right, &c.] A speech originally, perhaps, blank verse: see note, p. 421.

# 912:

Why, when] A frequent expression of impatience: see notes, vol. i. pp. 289, 362.

# 913:

Cole-Harbour] See note, vol. ii. p. 58.

# 914:

innocent] i. e. foolish, silly.

# 915:

cauterizer] So old ed. afterwards (p. 454): here “cauterize.”

# 916:

luxinium] Occurs twice afterwards; and (p. 466) Ralph plays on the word: but qy. “lixivium”?

# 917:

bolsters] In Vigon’s Workes of Chirurgerie, 1571, various kinds of bolsters are described, that “must be applyed in hollowe vlcers,” &c. fol. cxiii.

# 918:

tabine] See note, p. 440. Old ed. “Tobine.”

# 919:

subeth] “Subée: espèce d’apoplexie.” Roquefort, Gloss. de la Lang. Rom. in v.

# 920:

luxinium] See note, p. 451.

# 921:

If it please you, &c.] I suspect that the whole of this scene was originally written in blank verse: see note, p. 421.

# 922:

bondage] Here old ed. has a stage-direction “Grasps the skain between his hands”—i. e. the feigned page was to hold it so that his hands might seem to be fettered.

# 923:

condition] i. e. disposition, nature.

# 924:

next your leisure] Old ed. “your leisure next.”

# 925:

believe] Qy. “receive”?—See first line of this scene.

# 926:

yield] Old ed. “yields.”

# 927:

fancy] i. e. love.

# 928:

corrupt a] Old ed. “a corrupt.”

# 929:

the body not] Old ed. “not the body.”

# 930:

bush] An allusion both to the bush carried by the man in the moon, and to the tavern-bush: see note, p. 177.

# 931:

os coxendix] Comes nearest to the reading of old ed. “Oscox-Index:” but qy. “os coccygis”?

# 932:

In your shop, &c.] Compare p. 442 of this vol., and p. 482 of vol. i.

# 933:

retargé] i. e. retardé: see Cotgrave in v.

# 934:

Turnbull Street] See note, p. 34.

# 935:

luxinium] See note, p. 451.

# 936:

cacokenny] Qy. “cacochymy”

# 937:

United] Old ed. “the united.”

# 938:

wife] There can be no doubt that this speech was originally verse, however awkwardly, in the present state of the text, it may read as such: the answer of George is intended to rhyme with the second line.

# 939:

toward] i. e. at hand.

# 940:

as] Old ed. “is.”

# 941:

Sir, I do now, &c.] Were not this speech, and the two preceding speeches of sir F. Cressingham, originally blank verse? see note, p. 421.

# 942:

wild benefits of nature] This expression occurs in Webster’s Dutchess of Malfi; see my edition of his Works, vol. i. p. 253: but it may be traced to Sir P. Sidney; “to have for food the wild benefits of nature.” Arcadia, b. iv. p. 426, ed. 1633.

# 943:

move] Old ed. “moves.”

# 944:

their] Old ed. “your.”

# 945:

Maria ... Edw.] Old ed. “1 Childe” ... “2 Childe.” We learn their names from an earlier scene, p. 442.

# 946:

grutched] i. e. grudged.

# 947:

wainscot-gown] If there be no misprint here, means, perhaps, a gown with a waving pattern: see Richardson’s Dict. in v. Wainscot: but qy. “waistcoat-gown”?

# 948:

cannot away with] i. e. cannot endure.

# 949:

Saint Patrick’s Purgatory] See note, vol. iii. p. 131.

# 950:

Scene II] Here, instead of marking a new scene, the old ed. has “Exeunt. manet Knaves-bee”; and the audience were to imagine that, when the others had gone out, the stage represented the interior of Knavesby’s house: see note, p. 291.

# 951:

mark] See note, p. 10.

# 952:

burst] Perhaps a couplet was intended here.

# 953:

new] Qy. “new thoughts”?

# 954:

beholding] See note, p. 40.

# 955:

bugle-brow’d] i. e. horned: bugle meant several kinds of horned cattle,—the bull, buffalo, &c.

# 956:

byrlakins] i. e. by our lady-kin (the diminutive of lady.)

# 957:

too] Here again, perhaps (see note, p. 477), a couplet was intended.

# 958:

the other] Old ed. “the t’other.”

# 959:

towards] i. e. at hand.

# 960:

beholding] See note, p. 40.

# 961:

grow thorough] An allusion to a proverbial saying;

“There is a nest of chickens which he doth brood That will sure _make his hayre growe through his hood_.” Heywood’s Dialogue, sig. G 2,—Workes, ed. 1598.

Ray gives “His hair grows through his hood—He is very poor, his hood is full of holes.” Proverbs, p. 57, ed. 1768.

# 962:

banes] i. e. bans: see note, vol. i. p. 471.

# 963:

be] Old ed. “by.”

# 964:

pantofles] i. e. a sort of slippers.

# 965:

grutch] i. e. grudge.

# 966:

dearest] i. e. most hurtful, most injurious (from the old verb dere, to hurt). So also in Shakespeare’s Hamlet, (act i. sc. 2, “dearest foe”), though Steevens explains it “most immediate, consequential, important.”

# 967:

defeat] Qy. “deceit”?

# 968:

ought] i. e. owed.

# 969:

do] Old ed. “does.”

# 970:

Dagger-pies] i. e. pies made at The Dagger, a low ordinary and public-house in Holborn; they were in great repute, as well as its ale.

# 971:

our Puritans, &c.] Compare vol. ii. p. 153, and note; also the following passage of the Latin comedy Cornelianum Dolium, 1638; “imo membra sua vix tolerare queunt quia Organa appellata sunt,” p. 6: though the play just cited has on its title-page “auctore T. R.” (i. e., as commonly explained, Thomas Randolph), I have little doubt that it was written by Brathwait.

# 972:

away with] i. e. endure.

# 973:

ought] i. e. owed.

# 974:

provant breeches] i. e. such breeches as were supplied to the soldiers from the magazines of the army: see Gifford’s note on B. Jonson’s Works, vol. i. p. 70.—Provant meant provision: “put in apposition with any other thing,” says Nares, it “implied that such an article was supplied for mere provision; as we say ammunition bread, &c., meaning a common sort.” Gloss. in v.

# 975:

George] Is printed in old ed. as the prefix to “Sir, rest assured,” &c.

# 976:

Scene changes, &c.] There can be no doubt, I think, that, on the departure of the two Franklins and George, the poet intended the audience to suppose that a change of scene took place as I have marked it. See notes, pp. 291, 476.

# 977:

countess, &c.] i. e. Godeva: see Dugdale’s Warwickshire, p. 86, ed. 1656.

# 978:

mark] See note, p. 10.

# 979:

So inconsiderate, &c.] Two lines, evidently, of blank verse—in which, probably, more of this scene was originally written than I have been able to arrange as such: see note, p. 421.

# 980:

desire] Qy. “deserve”? compare p. 279, and note.

# 981:

brooks no poison] See note, vol. iii. p. 177.

# 982:

a room] Intent mainly on bringing together nearly the whole of the dramatis personæ, Middleton appears to have left the location of this scene to the imagination of the audience. Soon after Water-Camlet and George have been concealing themselves “behind the arras,” Sweetball and Knavesby enter, and agree (as if they were walking out of doors), that “the next man they meet shall judge them.”

# 983:

means] i. e. tenor.

# 984:

is but fiddling] Old ed. “his but sidling.”

# 985:

wittol] i. e. tame cuckold.

# 986:

macrio] i. e. pander, pimp.

# 987:

sink at Queen-hive, &c.] See note, vol. iii. p. 255.

# 988:

The place I speak of, &c.] See Malone’s Essay on the Origin of The Tempest, reprinted in vol. xv. of his Shakespeare (by Boswell). At p. 425 of the Appendix to that tract, Malone, having occasion to notice the present passage, says, that Any Thing for a Quiet Life “appears from internal evidence to have been written about the year 1619.”

# 989:

george] i. e. the insignia of St. George.

# 990:

Bermothes] Or Bermoothes—an old form of Bermudas.

# 991:

Divelin] i. e. Dublin.

# 992:

other] Old ed. here and next line but one, “to’ther.”

# 993:

parle] i. e. parley.

# 994:

Make] Old ed. “makes.”

# 995:

already come] Old ed. “come already.”

# 996:

bravely] i. e. finely (in fine apparel).

# 997:

the best I ever saw you at] Old ed. “at the best I ever saw you.”

# 998:

came] Old ed. “can.”

# 999:

civil] i. e. sober, grave, plain—opposed to “gallant,” which follows.

# 1000:

Your state, &c.] A speech the whole of which seems to have been originally verse: see note, p. 421.

# 1001:

banquerout] i. e. bankrupt.

# 1002:

knew] Old. ed. “know.”

# 1003:

Thanks, and a thousand] i. e. a thousand thanks: compare note, vol. ii. p. 86.

# 1004:

hire] Old ed. “her.”

# 1005:

triumph] See note, p. 403.

# 1006:

aton’d] i. e. reconciled.

# 1007:

censure] i. e. judgment.

# 1008:

Nath. Richards] According to the Biogr. Dram., “was of Caius College, Cambridge, where, in 1634, he took the degree of LL.B.” He was author of Messalina the Roman Empress, a tragedy, 1640, and Poems Sacred and Satyricall, 1641.

# 1009:

Bianca] Old ed., both in the list of characters and throughout the play, “Brancha.” The violation of metre which the latter name occasions would alone be sufficient to prove it a misprint: e. g.:

“Sure you’re not well, Brancha; how dost, prithee?”

“What shall I think of first? Come forth, Brancha.”

“Thou hast been seen, Brancha, by some stranger.”

“Brancha. Would you keep me closer yet?”

“I should fall forward rather. Come, Brancha.”

“Come sit, Brancha. This is some good yet.”

“Here’s to thyself, Brancha. Nothing comes.”

“Of bright Brancha; we sat all in darkness.”

Her family name, as we learn from act iii. sc. 1, was Capello.—Most readers will recollect the celebrated Bianca Capello, second wife of Francis de Medici, grand duke of Tuscany: the earlier events in her history, and in that of the Bianca of the tragedy, have a sort of resemblance; both fled from Venice to Florence, &c.

# 1010:

unvalu’dst] i. e. invaluablest.

# 1011:

spoke] Old ed. “spake.”

# 1012: GUAR. Light her now, brother] Here, I apprehend, is some corruption of the text, and something wrong in the assignment of the speeches; but feeling dissatisfied with the alterations which I attempted, I leave the passage as it stands in the old ed.

# 1013:

jacks] i. e. fellows.

# 1014:

cat and cat-stick] “TIP-CAT, or perhaps more properly, the game of CAT, is a rustic pastime well known in many parts of the kingdom. Its denomination is derived from a piece of wood called a cat, with which it is played; the cat is about six inches in length, and an inch and a half or two inches in diameter, and diminished from the middle to both the ends, in the shape of a double cone; by this curious contrivance the places of the trap and of the ball are at once supplied, for when the cat is laid upon the ground, the player with his cudgel [or cat-stick] strikes it smartly, it matters not at which end, and it will rise with a rotatory motion, high enough for him to beat it away as it falls, in the same manner as he would a ball.” Sports, &c. (p. 86), by Strutt, who describes two of the various ways in which the game is played.—The “trap-stick” with which the Ward enters is, of course, the same as cat-stick; and “tippings” is a term of the game.

# 1015:

mar’l] i. e. marvel.

# 1016:

thy] Old ed. “that.”

# 1017:

Byrlady] i. e. By our lady.

# 1018:

make] Old ed. “makes.”

# 1019:

Walk’d] Altered by the editor of 1816 to “Wak’d:” but compare p. 526, “they walk out their sleeps,” &c.

# 1020:

revel] Old ed. “revels.”

# 1021:

make] Old ed. “makes.”

# 1022:

and] i. e. if.

# 1023:

to] i. e. compared with.

# 1024:

And] i. e. if.

# 1025:

summ’d] Old ed. “sow’d.”

# 1026:

bless you.—Simple, lead, &c.] Qy. “bless you simply.—Lead”? &c. Old ed. thus, “bless; you simple, lead,” &c.

# 1027:

towards] i. e. in preparation.

# 1028:

likes] i. e. pleases.

# 1029:

passage] “It is a game at dice, to be played at but by two, and it is performed with three dice. The caster throws continually till he hath thrown doublets under ten, and then he is out and loseth; or doublets above ten, and then he passeth and wins. Complete Gamester.” Editor of 1816.

# 1030:

trow] i. e. think you.

# 1031:

pearl in eye] See note, p. 125.

# 1032:

bum-roll] See note, vol. i. p. 432.

# 1033:

It may take handsomely] After this speech the editor of 1816 puts a stage-direction, “Guard. goes out and returns almost immediately,” and follows the old ed. in marking the subsequent entrance thus, “Enter Mother.”

# 1034:

merrily] Old ed. “meerly.”

# 1035:

Attend the gentlewoman] Part of the present scene,— from the entrance of the Mother to these words,—is given, with a few omissions, in Specimens of Engl. Dram. Poets, by Lamb, who observes, “This is one of those scenes which has the air of being an immediate transcript from life. Livia, the ’good neighbour,' is as real a creature as one of Chaucer’s characters. She is such another jolly Housewife as the Wife of Bath.” P. 155.

# 1036:

condition] See note, p. 457.

# 1037:

duke] See p. 311.

# 1038:

above] The upper-stage (see note, vol. ii. p. 125) was probably intended to represent “for the nonce” a gallery.

# 1039:

Draws a curtain, &c.] The upper-stage was furnished with curtains. Old ed. has merely “Duke above.”

# 1040:

here] Old ed. “here’s.”

# 1041:

make] Old ed. “makes.”

# 1042:

why] Old ed. “who.”

# 1043:

beholding] See note, p. 40.

# 1044:

cutted] i. e. “cross, querulous.” Editor of 1816.

# 1045:

of] Qy. “or”?

# 1046:

byrlady] See note, p. 530.

# 1047:

likes] i. e. pleases.

# 1048:

casting-bottle] See note, vol. ii. p. 216.

# 1049:

white boys] There is a play on words here: “white boy” was often used as a term of endearment; “And that’s to talk of her white boy, she’s fond on.” Brome’s New Academy, p. 7 (Five New Playes, 1659.)

# 1050:

is] Old ed. “as.”

# 1051:

dislik’d] i. e. displeased.

# 1052:

’tis] Old ed. “’till.”

# 1053:

Bianca Capello] Old ed. “Brancha Capella:” see note, p. 516.

# 1054:

sucket] i. e. sweetmeat.

# 1055:

march-pane] See note, vol. iii. p. 269.

# 1056:

Livia’s house] See pp. 573, 576, 593. She and Guardiano, it appears, were inhabiting the same mansion.

# 1057:

deft] i. e. neat, spruce.

# 1058:

wine and sweetmeats] Of which a banquet consisted: see note, vol. iii. p. 252.

# 1059:

Rouans’] A misprint, I presume; but qy. for what?

# 1060:

barren] i. e. dull, stupid.

# 1061:

trow] i. e. think you.

# 1062:

cat and trap] See note, p. 527.

# 1063:

breast] i. e. voice. Compare vol. iii. p. 576.

# 1064:

pricksong] See note, vol. iii. p. 626.

# 1065:

of] Old ed. “of a.”

# 1066:

Aside] “I think there is every reason to believe Brancha’s [Bianca’s] speech and the Duke’s spoken, as I have marked them, the one aside, and the other to Brancha; they were certainly not intended to be generally heard.” Editor of 1816.—Perhaps Bianca’s speech is addressed to the Duke.

# 1067:

unvalu’d] i. e. invaluable.

# 1068:

prick and praise] See note, vol. ii. p. 133.

# 1069:

measures] See note, vol. i. p. 233.

# 1070:

sinquapace] Properly cinque-pace: see note, vol. iii. p. 631.

# 1071:

hay] Or hey—according to some, an abbreviation of hey-de-guize (see note, p. 163): is “gay” formed from the same variously-spelt word?

# 1072:

round] See note, vol. ii. p. 190.

# 1073:

canaries] See note, vol. iii. p. 39.

# 1074:

passion] i. e. sorrow.

# 1075:

vild] See note, p. 137.

# 1076:

hearse] “In imitation of which [cenotaph] our hearses here in England are set up in churches, during the continuance of a yeare, or the space of certaine monthes.” Weever—cited in Todd’s Johnson’s Dict. v. Hearse.

# 1077:

have] Old ed. “has.”

# 1078:

woodcock] i. e. simpleton: compare vol. iii. p. 46.

# 1079:

innocent] i. e. idiot, fool: see pp. 299, 451.

# 1080:

cried] i. e. proclaimed as lost by the public crier.

# 1081:

cater’s] i. e. caterer’s.

# 1082:

and] i. e. if.

# 1083:

do] Old ed. “does.”

# 1084:

stool-ball] So called from being played with a stool (or stools) and a ball: see Sports, &c., by Strutt, who says, “it seems to have been a game more properly appropriated to the women than to the men.” P. 77.

# 1085:

rushes] With which the floors were strewed.

# 1086:

breed ’em all in your teeth] “In allusion to a superstitious idea, that an affectionate husband had the toothache while his wife was breeding.” Editor of 1816.

# 1087:

wait] Old ed. “waits.”

# 1088:

go] Old ed. “goes.”

# 1089:

in sadness] i. e. in seriousness—seriously.

# 1090:

three legs] i. e. “three bows.” Editor of 1816.

# 1091:

brave] i. e. finely dressed.

# 1092:

Will you, &c.] I give these speeches as they stand in old ed. In whatever way the lines are divided, the metre will not run regularly.

# 1093:

know] Old ed. “knew.”

# 1094:

cure’s] Qy. “care’s”?

# 1095:

low] Old ed. “love.”

# 1096:

set] Old ed. “sets.”

# 1097:

Sung for a hymn in heaven] “It is needless to say that our poet here alludes to a passage in the 15th chapter of St. Luke.” Editor of 1816.

# 1098:

and] i. e. if.

# 1099:

Break] Old ed. “Breaks.”

# 1100:

wilful murder] After these words the editor of 1816 inserts a stage-direction “They seize Hip.” But if they lay hands on him now, it is plain, from what follows, that they presently leave him at liberty.

# 1101:

and] i. e. if.

# 1102:

breast] See p. 583.

# 1103:

sinquapace] Properly cinque-pace: see note, vol. iii. p. 631.

# 1104:

pillowbeers] i. e. pillow-cases.

# 1105:

angels] i. e. gold coins worth about ten shillings.

# 1106:

all’s] So old ed.—for “all as.”

# 1107:

resolv’d] i. e. satisfied, convinced.

# 1108:

thus] Altered, unnecessarily I think, to “that’s,” by the editor of 1816.

# 1109:

And sets ’em all in order] “Brancha [Bianca] here evidently alludes to the 13th chapter of St. Paul’s first Epistle to the Corinthians.” Editor of 1816.

# 1110:

caltrop] “A Caltrop; or iron engine of warre, made with foure pricks, or sharp points, whereof one, howsoeuer it is cast, euer stands upward.” Cotgrave’s Dict. in v. Chaussetrape.

# 1111:

triumph] i. e. show, masque.

# 1112:

stamp] See vol. iii. p. 368.

# 1113:

above] i. e. on the upper stage: see note, vol. ii. p. 125.

# 1114:

sake ... part] As the rest of the dialogue is in rhyme, I suspect that something has dropt out here.

# 1115:

antimasque] i. e. an interlude introduced during the masque, “something directly opposed to the principal masque:” see Gifford’s note on B. Jonson’s Works, vol. vii. p. 251.

# 1116:

Ay, and makes love—take that] The editor of 1816 follows the pointing of the old ed., “Ay, and makes love take that,” remarking, in a note, “I confess I have no very clear understanding of this passage.” The difficulty lies in knowing what “that” is by which Livia destroys Isabella.

# 1117:

have] Old ed. “has.”

# 1118:

Runs on a sword, &c.] i. e. perhaps on a sword carried by one of the guard. The editor of 1816 gives “Falls on his sword;” but see the preceding speech of Hippolito.

# 1119:

Drinks, &c.] Here the editor of 1816 gives “Stabs herself,” observing in a note, “I have added this stage-direction, without which I cannot otherwise understand the following speech of the Lord Cardinal’s.” But it is evident, I think, from the last words of Bianca,—

“Tasting the same death in a cup of love,”— that she drains off the poisoned cup which she had prepared for the Cardinal, and which Ganymede had by mistake presented to the Duke.

# 1120:

no enemy] Old ed. “no Enemy, no Enemy.”

------------------------------------------------------------------------

Transcriber’s Note

The author shifted between prose speech and blank verse, sometimes in mid-speech. In this rendering, verse sections are given without blank lines between speeches, with an indentation for each speech.

Stage directions, except for entrances, can be:

in-line in the middle of a line and delimited with ‘[ ]’,

end of line right-justified on the same line (where there is room), with only the leading ‘[’,

next line right-justified on the following line, where there is insufficent room, with a hanging indent, if necessary.

The same convention is followed here. Since this version is wider than the original, most directions are on the same line as the speech.

Entrances were centered and separated slightly from lines above and below. This is rendered here as a full blank line.

The footnote scheme used lettered references, repeating a-z. On numerous occasions, letters were repeated, and sometimes skipped. The numeric resequencing of notes here resolves those lapses. Footnotes are sometimes referred to directly in a footnote by its letter designation. The few direct references to a lettered note use the new numeric value.

Note 891 regarding “Familists” of Amsterdam, refers the reader to a note on p. 104 of Volume 1. No relevant note appears there, but it is likely that the reference should be to the introductory note to “The Family of Love” in Volume 2, beginning on p. 103.

The cross-reference in note 194 for the term ‘foisting’ refers to p. 544 of vol. iii. The reference is to note 1186 in vol. ii.

Errors deemed most likely to be the printer’s have been corrected, and are noted here. The references are to the page and line in the original.

26.33 Thou[l’/’l]t make me play Transposed. 118.33 foisting] See note, vol. ii[i]., p. 544. Removed 119.33 a very small coin.[”] Added. 193.34 [“]First, promise me Added. 466.36 cacokenny] Qy. [“]cacochymy” Added.

--------------

A CHASTE MAID IN CHEAPSIDE.

Vol. iv. p. 5, last line.

board] The spelling of the old ed. is right—“bord,” i. e. size. So in Beaumont and Fletcher’s Knight of the Burning Pestle;

“underneath his chin He plants a brazen piece of mighty bord.” Act iii. sc. 2—Works, vol. i. p. 214, ed. Weber.

where, says M. Mason, “bord means rim or circumference.”

Vol. iv. p. 32, l. 4.

corps] So the word is used as a plural in Epigrams and Satyres, by Richard Middleton, 1608;

“the Tyrants brazen bull Of Agrigentine, which being crammed full Of humane corps, did roare with such a maine,” &c. p. 34.

Vol. iv. p. 66, note, read

“111 Rider’s Dictionary] A Dict. Engl. and Lat. and Lat. and Engl., by John Rider, first printed at Oxford, 1589, was a work once in great repute.”

--------------

THE SPANISH GIPSY.

Vol. iv. p. 145, last line but one.

“this she, trow;”

Read

“this she, trow?”

--------------

A GAME AT CHESS.

Vol. iv. p. 310, l. 1.

Roch, Main, and Petronill, itch and ague curers] Compare Taylor the water-poet: “he must be content with his office, as ... Saint Roch with scabbes and scurfes ... Saint Petronella the Ague or any Feuer.” A Bawd, p. 93—Workes, 1630.

Vol. iv. p. 407, l. 6.

Epistle to Nicholas the first, &c.] Since writing the note on these words, I have found in the Κειμηλια Literaria of Colomesius what he calls a confirmation of the absurd story of the six thousand infants’ heads. “Simile quid narratur a Joscelino, in Episcoporum Cantuariensium Vitis, p. 210. editionis Hanovianæ. Anno 1309, inquit, Radulphus Bourn Augustinensis Ecclesiæ Abbas electus, cum ad Papam Avinioni agentem confirmandus accessisset, reversus domum, testatur se vidisse in itinere piscinam in quadam Monialium Abbatia, quæ PROVINES dicebatur; in qua, cum educta aqua luto purgaretur, multa parvulorum ossa, ipsaque corpora adhuc integra reperiebantur. Unde ad criminalia judicia subeunda viginti septem Moniales Parisios ductæ et carceribus mancipatæ fuerunt, de quibus quid actum fuerit, nescivit.” Col. Opera, p. 301, ed. Fabr.

--------------

ANY THING FOR A QUIET LIFE.

Vol. iv. p. 489, l. 25.

the new prophet, the astrological tailor] Perhaps Ball, who is thus mentioned by Osborn: “And, if common Fame did not outstrip Truth, King James was by Fear led into this extreme; finding his Son Henry not only averse to any Popish Match, but saluted by the Puritans as one prefigured in the Apocalyps for Rome’s destruction. And to parallel this, one Ball, a Taylor, was inspired with a like Lunacy, tho’ something more chargeable; for not only he, but Ramsay his Majesty’s Watch-maker, put out Money and Clocks, to be paid (but with small Advantage, considering the Improbability) when King James should be crowned in the Pope’s chair.” Trad. Memor. on the Reign of K. James—Works, vol. ii. p. 153, ed. 1722; see also B. Jonson’s Works by Gifford, vol. v. p. 242.

--------------

WOMEN BEWARE WOMEN.

Vol. iv. p. 520, l. 20.

To take out] i. e. to copy—a not uncommon expression in our old writers.

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