_Enter_ Porsenna _and_ Aruns.
Porsenna.
Yet grow our lofty plumes unflagged with blood,
And yet sweet pleasure wantons in the air.
How goes the battle, Aruns?
Aruns.
’Tis even balanced.
I interchanged with Brutus, hand to hand,
A dangerous encounter; both are wounded,
And, had not the rude press divided us,
One had dropped down to earth.
Porsenna.
’Twas bravely fought.
I saw the king your father free his person
From thousand Romans that begirt his state,
Where flying arrows thick as atoms sung
About his ears.
Aruns.
I hope a glorious day.
Come, Tuscan king, let’s on them.
[_Alarum_.
_Enter_ Horatius _and_ Valerius.
Horatius.
Aruns, stay!
That sword, that late did drink the consul’s blood,
Must with his keen fang tire upon[5.68] my flesh,
Or this on thine.
Aruns.
It spared the consul’s life
To end thy days in a more glorious strife.
Valerius.
I stand against thee, Tuscan!
Porsenna.
I for thee!
Horatius.
Where’er I find a Tarquin, he’s for me.
[_Alarum. They fight;_ Aruns _is slain_, Porsenna _driven off_.
_Alarum. Enter_ Tarquin _with an arrow in his breast_, Tullia
_with him, pursued by_ Collatine, Lucretius, Scevola.
Tarquin.
Fair Tullia, leave me; save thy life by flight,
Since mine is desperate; behold, I am wounded
Even to the death. There stays within my tent
A wingèd jennet, mount his back and fly;
Live to revenge my death, since I must die.
Tullia.
Had I the heart to tread upon the bulk[5.69]
Of my dead father, and to see him slaughtered,
Only for love of Tarquin and a crown,
And shall I fear death more than loss of both?
No, this is Tullia’s fame,--rather than fly
From Tarquin, ’mongst a thousand swords she’ll die.
Collatine, Lucretius, and Scevola.
Hew them to pieces both.
Tarquin.
My Tullia save,
And o’er my caitiff head those meteors wave!
Collatine.
Let Tullia yield then.
Tullia.
Yield me, cuckold! no;
Mercy I scorn; let me the danger know.
Scevola.
Upon them, then!
Valerius.
Let’s bring them to their fate,
And let them perish in the people’s hate.
Tullia.
Fear not, I’ll back thee, husband.
Tarquin.
But for thee,
Sweet were the hand that this charged soul could free!
Life I despise. Let noble Sextus stand
To avenge our death. Even till these vitals end,
Scorning my own, thy life will I defend.
Tullia.
And I’ll, sweet Tarquin, to my power guard thine.
Come on, ye slaves, and make this earth divine!
[_Alarum_. Tarquin _and_ Tullia _are slain_.
_Enter_ Brutus _all bloody_.
Brutus.
Aruns, this crimson favour, for thy sake,
I’ll wear upon my forehead masked with blood,
Till all the moisture in the Tarquins’ veins
Be spilt upon the earth, and leave thy body
As dry as the parched summer, burnt and scorched
With the canicular stars.
Horatius.
Aruns lies dead
By this bright sword that towered about his head.
Collatine.
And see, great consul, where the pride of Rome
Lies sunk and fallen.
Valerius.
Beside him lies the queen,
Mangled and hewn amongst the Roman soldiers.
Horatius.
Lift up their slaughtered bodies; help to rear them
Against this hill in view of all the camp:
This sight will be a terror to the foe,
And make them yield or fly.
Brutus.
But where’s the ravisher,
Injurious Sextus, that we see not him?
[_Short alarum_.
_Enter_ Sextus.
Sextus.
Through broken spears, cracked swords, unbowelled steeds,
Flawed armours, mangled limbs, and battered casques,
Knee-deep in blood, I ha’ pierced the Roman host
To be my father’s rescue.
Horatius.
’Tis too late;
His mounting pride’s sunk in the people’s hate.
Sextus.
My father, mother, brother! Fortune, now
I do defy thee; I expose myself
To horrid danger; safety I despise:
I dare the worst of peril; I am bound
On till this pile of flesh be all one wound.
Valerius.
Begirt him, lords; this is the ravisher;
There’s no revenge for Lucrece till he fall.
Lucretius.
Seize Sextus, then--
Sextus.
Sextus defies you all!
Yet will you give me language ere I die?
Brutus.
Say on.
Sextus.
’Tis not for mercy, for I scorn that life
That’s given by any; and, the more to add
To your immense unmeasurable hate,
I was the spur unto my father’s pride;
’Twas I that awed the princes of the land;
That made thee, Brutus, mad, these discontent:
I ravished the chaste Lucrece; Sextus, I,--
Thy daughter,--and thy wife,--Brutus, thy cousin,--
Allied, indeed, to all; ’twas for my rape
Her constant[5.70] hand ripped up her innocent breast:
’Twas Sextus did all this.
Collatine.
Which I’ll revenge.
Horatius.
Leave that to me.
Lucretius.
Old as I am, I’ll do’t.
Scevola.
I have one hand left yet, of strength enough
To kill a ravisher.
Sextus.
Come all at once--ay, all!
Yet hear me, Brutus; thou art honourable,
And my words tend to thee: my father died
By many hands; what’s he ’mongst you can challenge
The least, ay, smallest honour in his death?
If I be killed amongst this hostile throng,
The poorest snaky[5.71] soldier well may claim
As much renown in royal Sextus’ death
As Brutus, thou, or thou, Horatius:
I am to die, and more than die I cannot;
Rob not yourselves of honour in my death.
When the two mightiest spirits of Greece and Troy
Tugged for the mastery, Hector and Achilles,
Had puissant Hector, by Achilles’ hand,
Died in a single monomachy,[5.72] Achilles
Had been the worthy; but, being slain by odds,
The poorest Myrmidon had as much honour
As faint Achilles in the Trojan’s death.
Brutus.
Hadst thou not done a deed so execrable
That gods and men abhor, I’d love thee, Sextus,
And hug thee for this challenge breathed so freely.
Behold, I stand for Rome as general:
Thou of the Tarquins dost alone survive,
The head of all these garboils,[5.73] the chief actor
Of that black sin, which we chastise by arms.--
Brave Romans, with your bright swords be our lists,
And ring us in; none dare to offend the prince
By the least touch, lest he incur our wrath:
This honour do your consul, that his hand
May punish this arch-mischief, that the times
Succeeding may of Brutus thus much tell,--
By him pride, lust, and all the Tarquins fell.
Sextus.
To ravish Lucrece, cuckold Collatine,
And spill the chastest blood that ever ran
In any matron’s veins, repents me not
So much as to have wronged a gentleman
So noble as the consul in this strife.
Brutus, be bold! thou fight’st with one scorns[5.74] life.
Brutus.
And thou with one that less than his renown
Prizeth his blood, or Rome’s imperial crown.
[_Alarum; a fierce fight with sword and target; then a pause_.
Brutus.
Sextus, stand fair: much honour shall I win
To revenge Lucrece, and chastise thy sin.
Sextus.
I repent nothing, may I live or die;
Though my blood fall, my spirit shall mount on high.
[_Alarum; they fight with single swords, and, being deadly wounded
and panting for breath, they strike at each other with their
gauntlets and fall_.
Horatius.
Both slain! O noble Brutus, this thy fame
To after ages shall survive; thy body
Shall have a fair and gorgeous sepulchre,
For whom the matrons shall in funeral black
Mourn twelve sad moons--thou that first governed Rome,
And swayed the people by a consul’s name.
These bodies of the Tarquins we’ll commit
Unto the funeral pile. You, Collatine,
Shall succeed Brutus in the consul’s place,
Whom with this laurel-wreath we here create.
[_Crowning him with laurel_.]
Such is the people’s voice; accept it, then.
Collatine.
We do; and may our power so just appear,
Rome may have peace, both with our love and fear.
But soft, what march is this?
_Flourish. Enter_ Porsenna, Collatine, _and_ Soldiers.
Porsenna.
The Tuscan King, seeing the Tarquins slain,
Thus armed and battled, offers peace to Rome,
To confirm which, we’ll give you present hostage;
If you deny, we’ll stand upon our guard,
And by the force of arms maintain our own.
Valerius.
After so much effusion and large waste
Of Roman blood, the name of peace is welcome:
Since of the Tarquins none remain in Rome,
And Lucrece’ rape is now revenged at full,
’Twere good to entertain Porsenna’s league.
Collatine.
Porsenna we embrace, whose royal presence
Shall grace the consul to the funeral pile.
March on to Rome. Jove be our guard and guide,
That hath in us ’venged rape, and punished pride!
[_Exeunt_.
To the Reader.
Because we would not that any man’s expectation should be deceived
in the ample printing of this book, lo, Gentle Reader, we have
inserted these few songs, which were added by the stranger that lately
acted Valerius his part, in form following.
_The Cries of Rome_.
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Round and sound, all of a colour; buy a very fine marking stone,
marking stone; round and sound, all of a colour; buy a very fine
marking stone, a very very fine!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Bread and--meat--bread--and meat, for the ten--der--mercy of God, to
the poor pris--ners of Newgate, four--score and--ten--poor--prisoners!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Salt--salt--white Wor--stershire salt!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Buy a very fine mouse-trap, or a tormentor for your fleas!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Kitchen-stuff, maids!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Ha’ you any wood to cleave?
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
I ha’ white radish, white hard lettuce, white young onions!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
I ha’ rock-sampier, rock-sampier![5.75]
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Buy a mat, a mil-mat, mat, or a hassock for your pew, a stopple for
your close-stool, or a pesock to thrust your feet in!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Whiting, maids, whiting!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Hot fine oat-cakes, hot!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Small-coals here!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Will you buy any milk to-day?
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Lanthorn and candle-light here! Maid, a light here!
Thus go the cries in Rome’s fair town;
First they go up street, and then they go down.
Here lies a company of very poor women in the dark dungeon, hungry,
cold, and comfortless night and day! Pity the poor women in the dark
dungeon!
Thus go the cries where they do house them;
First they come to the grate, and then they go louse them.
_The Second Song_.
“Arise, arise, my Juggy, my Puggy,
Arise, get up, my dear;
The weather is cold, it blows, it snows;
Oh, let me be lodgèd here.
My Juggy, my Puggy, my honey, my cony,
My love, my dove, my dear;
Oh, oh, the weather is cold, it blows, it snows,
Oh, oh, let me be lodgèd here.”
“Begone, begone, my Willy, my Billy,
Begone, begone, my dear;
The weather is warm, ’twill do thee no harm;
Thou canst not be lodgèd here.
My Willy, my Billy, my honey, my cony,
My love, my dove, my dear;
Oh, oh, the weather is warm, ’twill do thee no harm
Oh oh, thou canst not be lodgèd here.”
“Farewell, farewell, my Juggy, my Puggy,
Farewell, farewell, my dear;
Then will I begone from whence that I came,
If I cannot be lodgèd here.
My Juggy, my Puggy, my honey, my cony,
My love, my dove, my dear;
Oh, oh, then will I begone, from whence that I came,
Oh, oh, if I cannot be lodgèd here.”
“Return, return, my Willy, my Billy,
Return, my dove and my dear;
The weather doth change, then seem not strange;
Thou shalt be lodgèd here.
My Willy, my Billy, my honey, my cony,
My love, my dove, my dear;
Oh, oh, the weather doth change, then seem not strange,
Oh, oh, and thou shalt be lodgèd here.”
FOOTNOTES.
INTRODUCTION FOOTNOTES.
[i.01]
“So compared by the Fathers,” Heywood explains in the margin.
[i.02]
Prefixed to his _Apology for Actors_ (1612).
[i.03]
Until recently, Heywood’s plays were only accessible piecemeal and
in parts. Dodsley’s collection contained two; Dilke’s contained
three, and Baldwyn’s two. Between 1842 and 1851, the Old Shakespeare
Society produced altogether twelve; while Mr. Halliwell in 1853
printed the _Lancashire Witches_ separately. At last, in 1874 Mr.
John Pearson issued a complete edition in six volumes. Since that
date another play in MS. by Heywood, _The Captives_, was discovered
and printed by Mr. A. H. Bullen in the last volume of his _Old
Plays_ (1885).
[i.04]
With this main-plot Heywood has interwoven a subordinate and
independent story. To dwell upon this under-plot would be
superfluous. Yet I may point out that it is borrowed from an Italian
Novella by Illicini, the incidents of which Heywood carefully
transferred to English scenes. In like manner _The Captive_,
consists of a main-plot borrowed from the _Mostellaria_ of Plautus
and an under-plot adapted from a novella of the Neapolitan,
_Masuccio_. See my _Shakspere’s Predecessors_ (p. 462), and a letter
written by me to the _Academy_ (Dec. 12, 1885).
A WOMAN KILLED WITH KINDNESS FOOTNOTES.
[1.01]
#“The Shaking of the Sheets”# a popular tune to which many ballads
ware set. Here a _double entente_ is intended.
[1.02]
#“In a good time that man both wins and woos, That takes his wife
down in her wedding shoes.”# a proverbial saying.
[1.03]
#frets# the points at which a string is to be stopped in a lute or
guitar.--_Halliwell_.
[1.04]
#hoigh# out of all bounds.
[1.05]
#angels# gold coins.
[1.06]
#be stirring early with the lark to-morrow# did Heywood remember
Shakespeare’s “Stir with the lark to-morrow, gentle Norfolk”?
[1.07]
#crash# a merry bout.
[1.08]
#“Rogero”, “The Beginning of the World”, “John come kiss me now.”...#
the tunes here mentioned are all more or less familiar from other
passages in the old dramatists.
[1.09]
#sowse# we have here a number of not very intelligible terms
borrowed from falconry. “At the sowse” was said of a bird when the
hawk swooped straight down upon it.
[1.10]
#gets# booty.
[1.11]
#jesses# the short leather straps round the hawk’s legs.
[1.12]
#querre# perhaps from the German _quer_=oblique.
[1.13]
#merlin# a small species of hawk.
[1.14]
#attach# arrest.
[1.15]
#seen# versed.
[1.16]
#censured on# to censure, in legal language, means to pass judgment
on.
[1.17]
#enter over the stage# they evidently pass through the gallery above
and leave the stage to Wendoll.
[1.18]
#to bring him on his way# _i.e._ to accompany him.
[1.19]
#beholding# beholden.
[1.20]
#miching# sneaking or stealing into.
[1.21]
#bed-roll# _i.e._ bead roll.
[1.22]
#from the grate# alluding obviously to the debtors’ prisons; the
lines remind us at once of _Pickwick_.
[1.23]
#wooden knife# with which the scraps were swept into the voider or
basket.
[1.24]
#carpet# _i.e._ table-cover.
[1.25]
#play the good husband# _i.e._ be frugal.
[1.26]
#before your beard# _i.e._ before you had a beard.
[1.27]
#make-bate# promoter of quarrels.
[1.28]
#a pair of cards# _i.e._ pack of cards.
[1.29]
#well said# _i.e._ well done.
[1.30]
#noddy# said to have been something like cribbage; of the other
games mentioned accounts are easily accessible, while it would be
superfluous to comment on the various quibbles.
[1.31]
#quean# in the now obsolete sense of a whore.
[1.32]
#cross# piece of money.
[1.33]
#remember# _i.e._ remind.
[1.34]
#leese# or lese, _i.e._ lose.
[1.35]
#expectation# “execution” in the early eds.
[1.36]
#disease# inconvenience.
[1.37]
#two flight-shot# _i.e._ two bow-shots.
[1.38]
#cast beyond the moon# a proverbial expression for anything
extravagant or out of reach.
[1.39]
#patience perforce# “patience perforce,” a phrase when some evil
must be endured.--_Halliwell_.
[1.40]
#like the angel’s hand, Hast stayed me from a bloody sacrifice#
alluding to Gen. xxii. 10, 11.
[1.41]
#uncivil kern# “kern” signified in general any uncivilised person:
used especially of the Irish.
[1.42]
#one denier# a penny.
[1.43]
#resolve# satisfy.
[1.44]
#rebato# a species of ruff for the neck: the wire would be used to
stiffen it.
[1.45]
#manors# a quibble on “manners” and “manors.”
[1.46]
During this and some following speeches Wendoll evidently remains
unseen.
[1.47]
#kept this coil# _i.e._ made this trouble.
[1.48]
#gotten those perfect tongues# _i.e._ acquired those tongues
perfectly (French, German and Italian).
[1.49]
#atoned# reconciled.
[1.50]
#once more# meaning probably ‘Kiss me once more.’
[1.51]
#filled# ‘filled’ is equivalent perhaps to ‘filled in,’ _i.e._ on
the tomb.
THE FAIR MAID OF THE WEST FOOTNOTES.
[2.01]
_Elizabethan Literature_, p. 284.
[2.02]
#(Prologue)# Only spoken at court-performances of the play.
[2.03]
#Roughman# “Ruffman” in the old edition, in which, also, “Fawcett”
is spelled “Forset.”
[2.04]
#mutes personated# _i.e. mutæ personæ_.
[2.05]
#my lord# the Earl of Essex.
[2.06]
#the fleet’s bound for the Islands# the so-called “Island Voyage”
(1597) was against the Azores and Spanish East and West Indies.
[2.07]
#Cales# Cadiz.
[2.08]
#carracks# large vessels: the word is of Spanish etymology.
[2.09]
#bush# _i.e._ the ivy-bush, hung up outside taverns.
[2.10]
#adamant# magnet.
[2.11]
#Graves wine# _i.e._ from the Graves district of Gascony, so called
from the pebbly character of the soil, and to-day celebrated for its
red, but more especially for its white wines.
[2.12]
#snick-up# a term of contempt, as much as to say, “Go and be hanged.”
[2.13]
#roaring# blustering.
[2.14]
#Bettrice# the name, perhaps, of some ballad heroine.
[2.15]
#dumb show# “intended to denote the departure of the General (the
Earl of Essex) and his followers.”--_Collier_.
[2.16]
#your years# _i.e._ term of apprenticeship.
[2.17]
#corn grew to be at a high rate# we learn from Stow that in 1596
wheat was six, seven, and eight shillings per bushel; the dearth
continued and increased in 1597.--_Collier_.
[2.18]
#the Mermaid# a room in the tavern.
[2.19]
#ruddocks# gold coins.
[2.20]
#be-tall# a quibble on the German _bezahlen_, to pay.
[2.21]
#Fayal# in the Azores.
[2.22]
#atone# reconcile.
[2.23]
#Mary Ambree# a famous English heroine, with whom Long Meg is
sometimes associated.
[2.24]
#untruss that point# untie that lace.
[2.25]
#Little Davy, Cutting Dick# contemporary bravos of note.
[2.26]
#prick-song# music noted down.
[2.27]
#capricious# witty.
[2.28]
#jowl of ling# the fish so-called, which had been served to the
guests in the Portcullis.
[2.29]
#skillets# small metal pots.
[2.30]
#sod# boiled.
[2.31]
#pitch# height: properly a hawking term.
[2.32]
#motion# propose.
[2.33]
#king’s lieutenant# more properly, queen’s lieutenant.
[2.34]
#dissolutely# he means “resolutely.” Slender makes the same blunder
(_Mer. Wives_, i., 1).
[2.35]
#craze# burst.
[2.36]
#brave# fine.
[2.37]
#Aragoosa# query “Saragossa,” which produces a large quantity of
common wine.
[2.38]
#peter-see-me# a sweet Spanish wine from the Pedro Ximenes grape.
[2.39]
#charnico# a sweet wine grown in the neighbourhood of Lisbon.
[2.40]
#bastard# bastard was the name of a sweet Mediterranean wine: a
time-honoured joke.
[2.41]
#punks# prostitutes.
[2.42]
#table# picture.
[2.43]
#ging# the old form of “gang.”
[124.2]
#I sound it not# _i.e._, I cannot fathom your meaning.
[2.45]
#engines# all instruments of torture.
[2.46]
#bragging Thrasos# _i.e._ boasters, Thraso being a braggart in one
of Terence’s plays.
[2.47]
#censures# sentences.
[2.48]
#taste# test.
[2.49]
#changed my copy# made a complete change.
[2.50]
#ging# gang.
[2.51]
#conceit# idea.
[2.52]
#poor-john# salt-fish.
[2.53]
#Hautboys long# _i.e._ they are to play for some time so as to admit
of fresh stage arrangements for the coming scenes.
[2.54]
#carvel# or caravel, a small light ship.
[2.55]
#vail# lower.
[2.56]
#ought# owned.
[2.57]
#fights# defences placed round a vessel to protect the combatants.
[2.58]
#You that made Paul’s to stink# an allusion to the unsavoury exploit
of a Spaniard, often referred to at this period.
[2.59]
#peruse# examine.
[2.60]
#habited# dressed.
[2.61]
#commerce# intercourse.
[2.62]
From Kyd’s oft-referred-to _Spanish Tragedy_.
[2.63]
#angels# _i.e._ coins.
[2.64]
#cunning quiddit# subtle point.
[2.65]
#generosity# _i.e._ people well-born.
[2.66]
#moorian# negro: perhaps a play on the word “murrain” is intended.
THE ENGLISH TRAVELLER FOOTNOTES.
[3.01]
#_Histrio-Mastix_# by William Prynne: published in 1633. The full
title of this bitter Puritan treatise was _Histrio-Mastix, the
Player’s Scourge, or Actor’s Tragædie_.
[3.02]
#censure# judge.
[3.03]
#censure# judgment.
[3.04]
#where# _i.e._ whereas.
[3.05]
#jack# which made the spit turn; it had been recently introduced.
[3.06]
#buttery hatch# a term still used in the Universities.
[3.07]
#speck ... whig# a species of inferior drink, made from whey, and
drunk by the lower classes in place of small beer. The exact nature
of “speck” is unknown.
[3.08]
#indenture# bond.
[3.09]
#burnt wine# burnt wine, it will be remembered, was much affected by
Pepys.
[3.10]
#consort# _i.e._, concert.
[3.11]
#reaks# pranks.
[3.12]
#lanching# _i.e._, lancing.
[3.13]
#soul# the dark spongy substance inside a fowl’s back.--_Halliwell_.
[3.14]
#shrewd# sharp or bitter.
[3.15]
#alfarez# ensigns (Spanish).
[3.16]
#rebellings# _i.e._ ravelins (Sp. _rebellin_).
[3.17]
#possess# inform.
[3.18]
#novel# _i.e._ novelty.
[3.19]
“This piece of pleasant exaggeration gave rise to the title of
Cowley’s Latin play, _Naufragium Joculare_, and furnished the idea
of the best scene in it.”--_Charles Lamb_.
[3.20]
#atone# make up, appease.
[3.21]
#bill# a kind of halbert, carried by the watchmen of the period.
[3.22]
#Bermoothes# “Bermoothes” is the usual form of “Bermudas” in the old
dramatists.
[3.23]
#durance# confinement.
[3.24]
#prodigious# _i.e._ portentous.
[3.25]
#countervail# counterbalance.
[3.26]
#break their day# fail to pay at the appointed time.
[3.27]
#use# interest.
[3.28]
#grange# the word seems to have implied “loneliness.”
[3.29]
#happiness# good fortune.
[3.30]
#motion# proposal.
[3.31]
#singularity# singleness.
[3.32]
#mechal# adulterous.
[3.33]
#private me no privates# like Shakespeare’s “but me no buts.”
[3.34]
#attach# charge with.
[3.35]
#bottle# bundle; Cotgrave has: “_boteler_, to botle or bundle up, to
make into botles or bundles.”
[3.36]
#Privy# _i.e._ Privy Council.
[3.37]
#disable# disparage.
[3.38]
#picked# pitched.
[3.39]
#mainprize# a technical term: a writ of mainprize was sent to the
sheriff, directing him to take sureties for a prisoner.
[3.40]
#shrievalty# it was customary for the sheriff to have posts in front
of his house, to which notices were affixed.
[3.41]
#Chavelah?# the clown’s form of the French phrase _qui va là?_
[3.42]
#banquet# _i.e._ a dessert.
[3.43]
#whilst I find something to say to this# he refers to the bottle.
[3.44]
#orators# this must be taken as a verb.
[3.45]
#no quarrels to unkindness# no quarrels are so bitter as those
caused by unkindness.
[3.46]
#goes in at one door, and comes out at another# the old stage was
wanting in moveable scenery. The audience had to suppose that when
Young Geraldine re-entered, he was outside Mistress Wincott’s
chamber.
[3.47]
#tester# a sixpence.
[3.48]
#rot-gut# cheap ale.
[3.49]
#fox you all# make you all drunk.
[3.50]
#like brave Orlando# alluding to “Orlando Furioso.”
[3.51]
#gullery# trickery.
[3.52]
#withdraw# the old edition adds “behind the arras.”
[3.53]
#windings and indents# schemes, shifts.
[3.54]
#piece# gun.
[3.55]
#Fortune play-house# the first theatre of this name, built by
Henslowe and Alleyn, was burnt down in 1621: another theatre was
erected on the site in 1622, and in old views of the latter a rudely
carved figure, presumably of Fortune, is noticeable on the front of
the house.--(See frontispiece to Dekker’s Plays in this series.)
[3.56]
#voted# _i.e._ chosen.
[3.57]
#green rushes# with which floors were usually covered by way of
carpet.
[3.58]
#fear# ? sin.
[3.59]
#presently# immediately.
THE WISE-WOMAN OF HOGSDON FOOTNOTES.
[4.01]
#bale# pair.
[4.02]
#twenty marks# a mark was worth 13_s_. 4_d_.
[4.03]
#cross# coins bearing a cross on the reverse, hence various
quibbles.
[4.04]
#Gracious Street# _i.e._ Gracechurch Street.
[4.05]
“&c.,” here and elsewhere, means that the actor may add more to the
same effect, if he please.
[4.06]
#to intend# _i.e._ attend to.
[4.07]
#fancy# love.
[4.08]
#say nay, and take them# “maids say nay, and take it,” was a
proverbial saying.
[4.09]
#conceit# idea.
[4.10]
#I’ll be with thee to bring...# in this phrase--of which Dyce says
that no satisfactory explanation has been given--“to bring,” has
apparently the force of “wholly” or “thoroughly.”
[4.11]
#little whiting-mop# young whiting.
[4.12]
#a Sir John# a priest.
[4.13]
#queasy# squeamish.
[4.14]
#fore-speaking# bewitching; or, possibly, prophesying.--_Halliwell_.
[4.15]
#’recting a figure# the practice of astrology.
[4.16]
#Erra Pater# usually the name of a certain mythical astrologer of
the “Wandering Jew” type; sometimes, however, as here, applied to an
almanac.
[4.17]
#Statute of Winchester# the celebrated Statute passed in 1285: to
what clause in the Statute reference is made is not clear.
[4.18]
#cutting Dick# a bully of the time: “cutting” often has the sense of
“swaggering.”
[4.19]
#sad# serious.
[4.20]
#be with you# _i.e._ God be with you.
[4.21]
#the Counter# there were two prisons of this name, one in Wood
Street, the other in the Poultry.
[274.1]
#tasted her# tested her disposition.
[4.23]
#Jack Drum’s entertainment# “Tom or John Drum’s Entertainment, a
phrase signifying ill-treatment, or turning an unwelcome guest out
of doors.”--_Halliwell_.
[4.24]
#Sir Boniface# “sir” was applied to all University men who had taken
their B.A. degree.
[4.25]
#nidgets# idiots.
[4.26]
#no bones# _i.e._ no difficulties.
[4.27]
#ready with a wet finger# _i.e._ with as much ease as any light
substance is caught up by moistening one’s finger.
[4.28]
#catched a clap# met with a mischance.
[4.29]
#common gossips# sponsors.
[4.30]
#tell# count over.
[4.31]
#pocas palabras# “few words.”
[4.32]
#murrey# a dark red colour.--_Halliwell_.
[4.33]
#play at hoodman-blind# blind man’s buff.
[4.34]
#in a woe# sorrowful.
[4.35]
#bobbed# tricked.
[4.36]
#fitters# pieces.
[4.37]
#a toy# whim.
[4.38]
#choke-pear ... popering# a pear brought from Poperingues in
Flanders; the choke-pear was a coarse variety.
[4.39]
#cope# chop or exchange.
[290.1]
#the woman killed with kindness# an obvious allusion to Heywood’s
own masterpiece.
[4.41]
#Bristowe stone# more usually called a “Bristol diamond.”
[4.42]
#branched# figured.
[4.43]
#limit# _i.e._ appoint.
[4.44]
#I was, sir, of Peterhouse# there is a tradition that Heywood
himself was a Fellow of Peterhouse, Cambridge.
[4.45]
#I proceeded in Oxford# _i.e._ to his degree, his college, as he
tells us, being Brazenose.
[4.46]
#Genes# Genoese.
[4.47]
#Lusty Juventus# there is an old interlude entitled _Lusty
Juventus_, printed about the year 1560.
[4.48]
#St. George’s Fields ... Tuttle, Finsbury# he mentions three
well-known duelling resorts.
[4.49]
#Stafford law# “he has had a trial in Stafford Court” was a way of
saying “he has been beaten or ill-treated,” _Cotgrave_. Florio uses
the expression “Stafford-law”=_braccesca licenza_.
[4.50]
#apply thou# defend yourself.
[4.51]
_i.e._ much good may it do you!
[4.52]
#beso las manus# kiss the hands.
[4.53]
#Sir Pandarus# Pandarus was the prince of go-betweens; hence the
word “pander.”
[4.54]
#colour# excuse.
[4.55]
#brock# a term of contempt; a brock is a badger.
[4.56]
#Cheap Cross# at Cheapside, with a statue of the Virgin on it. It
was removed in 1643, by Puritan influence, on account of the
reverence which it received from Catholics.
[4.57]
#take me with you# _i.e._ let me understand.
[4.58]
#jack# crafty fellow.
[4.59]
It is to be understood that the occupants of the various inner
rooms see and hear all that transpires between Young Chartley and
Luce without being themselves seen or heard.
[4.60]
Is not a speech lost here?
[4.61]
_i.e._ on pain of losing his blessing.
THE RAPE OF LUCRECE FOOTNOTES.
[5.01]
#makes legs# bows.
[5.02]
#balm# the consecrated oil used at coronations. Shakespeare has the
expression: “’Tis not the balm, the sceptre and the ball.”
[5.03]
#be countant# _i.e._ held accountant.
[5.04]
#estates# nobles.
[5.05]
#humorously# oddly.
[5.06]
#mome# blockhead.
[5.07]
#laugh, Democritus# the laughing philosopher of Abdera:
Perpetuo risu pulmonem agitare solebat
Democritus.--_Juvenal_, x., 33-4.
[5.08]
#curst# shrewish.
[5.09]
“Rome” was pronounced like “room.”
[5.10]
#generously# of such noble blood.
[5.11]
#he was: by power divine# the old editions miss the point by reading
“he was by power divine.”
[5.12]
#coach-naves# wheels, properly part of the axle.
[5.13]
#timeless# untimely. This passage is corrupt.
[5.14]
#sparkled# scattered.
[5.15]
#trifurk# three-forked.
[5.16]
#rubs# obstacles: originally a term used at the game of bowls.
[5.17]
#ballater# maker of ballads
[5.18]
#sansing bell# _i.e._ sanctus bell.
[5.19]
#moe# more; _i.e._ others.
[5.20]
#lose# waste.
[5.21]
#the water that God Mercury makes# _i.e._ a cosmetic lotion
containing mercury.
[5.22]
#being taken with the manner# caught in the act. Cowel says, “manner
or mainour denotes the thing that a thief taketh or stealeth.”
[5.23]
#doom# decree.
[5.24]
#prevent# forestall.
[5.25]
#buckle# contend.
[5.26]
#traversed# thoroughly examined.
[5.27]
#attaint# accusation.
[5.28]
#topping# lopping off.
[5.29]
#where# _i.e._ whereas.
[5.30]
#suburbians# the suburbs of London were formerly the chief resort of
loose women.
[5.31]
#holly# holy.
[5.32]
#hatchel# heckle or dress.
[5.33]
#with Duke Humphrey dine# _i.e._ not dine at all. “This phrase is
said to have arisen from part of the public walks in Old St. Paul’s
called Duke Humphrey’s walk, where those who were without the means
of defraying their expenses at a tavern were accustomed to walk in
hope of procuring an invitation.”--_Halliwell_.
[5.34]
#hey ho# a favourite ballad-burden.
[5.35]
#cocket# pert.
[5.36]
#Attalia# Heywood was probably thinking of Horace’s _Attalicæ
condiciones_.
[5.37]
#pounded# _i.e._ penned up.
[5.38]
#upse freeze# strong beer, imported from Friesland: hence to drink
_upse freeze_ was to drink hard.
[5.39]
#tassaker# from _tasse_? Hence a cup or goblet.
[5.40]
#manage# management.
[5.41]
#lavoltoes# a dance in the course of which the woman, after being
turned round several times, sprang up as high as she could with her
partner’s assistance.
[5.42]
#wheel# _i.e._ a spinning-wheel.
[5.43]
#rebatoes# _i.e._ turn your ruffs into loose collars.
[5.44]
#frontlets# forehead-bands.
[5.45]
#rails# short mantles.
[5.46]
#billements# head and neck ornaments.
[5.47]
#bongraces# shades to preserve the complexion.
[5.48]
There is no dash in the original; the singer evidently substituted
the refrain for the omitted word.
[5.49]
This song also occurs in Heywood’s _Challenge for Beauty_.
[5.50]
#cony-wool# rabbit skin.
[5.51]
#shag# rough hair.
[5.52]
#monmouth# a kind of flat cap.
[5.53]
#chapine# chapines were shoes with very high soles, worn by ladies
to make them look tall.
[5.54]
#humorous# damp.
[5.55]
#stars# _i.e._ candles.
[5.56]
#tread not too hard for disturbing# _i.e._ lest you should disturb.
[5.57]
#staves-acre# a kind of larkspur used to kill lice.
[5.58]
#opinion# reputation.
[5.59]
#defend# forbid.
[5.60]
#uncrazed# unbroken.
[5.61]
#mechal# adulterous.
[5.62]
#stare# starling.
[5.63]
This catch, which jokes in such a ribald fashion over Tarquin’s
crime, furnishes a pointed example of the way in which the
dramatists of the period pandered to the tastes of the less refined
among their audiences.
[5.64]
#to my death to fall# to let fall, as often to be found in
Shakespeare.
[5.65]
#infinite# _i.e._ infinite numbers.
[5.66]
#buckler# defend.
[5.67]
#battle# battalion.
[5.68]
#tire# tear, like a beast or bird of prey.
[5.69]
#bulk# body.
[5.70]
#constant# resolute.
[5.71]
#snaky# “snake” was often used as a term of contempt.
[5.72]
#single monomachy# “single monomachy” is rather an absurd pleonasm.
[5.73]
#garboils# tumults.
[5.74]
#with one scorns# _i.e._ that scorns.
[5.75]
#rock-sampier# samphire.
TRANSCRIBER’S NOTES.
The six volume _Dramatic Works of Thomas Heywood_, published by J.
Pearson in 1874, was consulted for many of the corrections listed
below.
# is used in the text-only edition of this ebook to indicate bolded
text.
Alterations to the text:
Omit drop caps and other decorations.
Speaker names: expand, make uniform, and place on line separate from
dialogue.
Minor formatting changes to some stage directions.
Relabel footnote markers, collect footnotes at the end of the text,
and add an entry to the TOC.
Add The Red Bull Theatre to TOC.
[Introduction]
Change (Such words as “_trifulk_,” ... “_tenébrous_,”) to
_trifurk_ and _tenebrous_, respectfully.
[A Woman Killed with Kindness]
(a2s1) “and therefore grateful. _Pr’ythee_, Nan,” to _Prythee_.
(a2s3) “_Whay_ say’st thou, metal?” to _What_.
(a3s2) “_T’was_ but a thankless office” to _’Twas_.
(a4s3) “As you love, me sir,” relocate first comma after _me_.
(a4s3) “Come, Nan, I _pr’ythee_ let us sup within.” to _prythee_.
[The Fair Maid of the West]
(a1s3) “Enter Spencer, Captain _Goolack_” to _Goodlack_.
(a5s1) “I will have no _commèrce_ with Mullisheg,” to _commerce_.
[The English Traveller]
(a2s1) “_W ee ntreat_ you,” to _We entreat_.
(a2s2) “Why _dos’t_ not thou fly too?” to _dost_.
(a3s1) “And is my present joy, if their _aspéct_” to _aspect_.
(a4s3) “On two unmatched for sordid _villany_” to _villainy_.
[The Wise Woman of Hogsdon]
(a3s1) “make short work, and _h’ath_ dispatched by this” to _hath_.
(a4s2) “Well, I hear thee,” change second comma to a period.
[The Rape of Lucrece]
(a3s1) “The host is now/Upon their march....” change the speaker from
Lucretius to Tarquin. (Lucretius never entered this scene).
(a3s5) “Terry, derry, &c.” (3rd to last line in song) delete the
first comma.
(a5s1) “and guerdon base _trangression_.” to _transgression_.
[End of Text]