old writers. Thus _to have after_ = to follow; _to_ _have
at_ (a person or thing) = to try, attempt, begin, strike,
hit; _to have with_ (a person) = to go with, come on. Also,
_have at him_ (subs.) = a thrust, blow; and so forth.
"_Have after_, to what issue will this come."--Shakespeare,
_Hamlet_ (1596), i. 4. "_Have at_ _it_, then."--Shakespeare,
_Cymbeline_ (1605), v. 5. "_Have at thee_ with a downright
blow."--Shakespeare, _2 Henry VI._ (1594), ii. 3. "I'll venture
one _have-at-him_."--Shakespeare, _Henry VIII._ (1601), ii. 2.
(_b_) see Petticoat.
HAVIOUR, "a man of your _haviour_" (N85,_b_), conduct, manners,
demeanour, as in Shakespearean usage. But possibly it may, and
probably does, stand here for the Anglo-Norman _havoir_ = wealth,
property. The context would seem to indicate this, "Into a
_haviour_ of less fear."--Shakespeare, _Cymbeline_ (1605), iii. 4.
HAWT, see Haut.
HEADIBUS, "your headibus" (M18,_c_), heads.
HEAL (_passim_), health. HEDGE, "over the _hedge_ ere ye come at
the stile" (R192,_a_), proverbial: in Heywood (_Works_, E.E.D.S.,
II. 97,_d_ and 443,_c_).
HEELS, see Lead.
HELPEN, "he can be _helpen_ thereof" (N122,_a_), helped; also
_holpen_. Still in use.
HEND, "to me full _hend_" (M11,_c_), courteous, civil, polite.
"So loveth she this _hendy_ Nicholas."--Chaucer, _Cant. Tales_
(1383), 3386.
HEY, "_Hey nonny nonny, ho for money_" (R222,_d_), if not a popular
song, a popular refrain. The words occur in many old writers, not
infrequently with an obscene meaning or reference: see _Slang and
its_ _Analogues, s.v._ Nonny.
HIE, "_Hie_ you forth lively" (M17,_d_), probably a snatch of some
old song, which, however, I have been unable to trace. A somewhat
similar reference occurs in _Misognus_ (Anon. Plays, 2 Ser.,
E.E.D.S., 185,_d_) during a dancing scene: "O lively with high,
child, and turn thee; ah, this is good sport!" Although this
does not settle the source of the saying, yet it adds force to
Mankind's words.
HIGH, "on _high_, on _high_" (JE357,_c_), a duplication
necessitated by the rhyme--_Eli, Eli_, but all the same a very
striking one.
HIGHT, "Health I _hight_" (WH277,_a_), am called, have for a name:
the only passive verb in English: see other volumes of this
series.
HIP, "have you on the _hip_" (R215,_c_), to have or get an
advantage: see _Slang and its Analogues,_ _s.v._ Hip.
HITE, "when man is a little _hite_ and wealthy" (WH279,_c_) = idle:
in original _hit_. I take the word to be akin to the northern
_hite_, to run up and down idly (Halliwell). Still, this may be
wrong, and the now obsolete sense of _hit_ = to be fortunate or
successful may be meant.
HO (_passim_) is used in varying senses in all old writers. Thus
_Ho!_ = a command to stop, cease, or refrain from the continuance
of any action. Hence, as verb = to cry out, shout, etc. Whence
many colloquialisms. _To be ho_ (JE367,_a_) = to be restrained,
stopped, delayed; _out of all ho_ = out of all bounds or
restraint; _no ho with_ = restive of control, out of hand; _let
us ho_ = let us stop; and so forth. _Ho,_ _ho, ho!_ occurs in
many old plays, being given to the devil or vice when making an
entry.
HOLPEN, "if it be _holpen_" (N54,_b_), helped: see Helpen.
HOLYKE (M16,_c_). From the nature of the song itself it must
be inferred that a triple pun was intended, _Holy_ (sacred
refrain)--_wholly_ (holelyche = wholly)--_Hole-lick_ (osculare
fundamentum): probably the "roof" was intended to be "raised" by
the medley of interpretations thus offered, the business of each
of the chorus being different.
HOLY NATION (JE357,_b_), _i.e._ the Saints and redeemed. The
reference to love and virginity is apparently founded on a
passage in Revelations, attributed by many to St. John the
Evangelist: see _Rev._ xi. 4, and John Evangelist, p. 416 _ante_.
HOOD, "his hair groweth through his _hood_" (IP340,_c_; also
R229,_d_), _i.e._ comes to poverty.
HOOK, "by _hook_ or by crook" (R187,_b_), by some means or other,
by fair means or foul, at all hazards, probably of forestal
origin. "Their work was by _hook or crook_ ... to bring all under
the emperor's power."--Thomas the Rymer, _On Parliaments_ (_d._
1298).
HORSE, (_a_) "_horse_ with four ears" (JE364,_a_), apparently a
reference to some form (or rather means) of punishment--the
gallows (or mare with three legs), the pillory, or the
timber-mare (or horse) for flogging purposes. Probably the
latter, as its construction would justify the "four ears" of the
text.
(_b_) see Grass.
HORSIBUS, see Breadibus.
HOURS, see Prime.
HUFFA GALLANT, see Rutter.
HYNGHAM, see Macro Plays.
I (_passim_) occurs in several connections now archaic. (_a_) It is
frequently repeated in conversation for the sake of emphasis, "I
am hight Mercy, _I_."
(_b_) = Ay.
(_c_) = An augment or prefix to represent the A.S. _ge_, the
most frequent example being _i-wis_ = _gewiss_: see _i-fashion_
(JE365_b_) = fashioned.
ICH (_passim_), I: see other volumes of this series.
IGNORUM, "we _ignorum_ people" (R211,_a_)--"we _ignorams_ all
would fain," etc. (R227,_c_), (_adj._ and _subs._: ignorant,
ignoram[use]s.)
IMPATIENT POVERTY. The text will be found on pages 311-348.
Hitherto little indeed seems to have been known concerning this
interlude. As far as I can learn no copy has been traceable, at
all events in modern days, until "the Irish find" was put up at
Sotheby's in July 1906. Part of this "recovery" (see Preface) was
a copy of _Impatient Poverty_, which is now national property in
the custody of the trustees of the British Museum, the price paid
for the item being no less than £150. It is true that the title,
together with one or two details of the baldest description,
occur in most catalogues of early English plays, from that of
Rogers and Ley in 1656 down to Mr. W. W. Greg's "hand-list"
prepared for, and issued by, the Bibliographical Society in
1900. It is, however, an obvious fact that in each case all the
authorities appear to quote from mention only. Further, though
"known" to a similar extent to latter-day critics--to Collier,
Halliwell, Hazlitt, Fleay, Ward, Gayley, Brandl, Greg, and
Pollard--all these, likewise, quote either from an early mention,
or from one another; none seem to have seen a copy of the play.
Dyce alone was explicit. In a note to _Sir Thomas More_ (Shakes.
Soc., p. 55) he records _Impatient Poverty_ as "non-extant."
After an interval of more than sixty years since Dyce wrote, and
350 years or more after publication, the "lost" play has been
recovered; and it is now my good fortune to make it generally
accessible to scholars. The British Museum Catalogue entry is as
follows:
POVERTY. A new Interlude of Impacyente Poverte, newlye
Impreynted, M.V.L.X., B.L. John Kynge, London [1560],
4^o.--c. 34. i. 26. The title-page is enclosed in a woodcut
border bearing the initials T. R.
in which the Museum catalogue has made a slight blunder in
copying from the title-page, which may be consulted on page 311.
_Impatient Poverty_, as already stated, is mentioned in the old
play of _Sir_ _Thomas More_, itself only extant in a somewhat
mutilated manuscript. The passage is as follows:
_Moore._ I prethee, tell me, what playes have ye?
_Player._ Diuers, my lord; _The Cradle of Securitie_, _Hit
Nayle o' th' Head_, _Impacient Povertie_, _The_ _Play of
Foure Pees_, _Diues and Lazarus_, _Lustie_ _Juuentus_, and
_The Mariage of Witt and Wisedome_.--Shakes. Soc. ed., 55-56.
The copy now happily recovered shows the play to have been
"newly" printed in 1560 by John King, who was in business at the
Sign of the Swan in St. Paul's Churchyard from 1555 to 1561.
There is no entry in the Stationers' Register for the year 1560
or earlier. The British Museum copy is a tolerably well-printed
black-letter quarto of its kind; it is also in excellent
preservation. A reduced facsimile of the title-page is given on
page 311, but unfortunately the paper used in these volumes is
not altogether suitable for illustrative work. The old copy is,
however, announced among _The Tudor Drama_ _Facsimile Texts_, and
will shortly be available in collotype. The collation is A to
Eii in 4s (18 leaves). The first sheet (A) has no signature, but
the others are regular in notation. _Impatient_ (= intolerable,
unendurable) _Poverty_ is by an unknown author, but a very shrewd
attribution might even now be made were not the time, as yet,
hardly ripe for scientific deductions. The materials are not at
hand for anything like a systematic study of pre-Shakespearean
dramatic effort and achievement; and the study of isolated
plays can, at best, lead to imperfect and perhaps erroneous
conclusions. Unquestionably, however, the Tudor drama deserves
to be studied, as Shakespeare is now-a-days studied: as a whole,
and not piecemeal. But--alack and alack!--where is the accessible
material for such an inquiry? Still, if at present we do not
know the author's name, we can nevertheless learn something of
him from his play. He was evidently a sedate man, serious to a
degree, with apparently deep-seated religious principles: note
the long-sustained exhortations and the general tone of the
play. It is also noteworthy that, for the period, the bawdry is
"cut" to the lowest limit. There are no women's parts, and the
Vice is a watered-down specimen of his class. There is little
internal evidence to enable one to form an idea of the date of
composition, though this may, I think, be fixed as probably not
earlier than 1545, but before 1552. The allusions to usury seem
to point to a period anterior to the repeal by Edward VI. in
1552 of the Usury Act of 37 Henry VIII., which was re-enacted by
Elizabeth in 1570. Yet the reference to "the Queen" (347,_d_),
unless a later interpolation, is obviously to Queen Elizabeth,
and not to Queen Mary. The play is too distinctly and settled
Protestant--indeed, the tone is even that of "the new learning"
victorious--to admit of a Marian chronology. In this latter
case the downward limit would be extended at least to 1558.
Other allusions are likewise scanty or unilluminating--"Joy
and solace be in this hall" (321,_a_), seems suggestive of a
College or Inns of Court audience, as distinguished from a
purely Court performance; the joining of simony with covetise
(325,_c_) recalls the Edward VI. Act against simony (1552);
"Conscience, the high judge of the law" (328,_b_), is reminiscent
of _Respublica_: cf. 227,_d_; other references are to Newgate,
Tyburn, the Fleur de Lys, etc., but they do not appear to have
any special meaning. The present text is transcribed direct from
a rotary-bromide copy of the original, and having been twice
collated, once with the photo-text, and again finally with the
original, it will, I hope, be found as accurate as human care can
make it. _Variations and Corrigenda_ are as follows: The colophon
(312,_d_) is in original given on Eii. v. at the end of the
play--The text begins at the top of Aii _r_ without title--The
stage directions in brackets do not appear in the original--The
names of the speakers are in the present text systematised a
little, and are consequently, in some cases, slightly different
to the original--"What people are tho[se]" (314,_a_), in
original _tho_ (A.S. = those)--"for shame thou _shouldst_ bear"
(315,_a_), in original _shuls_--"that with _humility_" (316,_b_),
in original _humyly_--"Thy very duty" (317,_a_), in original
_They_--"this _well_ I knaw" (317,_a_), in original _wyll_--"Let
it be _tryd_ by manhood, and _thereto_ I give thee my glove"
(317,_c_), in original _tryet_ and _thertho_--"I pray _you_
sir" (317,_d_), in original _your_--"I hold it _punishment_"
(318,_a_), in original _punisshment_--"Nay by _God_! there
_ho_!" (318,_d_), in original _good ... hoo_--"I break your
_head_" (319,_a_), in original _heed_--"_Pater dimitte illis_"
(319,_b_), in original misprinted _dimitie_--"_beati_ _pauperes
spiritu_" (319,_b_), in original _beaty pauperes_ _spiritu_--"As
it _doth_ often" (320,_c_), in original _doeth_--"_Exeunt ambo_"
(320,_d_), in original _Exiunt_ _ambo_--[_Enter_ ABUNDANCE]
(321,_a_), throughout this is _Haboundaunce_--"_though_ he
would" (321,_d_), in original _thought_--"_be_ openly known"
(321,_d_), in original _he_--"Singular _commodum_" (321,_d_),
so in original--"to _them_ that are needy" (322,_a_), in
original _theym_--"_Because_ I may forbear" (322,_b_), in
original _Bycause_--"_Cons. Evensine_ very shame" (322,_b_), in
original, _Evensynne_--"_Cons._ To make restitution" (324,_a_),
in original _Doo_--"_Make_ amends" (324,_c_), in original
_Mke_--"_you_ cannot come in" (324,_d_), should be _thou_, as in
original--"Now in _faith_" (326,_b_), in original _fayte_--"He
goeth in a _cloak_" (327,_b_), in original _clocke_--"the
_temporalty_" (327,_c_), in original _themporaltye_--"pride,
_sloth_, and lechery" (327,_c_), in original _slewth_--"Set
covetire in your _room_" (328,_b_), in original _rowm_--"[_Envy_]
Y-wys, cousin" (328,_d_), not in original, but the speech is
clearly to _Envy_--"by _Cocks_ passion" (330,_a_), in original
_coxs_; so also at 330,_c_--"I have of gold three _hundred_
pound" (331,_a_), in original _hundreth_--"I am your _kinsman_"
(331,_b_), in original _Kyngman_--"Ye must have _more_ servants"
(331,_c_), in original _moo_--"most _expedient_" (331,_c_),
original _expedyende_--"_Because_ he can so well sing" (332,_b_),
in original _Bycause_--"Tush! take no _thought_" (332,_d_), in
original _though_--"at a pinch ... broad as an inch" (333,_d_),
the punctuation may not rightly interpret the exact sense here,
but it seems elliptical and to require _If_ before _her heel_:
_i.e._ how little light-heeled she were she would still serve
to inflame Prosperity; the whole speech in original is without
a single punctuation mark--"_Because_ he is old" (333,_d_), in
original _Bycause_--The signature (335,_d_) given as _B_1,_r_
should of course have been _D_1,_r_--"That so can read his
_destiny_" (336,_a_), in original _destanye_--"tell me at
_one_ word" (337,_a_), in original _our_--"_obscured_ with
clouds" (337,_d_), original _obscrued_--_Colhazard_ (_passim_),
this in original is variously spelt; Colhasard, Collhasard,
Colehazard, Collhassard, etc.--"_Sober your mood_" (340,_a_),
in original _sobre you mode_--"_won_ all my good" (340,_c_),
original _wome_--"Cannot chance a _main_ groat" (341,_c_),
original _man_--"for I _obtain_ all thing" (343,_a_), in original
_optayne_--"upon you a great _slande[r]_" (343,_c_), in original
_sclaunde_--"and live in great _advoutry_" (343,_d_), original
misprints _aduantrye_--"what will ye _then_ say" (344,_a_),
original _thed_--"And _then_ sayeth the _Sumner_" (344,_b_),
original _them ... somuer_--"be _unto_ God" (344,_c_), original
_into_--"brought me to _this_ distress" (345,_a_), original
_his_--"leeful for a _callet_" (345,_b_), original _called_--"and
great _usurers_" (345,_c_), in original _usures_--"_Bawds_,
advouterers" (345,_c_), in original _Bandes_--"fornicators,
and escheaters" (345,_c_), in original _echeters_--"made his
purgation" (345,_d_), original _is_--"as Thou art _omnipotent_"
(347,_d_), in original _onypotent_.
IN, (_a_) _in manus tuas_ (M23,_b_), from Psalm xxx. 6: _in manus
tuas commendo spiritum meum_ = into Thy hands I commit my spirit.
The _queck_ in text should not have been in italics.
(_b_) "_i[n] forma juris d'hazard_" (M29,_c_), restored by Prof.
Brandl: in original, "_do yt forma jurys_ _dasard_."
INCROKE, "He took of her an _incroke_" (IP326,_c_),?--As a verb,
Murray has _incrook_ and _inkroke_ = to bend or bow down; _e.g._
in Rom. xi. 10, the phrase "and _bow down_ their back alway" is
given by Wyclif as "in kroke" their back.
INGHAM, see Macro Plays.
INQUEST, "to do at your _inquest_" (R234,_b_), request: in
original, _enquest_.
INSTITUTE, "He hath _institute_ you above all His works" (M11,_d_),
appointed, set, invested. "Cousin of York, we _institute_ your
Grace to be our Regent in these parts of France."--Shakespeare,
_1 Hen. VI._ (1596), iv. 1, 162.
INSTITUTION, "a beast doth after his natural _institution_"
(M9,_b_), nature, established order.
INTERLECTION, "Let us have an _interlection_" (M20,_c_), talk,
consultation, conference: not in _O.E.D._ Though regularly
formed, probably a nonce word.
INTERMISE, "_intermise_ yourself not in their company" (M14,_b_),
mix, interfere, interpose, concern, or occupy oneself with: not
in _O.E.D._, but sufficiently indicated (_s.v._ _Inter-_, p. 381,
1. 1 _b_ and _Intermise_, subs.).
INVENTUS, "_non est inventus_" (M34,_d_), _i.e._ he is not to be
found.
I-PILATE, "he was i-pounst and _i-pilate_" (R211,_b_), pilated =
brought before Pilate, "beaked": see I.
I-POLLD, "were ne'er so _i-polld_" (R211,_a_), fleeced, robbed,
cheated. Mr. Magnus, however, glosses it as "pulled about." "And
have wynked at the _pollyng_ and extorcion of hys unmeasurable
officiers."--Hall, _Union_ (1548).
I-POUNST, "he was _i-pounst_ and i-pilate" (R211,_b_), ? beaten,
scourged; an eastern counties word.
IRISDISION, see Trentham.
IRK, "unlusty and _irk_" (M24,_c_)--"I am near _irk_ of both"
(M26,_b_), tired, bored, disgusted.
IS (R. _passim_), I; oftentimes the sibilant is carried to the next
word.
I-STRIKE, "sixpence in each shilling was _i-strike_ quite away"
(R232,_a_), struck: see Respublica.
I-TORMENT, "zo _i-torment_" (R211,_a_), tormented.
I-TROUNST, "so _i-trounst_" (R211,_b_). Prof. Brandl refers to M.E.
_trunsioun_ and O.F. _tronchon_.
JACK-A-NAPES (R264,_b_), here = a tame ape or monkey. The origin of
the term in this and its more usual sense (= an ape-like, pert,
or ridiculous person) is obscure. Dr. Murray says that so far
as yet found the word appears first as an opprobrious nickname
of William de la Pole, the Duke of Suffolk who was murdered in
1450, whose badge was a clog and chain such as was attached to
a tame ape. Thus in contemporary poems (_e.g._, _Pol. Poems_,
_c._ 1499 [Rolls], II. 222) several noblemen are designated by
their badges, Suffolk being named the "ape-clogge." We find
_Jack-napes_ generic for an ape in Skelton (1522), and shortly
afterwards the term was current in the present and more common
sense. But the connection between _Jack Napes_ and an _ape_
(again to quote Dr. Murray) "is uncertain."
JACK NOBLE, "Hence Forty Pence ... _Jack Noble_ is a-bed"
(N98,_a_), a pun on the value of the coins (forty pence being
half a noble) and the lady's preference. What _K. q. title_
means I cannot divine. Prof. Brandl suggests _King--Queen_,
but confesses it obscure; _a bry_ appears to signify a breeze,
awkward affair or predicament.
JAKE, "a good _jake_ of fence" (M32,_a_), coat of defence; a
sleeveless tunic or jacket formerly worn by foot-soldiers and
others, usually of quilted leather. Sometimes = a coat of mail.
JAVELS, "_javels_ as shall wrong them" (R192,_b_), a generic
reproach--rascal, good-for-nothing. "How much more abhominable
is that pieuish pride in a lewde vnthriftye, _iavell_."--More,
_Treat. Pass._ (1534), Introd. Wks., 1272.
JE, _Je nescey_ (N97,_b_), _i.e._ _Je ne sais [pas]_.
JET (_passim_), formerly as hard a worked word as "commodity" or
"cast"; it signified any device, contrivance, art, fashion,
style, mode, manner, or custom. As _verb_ = to strut, walk with
consequence, and so forth.
JEWELS (M18,_a_), privities: see privity (19,_d_): New Guise's and
Mankind's "business" seems to have been not over fastidious.
JIS (_passim_), Jesus: cf. Gis.
JOAN (_passim_), a generic name for an alewife, strumpet, and the
like: see _Doctour Double Ale_ and next entry.
JOHN, "_Come kiss me, John_" (N93,_c_). Chappell says that nothing
remains of the words except "Jon come kisse me now, Jon come
kisse me now; Jon come kisse me by and by, and make no more
adow." The music is given in _Citharen Lessons_, 1609; _Airs and
Sonnets_, _MS._, _T.C. Dublin_, etc. It is also mentioned in
_Jacob and Esau_, in Heywood's _A Woman Kill'd with Kindness_
(1600); in _'Tis_ _merry when Gossips meet_ (1609); in a song in
_Westminster_ _Drollery_ (1671 and 1674); in Burton's _Anatomy of
Melancholy_ (1611); _The Scourge of_ _Folly_ (N.D.); Brathwayte's
_Shepherd's Tales_ (1623); in Hy. Bold's _Songs and Poems_
(1685); and in Sir W. Davenant's _Love and Honour_.
WILLIAM BYRD.
[Illustration]
JOHN-HOLD-MY-STAFF (R188,_a_), a parasite, lickspittle. "And
here it is the fortune of a man to be married to a woman of
so peevish and domineering a temper that she will wear the
breeches and the cap too: so that the poor fop at home is like
_John-Hold-my-Staff_; she must rule, govern, insult, brawl,"
etc.--_Fifteen_ _Comforts of Matrimony._
JOHN IRISCHE (WH304,_d_), the allusion is lost.
JOHN SHOLE (WH304,_d_), see previous entry.
JOHN THE EVANGELIST. The text of this play is given on pages
349-368, together with a reduced facsimile of the title-page.
Until recently _John the_ _Evangelist_ was looked upon as one
of the innumerable "lost" plays of the Tudor period. It has now
been recovered under the notable circumstances narrated in the
preface to this volume. Curiously enough, _John the Evangelist_
was at first, in the sale catalogue, confused with Bishop Bale's
_John_ _Baptist's Preaching in the Wilderness_, no copy of which
also is now traceable, being known only through the reprint in
the _Harleian Miscellanies_. However, there is no doubt that
if a choice of "finds" had to be made the lot would fall to
the present play, which has been untraceable in any form, save
that of mere mention, for hundreds of years. The British Museum
Catalogue entry is:
JOHN SAINT AND APOSTLE. Here begynneth the interlude of Johan
the Evangelist [with a woodcut]. B.L. John Waley, London
[1560?]. 4^o. [c. 34. i. 20.]