Vpon your soule then: it must leaue your body. 120
Now free mine eyes, I dare vnmou’d looke on her,
And fortifie my sentence, with strong reasons.
Since that the politique law prouides that seruants,
To whose care we commit our goods shall die,
If they abuse our trust: what can you looke for, 125
To whose charge this most hopefull Lord gaue vp
All he receiu’d from his braue Ancestors,
Or he could leaue to his posterity?
His Honour, wicked woman, in whose safety
All his lifes ioyes, and comforts were locked vp, 130
With thy lust, a theefe hath now stolne from him,
And therefore--
_Cha._ Stay, iust Iudge, may not what’s lost
By her owne fault, (for I am charitable,
And charge her not with many) be forgotten
In her faire life hereafter?
_Roch._ Neuer, Sir. 135
The wrong that’s done to the chaste married bed,
Repentant teares can neuer expiate,
And be assured, to pardon such a sinne,
Is an offence as great as to commit it.
_Cha._ I may not then forgiue her.
_Roch._ Nor she hope it. 140
Nor can she wish to liue no sunne shall rise,
But ere it set, shall shew her vgly lust
In a new shape, and euery on more horrid:
Nay, euen those prayers, which with such humble feruor
She seemes to send vp yonder, are beate backe, 145
And all suites, which her penitance can proffer,
As soone as made, are with contempt throwne
Off all the courts of mercy.
_He kills her._
_Cha._ Let her die then.
Better prepar’d I am. Sure I could not take her,
Nor she accuse her father, as a Iudge 150
Partiall against her.
_Beau._ I approue his sentence,
And kisse the executioner; my lust
Is now run from me in that blood; in which
It was begot and nourished.
_Roch._ Is she dead then?
_Cha._ Yes, sir, this is her heart blood, is it not? 155
I thinke it be.
_Roch._ And you haue kild here?
_Cha._ True,
And did it by your doome
_Roch._ But I pronounc’d it
As a Iudge onely, and friend to iustice,
And zealous in defence of your wrong’d honour,
Broke all the tyes of nature: and cast off 160
The loue and soft affection of a father.
I in your cause, put on a Scarlet robe
Of red died cruelty, but in returne,
You haue aduanc’d for me no flag of mercy:
I look’d on you, as a wrong’d husband, but 165
You clos’d your eyes against me, as a father.
O _Beaumelle_, my daughter.
_Cha._ This is madnesse.
_Roch._ Keepe from me--could not one good thought rise vp,
To tell you that she was my ages comfort,
Begot by a weake man, and borne a woman, 170
And could not therefore, but partake of frailety?
Or wherefore did not thankfulnesse step forth,
To vrge my many merits, which I may
Obiect vnto you, since you proue vngratefull,
Flinty-hearted _Charaloys_?
_Cha._ Nature does preuaile 175
Aboue your vertue.
_Roch._ No! it giues me eyes,
To pierce the heart of designe against me.
I finde it now, it was my state was aym’d at,
A nobler match was fought for, and the houres
I liu’d, grew teadious to you: my compassion 180
Towards you hath rendred me most miserable,
And foolish charity vndone my selfe:
But ther’s a Heauen aboue, from whose iust wreake
No mists of policy can hide offendors.
_Enter Nouall se. with Officers._
_Nou. se._ Force ope the doors--O monster, caniball, 185
Lay hold on him, my sonne, my sonne.--O _Rochfort_,
’Twas you gaue liberty to this bloody wolfe
To worry all our comforts,--But this is
No time to quarrell; now giue your assistance
For the reuenge.
_Roch._ Call it a fitter name-- 190
Iustice for innocent blood.
_Cha._ Though all conspire
Against that life which I am weary of,
A little longer yet ile striue to keepe it,
To shew in spite of malice, and their lawes,
His plea must speed that hath an honest cause. 195
_Exeunt_
_Actus quintus._
_Scaena prima._
[_A Street_]
_Enter Liladam_, _Taylor_, _Officers_.
_Lila_ Why ’tis both most vnconscionable, and vntimely
T’arrest a gallant for his cloaths, before
He has worne them out: besides you sayd you ask’d
My name in my Lords bond but for me onely,
And now you’l lay me vp for’t. Do not thinke 5
The taking measure of a customer
By a brace of varlets, though I rather wait
Neuer so patiently, will proue a fashion
Which any Courtier or Innes of court man
Would follow willingly.
_Tayl._ There I beleeue you. 10
But sir, I must haue present moneys, or
Assurance to secure me, when I shall.--
Or I will see to your comming forth.
_Lila._ Plague on’t,
You haue prouided for my enterance in:
That comming forth you talke of, concernes me. 15
What shall I doe? you haue done me a disgrace
In the arrest, but more in giuing cause
To all the street, to thinke I cannot stand
Without these two supporters for my armes:
Pray you let them loose me: for their satisfaction 20
I will not run away.
_Tayl._ For theirs you will not,
But for your owne you would; looke to them fellows.
_Lila._ Why doe you call them fellows? doe not wrong
Your reputation so, as you are meerely
A Taylor, faythfull, apt to beleeue in Gallants 25
You are a companion at a ten crowne supper
For cloth of bodkin, and may with one Larke
Eate vp three manchets, and no man obserue you,
Or call your trade in question for’t. But when
You study your debt-booke, and hold correspondence 30
With officers of the hanger, and leaue swordmen,
The learned conclude, the Taylor and Sergeant
In the expression of a knaue are these
To be _Synonima_. Looke therefore to it,
And let vs part in peace, I would be loth 35
You should vndoe your selfe.
_Tayl._ To let you goe
_Enter old Nouall, and Pontalier._
Were the next way.
But see! heeres your old Lord,
Let him but giue his worde I shall be paide,
And you are free.
_Lila._ S’lid, I will put him to’t:
I can be but denied: or what say you? 40
His Lordship owing me three times your debt,
If you arrest him at my suite, and let me
Goe run before to see the action entred.
’Twould be a witty iest.
_Tayl._ I must haue ernest:
I cannot pay my debts so.
_Pont._ Can your Lordship 45
Imagine, while I liue and weare a sword,
Your sonnes death shall be reueng’d?
_Nou. se._ I know not
One reason why you should not doe like others:
I am sure, of all the herd that fed vpon him,
I cannot see in any, now hee’s gone, 50
In pitty or in thankfulnesse one true signe
Of sorrow for him.
_Pont._ All his bounties yet
Fell not in such vnthankfull ground: ’tis true
He had weakenesses, but such as few are free from,
And though none sooth’d them lesse then I: for now 55
To say that I foresaw the dangers that
Would rise from cherishing them, were but vntimely.
I yet could wish the iustice that you seeke for
In the reuenge, had been trusted to me,
And not the vncertaine issue of the lawes: 60
’Tas rob’d me of a noble testimony
Of what I durst doe for him: but howeuer,
My forfait life redeem’d by him though dead,
Shall doe him seruice.
_Nou. se._ As farre as my griefe
Will giue me leaue, I thanke you.
_Lila._ Oh my Lord, 65
Oh my good Lord, deliuer me from these furies.
_Pont._ Arrested? This is one of them whose base
And obiect flattery helpt to digge his graue:
He is not worth your pitty, nor my anger.
Goe to the basket and repent.
_Nou. se._ Away 70
I onely know now to hate thee deadly:
I will doe nothing for thee.
_Lila._ Nor you, Captaine.
_Pont._ No, to your trade againe, put off this case,
It may be the discouering what you were,
When your vnfortunate master tooke you vp, 75
May moue compassion in your creditor.
Confesse the truth.
_Exit Nouall se. Pont._
_Lila._ And now I thinke on’t better,
I will, brother, your hand, your hand, sweet brother.
I am of your sect, and my gallantry but a dreame,
Out of which these two fearefull apparitions 80
Against my will haue wak’d me. This rich sword
Grew suddenly out of a taylors bodkin;
These hangers from my vailes and fees in Hell:
And where as now this beauer sits, full often
A thrifty cape compos’d of broad cloth lifts, 85
Nere kin vnto the cushion where I sate.
Crosse-leg’d, and yet vngartred, hath beene seene,
Our breakefasts famous for the buttred loaues,
I haue with ioy bin oft acquainted with,
And therefore vse a conscience, though it be 90
Forbidden in our hall towards other men,
To me that as I haue beene, will againe
Be of the brotherhood.
_Offi._ I know him now:
He was a prentice to _Le Robe_ at _Orleance_.
_Lila._ And from thence brought by my young Lord, now dead, 95
Vnto _Dijon_, and with him till this houre
Hath bin receiu’d here for a compleate Mounsieur.
Nor wonder at it: for but tythe our gallants,
Euen those of the first ranke, and you will finde
In euery ten, one: peraduenture two, 100
That smell ranke of the dancing schoole, or fiddle,
The pantofle or pressing yron: but hereafter
Weele talke of this. I will surrender vp
My suites againe: there cannot be much losse,
’Tis but the turning of the lace, with ones 105
Additions more you know of, and what wants
I will worke out.
_Tayl._ Then here our quarrell ends.
The gallant is turn’d Taylor, and all friends.
_Exeunt._
_Scaena 2._
_Enter Romont, Baumont._
[_The Court of Justice_]
_Rom._ You haue them ready.
_Bau._ Yes, and they will speake
Their knowledg in this cause, when thou thinkst fit
To haue them cal’d vpon.
_Rom._ ’Tis well, and something
I can adde to their euidence, to proue
This braue reuenge, which they would haue cal’d murther, 5
A noble Iustice.
_Bau._ In this you expresse
(The breach by my Lords want of you, new made vp)
A faythfull friend.
_Rom._ That friendship’s rays’d on sand,
Which euery sudden gust of discontent,
Or flowing of our passions can change, 10
As if it nere had bin: but doe you know
Who are to sit on him?
_Bau._ Mounsieur _Du Croy_
Assisted by _Charmi_.
_Rom._ The Aduocate
That pleaded for the Marshalls funerall,
And was checkt for it by _Nouall_.
_Bau._ The same 15
_Rom._ How fortunes that?
_Bau._ Why, sir, my Lord _Nouall_
Being the accuser, cannot be the Iudge,
Nor would grieue _Rochfort_, but Lord _Charaloys_
(Howeuer he might wrong him by his power,)
Should haue an equall hearing.
_Rom._ By my hopes 20
Of _Charaloys_ acquitall, I lament
That reuerent old mans fortune.
_Bau._ Had you seene him,
As to my griefe I haue now promis’d patience,
And ere it was beleeu’d, though spake by him
That neuer brake his word, inrag’d againe 25
So far as to make warre vpon those heires
Which not a barbarous Sythian durst presume
To touch, but with a superstitious feare,
As something sacred, and then curse his daughter,
But with more frequent violence himselfe, 30
As if he had bin guilty of her fault,
By being incredulous of your report,
You would not onely iudge him worrhy pitty,
But suffer with him.
_Enter Charalois, with Officers._
But heere comes the prisoner,
I dare not stay to doe my duty to him, 35
Yet rest assur’d, all possible meanes in me
To doe him seruice, keepes you company.
_Exit Bau._
_Rom._ It is not doubted.
_Cha._ Why, yet as I came hither,
The people apt to mocke calamity,
And tread on the oppress’d, made no hornes at me, 40
Though they are too familiar: I deserue them.
And knowing what blood my sword hath drunke
In wreake of that disgrace, they yet forbare
To shake their heads, or to reuile me for
A murtherer, they rather all put on 45
(As for great losses the old _Romans_ vs’d)
A generall face of sorrow, waighted on
By a sad murmur breaking through their silence,
And no eye but was readier with a teare
To witnesse ’twas shed for me, then I could 50
Discerne a face made vp with scorne against me.
Why should I then, though for vnusuall wrongs,
I chose vnusuall meanes to right those wrongs,
Condemne my selfe, as over-partiall
In my owne cause Romont?
_Rom._ Best friend, well met, 55
By my heart’s loue to you, and ioyne to that,
My thankfulness that still liues to the dead,
I looke upon you now with more true ioy,
Than when I saw you married.
_Cha._ You have reason
To give you warrant for’t; my falling off 60
From such a friendship with the scorne that answered
Your too propheticke counsell, may well moue you
To thinke your meeting me going to my death,
A fit encounter for that hate which iustly
I have deseru’d from you.
_Rom._ Shall I still then 65
Speake truth, and be ill vnderstood?
_Cha._ You are not.
I am conscious, I haue wrong’d you, and allow me
Only a morall man to looke on you,
Whom foolishly I haue abus’d and iniur’d,
Must of necessity be more terrible to me, 70
Than any death the Iudges can pronounce
From the tribunall which I am to plead at.
_Rom._ Passion transports you.
_Cha._ For what I haue done
To my false Lady, or _Nouall_, I can
Giue some apparent cause: but touching you, 75
In my defence, childlike, I can say nothing,
But I am sorry for’t, a poore satisfaction:
And yet mistake me not: for it is more
Then I will speake, to haue my pardon sign’d
For all I stand accus’d of.
_Rom._ You much weaken 80
The strength of your good cause. Should you but thinke
A man for doing well could entertaine
A pardon, were it offred, you haue giuen
To blinde and slow-pac’d iustice, wings, and eyes
To see and ouertake impieties, 85
Which from a cold proceeding had receiu’d
Indulgence or protection.
_Cha._ Thinke you so?
_Rom._ Vpon my soule nor should the blood you chalenge
And took to cure your honour, breed more scruple
In your soft conscience, then if your sword 90
Had bin sheath’d in a Tygre, or she Beare,
That in their bowels would haue made your tombe
To iniure innocence is more then murther:
But when inhumane lusts transforme vs, then
Like beasts we are to suffer, not like men 95
To be lamented. Nor did _Charalois_ euer
Performe an act so worthy the applause
Of a full theater of perfect men,
As he hath done in this: the glory got
By ouerthrowing outward enemies, 100
Since strength and fortune are maine sharers in it,
We cannot but by pieces call our owne:
But when we conquer our intestine foes,
Our passions breed within vs, and of those
The most rebellious tyrant powerfull loue, 105
Our reason suffering vs to like no longer
Then the faire obiect being good deserues it,
That’s a true victory, which, were great men
Ambitious to atchieue, by your example
Setting no price vpon the breach of fayth, 110
But losse of life, ’twould fright adultery
Out of their families, and make lust appeare
As lothsome to vs in the first consent,
As when ’tis wayted on by punishment.
_Cha._ You haue confirm’d me. Who would loue a woman 115
That might inioy in such a man, a friend?
You haue made me know the iustice of my cause,
And mark’t me out the way, how to defend it.
_Rom._ Continue to that resolution constant,
And you shall, in contempt of their worst malice, 120
Come off with honour. Heere they come.
_Cha._ I am ready.
_Scaena 3._
_Enter Du Croy_, _Charmi_, _Rochfort_, _Nouall se._ _Pontalier_,
_Baumont_.
_Nou. se._ See, equall Iudges, with what confidence
The cruel murtherer stands, as if he would
Outface the Court and Iustice!
_Roch._ But looke on him.
And you shall find, for still methinks I doe,
Though guilt hath dide him black, something good in him, 5
That may perhaps worke with a wiser man
Then I haue beene, againe to set him free
And giue him all he has.
_Charmi._ This is not well.
I would you had liu’d so, my Lord that I,
Might rather haue continu’d your poore seruant, 10
Then sit here as your Iudge.
_Du Croy_ I am sorry for you.
_Roch._ In no act of my life I haue deseru’d
This iniury from the court, that any heere
Should thus vnciuilly vsurpe on what
Is proper to me only.
_Du Cr._ What distaste 15
Receiues my Lord?
_Roch._ You say you are sorry for him:
A griefe in which I must not haue a partner:
’Tis I alone am sorry, that I rays’d
The building of my life for seuenty yeeres
Vpon so sure a ground, that all the vices 20
Practis’d to ruine man, though brought against me,
Could neuer vndermine, and no way left
To send these gray haires to the graue with sorrow.
Vertue that was my patronesse betrayd me:
For entring, nay, possessing this young man, 25
It lent him such a powerfull Maiesty
To grace what ere he vndertooke, that freely
I gaue myselfe vp with my liberty,
To be at his disposing; had his person
Louely I must confesse, or far fain’d valour, 30
Or any other seeming good, that yet
Holds a neere neyghbour-hood, with ill wrought on me,
I might haue borne it better: but when goodnesse
And piety it selfe in her best figure
Were brib’d to by destruction, can you blame me, 35
Though I forget to suffer like a man,
Or rather act a woman?
_Bau._ Good my Lord.
_Nou. se._ You hinder our proceeding.
_Charmi._ And forget
The parts of an accuser.
_Bau._ Pray you remember
To vse the temper which to me you promis’d. 40
_Roch._ Angels themselues must breake _Baumont_, that promise
Beyond the strength and patience of Angels.
But I haue done, my good Lord, pardon me
A weake old man, and pray adde to that
A miserable father, yet be carefull 45
That your compassion of my age, nor his,
Moue you to anything, that may dis-become
The place on which you sit.
_Charmi._ Read the Inditement.
_Cha._ It shall be needelesse, I my selfe, my Lords,
Will be my owne accuser, and confesse 50
All they can charge me with, or will I spare
To aggrauate that guilt with circumstance
They seeke to loade me with: onely I pray,
That as for them you will vouchsafe me hearing:
I may not be, denide it for my selfe, 55
When I shall vrge by what vnanswerable reasons
I was compel’d to what I did, which yet
Till you haue taught me better, I repent not.
_Roch._ The motion honest.
_Charmi._ And ’tis freely granted.
_Cha._ Then I confesse my Lords, that I stood bound, 60
When with my friends, euen hope it selfe had left me
To this mans charity for my liberty,
Nor did his bounty end there, but began:
For after my enlargement, cherishing
The good he did, he made me master of 65
His onely daughter, and his whole estate:
Great ties of thankfulnesse I must acknowledge,
Could any one freed by you, presse this further
But yet consider, my most honourd Lords,
If to receiue a fauour, make a seruant, 70
And benefits are bonds to tie the taker
To the imperious will of him that giues,
Ther’s none but slaues will receiue courtesie,
Since they must fetter vs to our dishonours.
Can it be cal’d magnificence in a Prince, 75
To powre downe riches, with a liberall hand,
Vpon a poore mans wants, if that must bind him
To play the soothing parasite to his vices?
Or any man, because he sau’d my hand,
Presume my head and heart are at his seruice? 80
Or did I stand ingag’d to buy my freedome
(When my captiuity was honourable)
By making my selfe here and fame hereafter,
Bondslaues to mens scorne and calumnious tongues?
Had his faire daughters mind bin like her feature, 85
Or for some little blemish I had sought
For my content elsewhere, wasting on others
My body and her dowry; my forhead then
Deseru’d the brand of base ingratitude:
But if obsequious vsage, and faire warning 90
To keepe her worth my loue, could preserue her
From being a whore, and yet no cunning one,
So to offend, and yet the fault kept from me?
What should I doe? let any freeborne spirit
Determine truly, if that thankfulnesse, 95
Choise forme with the whole world giuen for a dowry,
Could strengthen so an honest man with patience,
As with a willing necke to vndergoe
The insupportable yoake of slaue or wittoll.
_Charmi._ What proofe haue you she did play false, besides 100
your oath?
_Cha._ Her owne confession to her father.
I aske him for a witnesse.
_Roch._ ’Tis most true.
I would not willingly blend my last words
With an vntruth.
_Cha._ And then to cleere my selfe,
That his great wealth was not the marke I shot at, 105
But that I held it, when faire _Beaumelle_
Fell from her vertue, like the fatall gold
Which _Brennus_ tooke from _Delphos_, whose possession
Brought with it ruine to himselfe and Army.
Heer’s one in Court, _Baumont_, by whom I sent 110
All graunts and writings backe, which made it mine,
Before his daughter dy’d by his owne sentence,
As freely as vnask’d he gaue it to me.
_Bau._ They are here to be seene.
_Charmi._ Open the casket.
Peruse that deed of gift.
_Rom._ Halfe of the danger 115
Already is discharg’d: the other part
As brauely, and you are not onely free,
But crownd with praise for euer.
_Du Croy._ ’Tis apparent.
_Charmi._ Your state, my Lord, againe is yours.
_Roch._ Not mine,
I am not of the world, if it can prosper, 120
(And being iustly got, Ile not examine
Why it should be so fatall) doe you bestow it
On pious vses. Ile goe seeke a graue.
And yet for proofe, I die in peace, your pardon
I aske, and as you grant it me, may Heauen 125
Your conscience, and these Iudges free you from
What you are charg’d with. So farewell for euer.--
_Exit Roch._
_Nouall se._ Ile be mine owne guide. Passion, nor example
Shall be my leaders. I haue lost a sonne,
A sonne, graue Iudges, I require his blood 130
From his accursed homicide.
_Charmi._ What reply you
In your defence for this?
_Cha._ I but attended
Your Lordships pleasure. For the fact, as of
The former, I confesse it, but with what
Base wrongs I was vnwillingly drawne to it, 135
To my few wordes there are some other proofes
To witnesse this for truth, when I was married:
For there I must begin. The slayne _Nouall_
Was to my wife, in way of our French courtship,
A most deuoted seruant, but yet aym’d at 140
Nothing but meanes to quench his wanton heate,
His heart being neuer warm’d by lawfull fires
As mine was (Lords:) and though on these presumptions,
Ioyn’d to the hate betweene his house and mine,
I might with opportunity and ease 145
Haue found a way for my reuenge, I did not;
But still he had the freedome as before
When all was mine, and told that he abus’d it
With some vnseemely licence, by my friend
My appou’d friend _Romont_, I gaue no credit 150
To the reporter, but reprou’d him for it
As one vncourtly and malicious to him.
What could I more, my Lords? yet after this
He did continue in his first pursute
Hoter then euer, and at length obtaind it; 155
But how it came to my most certaine knowledge,
For the dignity of the court and my owne honour
I dare not say.
_Nou. se._ If all may be beleeu’d
A passionate prisoner speakes, who is so foolish
That durst be wicked, that will appeare guilty? 160
No, my graue Lords: in his impunity
But giue example vnto iealous men
To cut the throats they hate, and they will neuer
Want matter or pretence for their bad ends.
_Charmi._ You must find other proofes to strengthen these 165
But more presumptions.
_Du Croy._ Or we shall hardly
Allow your innocence.
_Cha._ All your attempts
Shall fall on me, like brittle shafts on armour,
That breake themselues; or like waues against a rocke,
That leaue no signe of their ridiculous fury 170
But foame and splinters, my innocence like these
Shall stand triumphant, and your malice serue
But for a trumpet; to proclaime my conquest
Nor shall you, though you doe the worst fate can,
How ere condemne, affright an honest man. 175
_Rom._ May it please the Court, I may be heard.
_Nou. se._ You come not
To raile againe? but doe, you shall not finde,
Another _Rochfort_.
_Rom._ In _Nouall_ I cannot.
But I come furnished with what will stop
The mouth of his conspiracy against the life 180
Of innocent _Charaloys_. Doe you know this Character?
_Nou. se._ Yes, ’tis my sonnes.
_Rom._ May it please your Lordships, reade it,
And you shall finde there, with what vehemency
He did sollicite _Beaumelle_, how he had got
A promise from her to inioy his wishes, 185
How after he abiur’d her company,
And yet, but that ’tis fit I spare the dead,
Like a damnd villaine, assoone as recorded,
He brake that oath, to make this manifest
Produce his bands and hers.
_Enter Aymer_, _Florimell_, _Bellapert_.
_Charmi._ Haue they tooke their oathes? 190
_Rom._ They haue; and rather then indure the racke,
Confesse the time, the meeting, nay the act;
What would you more? onely this matron made
A free discouery to a good end;
And therefore I sue to the Court, she may not 195
Be plac’d in the blacke list of the delinquents.
_Pont._ I see by this, Nouals reuenge needs me,
And I shall doe.
_Charmi._ ’Tis euident.
_Nou. se._ That I
Till now was neuer wretched, here’s no place
To curse him or my stars.
_Exit Nouall senior._
_Charmi._ Lord _Charalois_, 200
The iniurie: you haue sustain’d, appeare
So worthy of the mercy of the Court,
That notwithstanding you haue gone beyond
The letter of the Law, they yet acquit you.
_Pont._ But in Nouall, I doe condemne him thus. 205
_Cha._ I am slayne.
_Rom._ Can I looke on? Oh murderous wretch,
Thy challenge now I answere. So die with him.
_Charmi._ A guard: disarme him.
_Rom._ I yeeld vp my sword
Vnforc’d. Oh _Charaloys_.
_Cha._ For shame, _Romont_,
Mourne not for him that dies as he hath liu’d, 210
Still constant and vnmou’d: what’s falne vpon me,
Is by Heauens will, because I made my selfe
A Iudge in my owne cause without their warrant:
But he that lets me know thus much in death,
With all good men forgiue mee.
_Pont._ I receiue 215
The vengeance, which my loue not built on vertue,
Has made me worthy, worthy of.
_Charmi._ We are taught
By this sad president, how iust foeuer
Our reasons are to remedy our wrongs,
We are yet to leaue them to their will and power, 220
That to that purpose haue authority.
For you, _Romont_, although in your excuse
You may plead, what you did, was in reuenge
Of the dishonour done vnto the Court:
Yet since from vs you had not warrant for it, 225
We banish you the State: for these, they shall,
As they are found guilty or innocent,
Be set free, or suffer punishment.
_Exeunt omnes._
_FINIS_
First Song.
_Fie, cease to wonder,
Though you are heare Orpheus with his Iuory Lute,
Moue Trees and Rockes.
Charme Buls, Beares, and men more sauage to be mute,
Weake foolish singer, here is one, 5
Would haue transform’d thy selfe, to stone._
Second Song.
A Dialogue betweene _Nouall_, and _Beaumelle_.
_Man._
_Set_ Phoebus, _set, a fayrer sunne doth rise,
From the bright Radience of my Mrs. eyes
Then euer thou begat’st. I dare not looke,
Each haire a golden line, each word a hooke,
The more I striue, the more I still am tooke._ 5
Wom.
_Fayre seruant, come, the day these eyes doe lend
To warme thy blood, thou doest so vainely spend.
Come strangled breath._
Man.
_What noate so sweet as this,
That calles the spirits to a further blisse?_
Wom.
_Yet this out-sauours wine, and this Perfume._ 10
Man.
_Let’s die, I languish, I consume._
CITTIZENS SONG OF THE COURTIER.
_Courtier, if thou needs wilt wiue,
From this lesson learne to thriue.
If thou match a Lady, that
Passes thee in birth and state,
Let her curious garments be 5
Twice aboue thine owne degree;
This will draw great eyes vpon her,
Get her seruants and thee honour._
COURTIERS SONG OF THE CITIZEN.
_Poore Citizen, if thou wilt be
A happy husband, learne of me;
To set thy wife first in thy shop,
A faire wife, a kinde wife, a sweet wife, sets a poore man vp.
What though thy shelues be ne’re so bare: 5
A woman still is currant ware:
Each man will cheapen, foe, and friend,
But whilst thou art at tother end,
What ere thou seest, or what dost heare,
Foole, haue no eye to, nor an eare; 10
And after supper for her sake,
When thou hast fed, snort, though thou wake:
What though the Gallants call thee mome?
Yet with thy lanthorne light her home:
Then looke into the town and tell, 15
If no such Tradesmen there doe dwell._
NOTES
[_Dramatis personae._] _Charalois_--the name _Charalois_ is a
corruption of _Charolais_, the Count of Charolais being the hereditary
title of the heir-apparent of the Duchy of Burgundy, for whom the
county of Charolais, an arrière-fief of Burgundy, was reserved as an
appanage. This domain had been purchased by Philip the Bold for his
son, John the Fearless.
I, i, 4. _argue me of_--obsolete construction: “accuse me of.” Cf. Ray,
_Disc._ II, v, 213: “Erroneously argues Hubert Thomas ... of a mistake.”
I, i, 7. _dispence with_--give special exemption from. Cf. I, ii, 87.
I, i, 33. _This such_--_This_ for _this is_ is a common Elizabethan
construction. Cf. “O this the poison of deep grief”--_Hamlet_, IV, v,
76; “This a good block”--_Lear_, IV, vi, 187.
I, i, 45. _tooke vp_--borrowed. Cf. Shakespeare, _Henry IV, Part II_,
I, ii, 46: “if a man is through with them in honest taking up, they
stand upon security.”
I, i, 55-6. _Your sable habit, with the hat and cloak ... haue
power_--the details of hat, cloak, and ribbons, interposed between
subject and verb, have attracted the latter into the plural, to the
violation of its agreement with its substantive.
I, i, 70. _in that_--i. e., in the fact that justice had no such guards.
I, i, 73-7. For the allusion to _Cerberus_ and the _sops_, cf. Virgil’s
picture of Aeneas’ journey to Hades (Aeneid, VI, 417-425): “Huge
Cerberus makes these realms to resound with barking from his tripple
jaws, stretched at his enormous length in a den that fronts the gate.
To whom the prophetess, seeing his neck now bristle with horrid snakes,
flings a soporific cake of honey and medicated grain. He, in the mad
rage of hunger, opening his three mouths, snatches the offered morsel,
and, spread on the ground, relaxes his monstrous limbs, and is extended
at vast length over all the cave. Aeneas, now that the keeper [of Hell]
is buried [in sleep], seizes the passage and swift overpasses the bank
of that flood whence there is no return.”--_Davidson’s trans._
I, i, 75. _fertyle headed--many headed_, _fertyle_ is used in the now
obsolete sense of _abundant_.
I, i, 92. _such, whose_--for the construction, cf. Shakespeare: “Such I
will have, whom I am sure he knows not from the enemy.”--_All’s Well_,
III, iv, 24.
I, i, 99. _men religious_--the adjective is regularly placed after its
noun in Eliz. Eng. when the substantive is unemphatic and the modifier
not a mere epithet, but essential to the sense. See Abbott, S. G. § 419.
I, i, 137-8.--The thought of these lines is undeveloped, the phrasing
being broken and disconnected. It is a scornful observation on the
part of Romont that whether or not Novall takes papers depends on how
the matter is brought before him--and he is about to add that there is
a way in which Charalois can manage to gain his point, when he breaks
off with the cry, “Follow him!” _Conuayance_ = contrivance.
I, i, 164. _parchment toils_--snares in the shape of documents upon
parchment, such as bonds, mortgages, etc.
I, i, 166. _Luxury_--used here in the modern sense,--not, as more
commonly in Elizabethan times, with the meaning, _laciviousness_,
_lust_. The thought of the somewhat involved period which ends with
this line is, that the creditors prayed only on an occasion when they
feared to lose their clutch on some rich spendthrift--on which occasion
they would pray to the devil to invent some new and fantastic pleasure
which would lure their victim back into the toils.
I, ii, 11. _Dijon_--the scene of the drama,--situated on the western
border of the fertile plain of Burgundy, and at the confluence of the
Ouche and the Suzon. It was formerly the capital of the province of
Burgundy, the dukes of which acquired it early in the eleventh century,
and took up their residence there in the thirteenth century. For the
decoration of the palace and other monuments built by them, eminent
artists were gathered from northern France and Flanders, and during
this period the town became one of the great intellectual centers of
France. The union of the duchy with the crown in 1477 deprived Dijon
of the splendor of the ducal court, but to counterbalance this loss it
was made the capital of the province and the seat of a _parlement_.
To-day it possesses a population of some 65,000, and is a place of
considerable importance.
I, ii, 21-3. _Nor now ... that I vndertooke, forsake it._--The
expression is elliptical, the verb of the preceding period being in
the future indicative--whereas here the incomplete verb is in the
conditional mood. In full: _Nor now ... that I undertook, would I
forsake it._
I, ii, 56. _determine of--of_ is the preposition in obs. usage which
follows _determine_ used, as here, in the sense of _decide_, _come to a
judicial decision_, _come to a decision on_ (_upon_). Cf. IV, iv, 82.
I, ii, 57. _to_--in addition to.
I, ii, 66. _become_--modern editors, beginning with Mason, read
_became_; but _become_ may be taken as a variant form of the past
tense (or even as participle for _having become_, with nom. absolute
construction, though this is less likely).
I, ii, 91-2. _May force you ... plead at_--i. e. “may cause your
dismissal from the bar.”
I, ii, 107. _purple-colour’d_--Novall wears the official red robe of
judge.
I, ii, 123-4. _the subtill Fox of France, The politique Lewis_--Louis
XI of France, an old enemy of Burgundy.
I, ii, 127. _If that_, etc.--Gradually, as the interrogatives were
recognized as relatives, the force of _that_, _so_, _as_, in “when
_that_”, “when _so_”, “when _as_”, seems to have tended to make the
relative more general and indefinite; “who so” being now nearly (and
once quite) as indefinite as “whosoever.”... In this sense, by analogy,
_that_ was attached to other words, such as “if”, “though”, “why”,
etc.--Abbott, S. G. § 287.
Cf.
“If that rebellion
Came like itself, in base and abject routs.”
_Henry IV, Part_ II, IV, i, 32.
The same construction appears in V, iii, 95.
I, ii, 163. _Writ man_--i. e., wrote himself down as a man.
I, ii, 170. _Granson_, _Morat_, _Nancy_--the “three memorable
overthrows” which Charles the Bold suffered at the hands of the Swiss
cantons and Duke René of Loraine. The battle of Granson took place
March 3, 1476; that of Morat, June 22, 1476; that of Nancy, January
5, 1477. On each occasion the army of Charles was annihilated; and
finally at Nancy he was himself slain. These defeats ended the power of
Burgundy.
I, ii, 171. _The warlike Charloyes_--Charles the Bold, the Duke of
Burgundy.
I, ii, 185. _Ill ayres_--noxious exhalations, miasma.
I, ii, 194-5. _They are onely good men, that pay what they owe._
2 Cred. _And so they are._
1 Cred. _’Tis the City Doctrine._
Cf. Shakespeare in _The Merchant of Venice_, I, iii, 12 ff.:
“_Shy._ Antonio is a good man.
_Bass._ Have you heard any imputation to the contrary?
_Shy._ Ho, no, no, no, no! My meaning in saying he is a good man is
to have you understand me that he is sufficient.”
I, ii, 201. _right_--so in all texts. With this word the meaning is
perfectly plain, but the substitution, in its place, of _weight_ would
better sustain the figure used in the preceding line. _Weight_ is a
word which it is not unlikely the printer would mis-read from the Ms.
as _right_.
I, ii, 207. _in your danger_--regularly, “in your power”, “at your
mercy”; so here, “in your debt”.
I, ii, 245. _As_--used here in its demonstrative meaning, to introduce
a parenthetical clause. Cf. Abbott, S. G. § 110.
II, i, 13. _sits_--the common Elizabethan 3rd. person plural in _s_,
generally and without warrant altered by modern editors. See Abbott,
S. G. § 333. Cf. _keepes_, V, ii, 37.
II, i, 28. _was--monies_ is taken in the collective sense.
II, i, 46. _interd a liuely graue_--i. e., _enter’d a lively_
[_living_] _grave_. G., who first prints it so, considers he has made a
change in the first word, taking it in the Q. for _interr’d_, as does
M., who suggests in a footnote the reading: _enters alive the grave_.
But _interd_ may be, and is best, taken as merely an old spelling for
_enter’d_, naturally attracted to the _i_-form by the presence of the
word _interment_ in the preceding line.
II, i, 63. _Remember best, forget not gratitude_--ellipsis for:
_Remember best who forget not gratitude_. Modern usage confines the
omission of the relative mostly to the objective. In Eliz. Eng.,
however, the nominative relative was even more frequently omitted,
especially when the antecedent clause was emphatic and evidently
incomplete, and where the antecedent immediately preceded the verb to
which the relative would be subject. See Abbott, S. G., § 244.
Cf. III, i, 134-5; i, 139; i, 332; IV, ii, 61.
II, i, 65. _viperous_--according to various classical authorities
[e. g., Pliny, X, 82], the young of vipers eat their way forth to light
through the bowels of their dam. The figure here seems to be somewhat
confused, as the dead hero is the _son_ of the country, his mother,
who devours _him_. The thought, perhaps, in the mind of the dramatist,
albeit ill-expressed, was that the mother-country owed her existence to
her son, and, viper-like had devoured the author of her life.
II, i, 66. _eate_--owing to the tendency to drop the inflectional
ending _-en_, the Elizabethans frequently used the curtailed forms of
past participles, which are common in Early English: “I have spoke,
forgot, writ, chid,” etc.--Abbott, S. G., § 343. Cf. _broke_, II, ii,
27; _spoke_, III, i, 3; _begot_, IV, iv, 154; 170.
II, i, 83. _golden calf_--the figure, from its immediate application
to _a dolt of great wealth_, is transferred to the false god whom the
children of Israel worshipped at the foot of Mount Sinaï.
II, i, 93-4. _Would they not so_, etc.--the Q. reading is to be
preferred to either of the modern emendations. It is probably in the
sense of “Would they no more but so?”, with the ensuing declaration
that in that case they would keep their tears to stop (fill?) bottles
(probably meaning lachrimatories or phials used in ancient times for
the preservation of tears of mourning).
II, i, 98-9. _Y’are ne’re content, Crying nor laughing_--The meaning
is, of course: “You are never content with us, whether we are crying or
laughing.”
II, i, 100. _Both with a birth_--i. e., both together, at the same time.
II, i, 137. _Burmudas_--The Bermuda islands, known only through the
tales of early navigators who suffered shipwreck there, enjoyed a
most unsavory reputation in Elizabethan times, as being the seat of
continual tempests, and the surrounding waters “a hellish sea for
thunder, lightning, and storms.” Cf. Shakespeare, _The Tempest_, I, ii,
269: “the still-vexed Bermoothes.” They were said to be enchanted, and
inhabited by witches and devils. They were made famous by the shipwreck
there in 1609 of Sir George Somers; the following year one of his
party, Sil. Jordan, published _A Discovery of the Bermudas, otherwise
called the Isle of Devils_.
Field has another reference to “the Barmuthoes” in _Amends for Ladies_,
III, iv; but there it is not clear whether he means the islands or
certain narrow passages north of Covent Garden, which went by the slang
name of “the Bermudas” or “the Streights.” It _is_ in this latter sense
that the word is used in Jonson’s _The Devil is an Ass_, II, i.
II, i, 139. _Exact the strictnesse_--i. e., require a strict
enforcement of the sentence which limits Charalois to the confines of
the prison.
II, i, 144. _vsurers relief_, etc.--a rather awkward expression, so
phrased for the sake of the end-scene rhyme. The thought seems to be:
“The relief which usurers have to offer mourns, if the debtors have
(exhibit) too much grief.” Charalois’ remark is, of course, ironical.
II, ii, 10. _electuary_--a medicinal conserve or paste, consisting of
a powder or some other ingredient mixed with honey, preserve, or syrup
of some other kind. Beaumelle means that Florimal is the medicine and
Bellapert the sweet which makes it palatable.
II, ii, 17. _serue_--G. and S. read _served_, which is certainly
correct. Not only is there nothing throughout the play to suggest that
Beaumelle’s mother is still alive, but she herself has just spoken of
“you two my women” (l. 11).
II, ii, 18. _a peepe out_--a “pip” [old spelling _peepe_] is one of the
spots on playing cards, dice, or dominoes. The allusion is to a game of
cards called “one-and-thirty”; thirty-two is a pip too many.
II, ii, 21-2. _the mother of the maydes_--a title properly applied to
the head of the maids of honour in a Royal household.
II, ii, 22. _mortifie_--there is a significant ambiguity to the word
Bellapert uses. It means “bring into subjection,” “render dead to the
world and the flesh;” it formerly had also a baleful meaning: “to
kill;” “to destroy the vitality, vigor, or activity of.”
II, ii, 32. _vanuable, to make you thus--valuable_ is used in its
generic sense of _value-able_, _of sufficient value_.
II, ii, 71. _turn’d in her varieties_--G., S. read: _trimm’d in her
varieties_--i. e., “decked in her varieties [varied aspects].” But
adherence to the Q. is possible, with the meaning, “fashioned in her
varieties.”
II, ii, 82. _walkes not vnder a weede_--i. e., “wears not a garment,”
“is not in existence.”
II, ii, 88. _Tissue_--a rich kind of cloth, often interwoven with gold
or silver. So again in II, ii, 175.
II, ii, 89. _a three-leg’d lord_--the meaning is that Young Novall
cannot independently “stand upon his own legs,” but requires the triple
support of himself, Liladam, and Aymer.
II, ii, 96. _musicke house_--a public hall or saloon for musical
performances.
II, ii, 99-100. _in the Galley foyst_, etc.--a Galley-foist was a state
barge, especially that of the Lord Mayor of London. This, however, can
hardly be the meaning of the word here, used as it is in connection
with _Bullion_, which were trunk-hose, puffed out at the upper part,
in several folds; and with _Quirpo_, a variant of _cuerpo_--i. e., _in
undress_. “Galley-foist” may be the name of some dress of the period,
so-called for its resemblance to the gaily bedecked Mayor’s-barge. But
it is not unlikely, as Mason suggests, that _The Galley-foist_ and _The
Bullion_ were the names of taverns of that day; or else of houses of
public resort for some kind of amusement.
II, ii, 104. _skip_--so in all texts. But Field has elsewhere (_Woman
is a Weathercock_, II, i.): “and then my lord ... casts a suit every
quarter, which I _slip_ into.” It is probable that the word was the
same in both passages,--though whether _skip_ or _slip_ I have no means
of determining.
II, ii, 119. _St Omers_--more properly, _St. Omer_, a town of northern
France. A College of Jesuits was located there, and the point of
Novall’s comparison is perhaps an allusion to the mean appearance of
Jesuit spies who would come from thence to England on some pretext,
such as to see their friends during the Christmas season.
II, ii, 122. _ly’n perdieu_--“to lie perdu” is properly a military
term for, “to be placed as a sentinel or outpost,” especially in an
exposed position. _Ly’n_ is one of the many obsolete forms of the past
participle of the verb “to lie.”
II, ii, 125. _tye my hand_--i. e., tie the ribbon-strings which
depended from the sleeve over the hand.
II, ii, 163. _slight neglect_--contemptuous disrespect.
II, ii, 174. _bile_--all editors after the Q. read _boil_. _Bile_ was
an old spelling for _boil_; but in the other sense, one of the “four
humours” of medieval physiology, the passage is perfectly clear, and
the figure perhaps even more effective.
II, ii, 186. _eager relish_--acrid taste. The figure is that the law in
itself is often like a sharp and bitter flavor, but that a good judge
will sweeten this.
II, ii, 250 _s. d._ _Drawes a Curtayne_--the curtain of the alcove or
back-stage, within which was placed the “treasure,” thus to be revealed.
II, ii, 298. _in which yours_--i. e., “because of the fact of her being
yours.”
II, ii, 301. _for poore and worthlesse I--I_ for _me_, like other
irregularities in pronominal inflection, was not infrequent in
Elizabethan times. Cf. Abbott, S. G., § 205.
II, ii, 326. _Curtius-like_--like Marcus Curtius, legendary hero of
ancient Rome. See Livy, vii, 6.
II, ii, _final s. d._ _while the Act is playing_--i. e., while the
interlude music is played, at the close of the Act.
III, i, 18. _relish_--a trace or tinge of some quality, a
suggestion.--In III, i, 20: _a flavor_; or, if read with the Q.’s
punctuation, a verb: _give a relish_. It appears preferable, however,
to take the passage as punctuated by G., S., which makes _relish_ a
noun.
III, i, 29. _take me with you_--understand me.
III, i, 37. _sudden_--adv. for _suddenly_. The _-ly_ suffix was
frequently omitted in Elizabethan times.
III, i, 45. _Such as are faire_, etc.--the connection goes back to
l. 42, Bellapert taking up again the thread of her remark which
Novall’s objection and her summary answer thereto had broken in upon.
III, i, 120. _Christian_--probably used here in the colloq. sense
of: _a human being_, as distinguished from a brute; a “decent” or
“respectable” person. Cf. Shakespeare, _Twelfth Night_, I, iii, 89:
“Methinks ... I have no more wit than a Christian, or an ordinary man
has.”
III, i, 122. _The entertaiment of your visitation_--i. e., the
entertainment which your visit received.
III, i, 123. _on_ [old spelling for _one_]--i. e., a visitation.
III, i, 126. _Muske-cat_--the civet-cat; applied as a term of contempt
to a fop, as being a person perfumed with musk.
III, i, 139. _there is now speaks to you_--G., S. omit _is_, at the
same time clearing the construction and securing a more regular metre.
The Q. reading, however, is perfectly possible, as an ellipsis, by
omission of the subject relative, for, _there is that now speaks to
you_ [i. e., _there is now speaking to you_], or even, by a change of
punctuation, _there is--now speaks to you_--, etc.
III, i, 148. _As Caesar, did he liue, could not except at_--see
Plutarch’s _Life of Julius Caesar_, Chapters 9 & 10, wherein it
is narrated how Caesar divorced his wife, Pompeia, when scandal
assailed her name, although he denied any knowledge as to her guilt;
“‘Because’ said he, ‘I would have the chastity of my wife clear even of
suspicion.’”
III, i, 148. _except at_--take exception at.
III, i, 159. _pointed_--all editors after the Q. read _painted_, an
absolutely unnecessary and unwarranted emendation. _Pointed_ means
“fitted or furnished with tagged points or laces;” “wearing points;”
“laced.” Cf. Maurice Hewlett’s novel, _The Queen’s Quair_, p. 83:
“saucy young men, trunked, puffed, pointed, trussed and doubleted.”
Huloet in his Dictionary (1552) has: “Poynted, or tyed with poynts,
_ligulatus_.”
III, i, 167. _This pretty rag_--i. e., the “clout” mentioned in II, ii,
123.
III, i, 173. _in spite of_--in scorn of, in defiance of.
III, i, 184. _thy_--so the Q. All later editors read _this_. It is not
impossible, of course, that Romont should begin an oath “By thy hand,”
and Beaumelle flash back at him “And sword,” transferring the _thy_
from herself to him. But Romont would be more likely to swear by his
own hand than by Beaumelle’s.
III, i, 188. _cast suburb whores_--prostitutes who had been cashiered
from service. Houses of ill-fame were customarily located in the
suburbs.
III, i, 191. _legion_--i. e., of evil spirits. Cf. _Mark_, v, 9.
III, i, 193. _horne-mad_--the word was originally applied to horned
beasts, in the sense: “enraged so as to horn any one;” hence of
persons: “stark mad,” “mad with rage,” “furious.” By word-play it
acquires its sense in the present passage. “mad with rage at having
been made a cuckold.”
III, i, 202. _yellow_--this color was regarded as a token or symbol of
jealousy.
III, i, 211. _Carted_--carried in a cart through the streets, by way of
punishment or public exposure (especially as the punishment of a bawd).
III, i, 261. _in distance_--within reach, in striking distance.
III, i, 331. _as it would tire--as_ appears to be used for _as if_; in
reality the _if_ is implied in the (conditional) subjunctive.--Abbott,
S. G., § 107.
III, i, 331. _a beadle_--it was one of the duties of a beadle to whip
petty offenders.
III, i, 352. _So I not heard them_--Abbott explains this construction,
not uncommon in the Elizabethan period, as an omission of the auxiliary
verb “do” (S. G. § 305). But here the main verb is _heard_, whereas,
according to his explanation, grammar would require _hear_. May not the
construction be better taken as a simple, though to our ears cumbrous,
inversion of, _So I heard them not_?
III, i, 366. _cause_--affair, business--so also in III, i, 377.
III, i, 388. _Calenture_--a disease incident to sailors within the
tropics; a burning fever.
III, i, 428-9. _flegme ... choller_--in the old physiologies the
predominance of the “humour, phlegm,” was held to cause constitutional
indolence or apathy,--the predominance of “choler” to cause
irascibility.
III, i, 432. _’em_--grammatical precision would require _him_, as is
substituted in M., f. In Field’s rapid, loose style, however, a change
of construction in mid-sentence is not improbable, and the Q. reading
may very well reproduce accurately what he wrote.
III, i, 441. _thou curious impertinent_--the epithet is from _The
Curious Impertinent_ of Cervantes, a story imbedded in _Don Quixote,
Part I_.
III, i, 463. _I not accuse_--cf. note on l. 354.
III, i, 467. _Ere liue--Ere I should live_ is required in full by
strict grammar, but Field’s verse is frequently elliptical. Gifford’s
emendation to _lived_ for the sake of grammatical regularity, which is
followed by all later editors, is unwarranted.
III, i, 467. _mens marginall fingers_--the figure is an allusion to
the ancient custom of placing an index hand in the margin of books,
to direct the reader’s attention to a striking passage. So does
Romont picture men’s fingers pointing to the story of Charalois as a
noteworthy and lamentable thing. Cf. IV, i, 56.
III, i, 469-470. _An Emperour put away his wife for touching Another
man._--The source of this allusion is not apparent. Can it be a
perversion in the mind of Field of the story of Caesar’s divorce of his
wife, to which Massinger has already referred above (l. 148)?
IV, i, 3. _a flaxe_--the flax wick of a lamp or candle.
IV, i, 3. _a red headed womans chamber_--Since early times red-haired
individuals have been supposed to emit an emanation having a powerful
sexually exciting influence. In the Romance countries, France and
Italy, this belief is universally diffused.--Iwan Block: _The Sexual
Life of our Time_--transl. by Eden Paul--p. 622.
Cf. also Gabrielle D’Annunzio: _Il Piacere_, p. 90:
“‘Have you noticed the armpits of Madame Chrysoloras? Look!’”
“The Duke di Beffi indicated a dancer, who had upon her brow, white
as a marble of Luni, a firebrand of red tresses, like a priestess
of Alma Tadema. Her bodice was fastened on the shoulders by mere
ribbons, and there were revealed beneath the armpits two luxuriant
tufts of red hair.
“Bomminaco began to discourse upon the peculiar odour which
red-haired women have.”
IV, i, 13. _Cell_--so in the Q. and all later texts. Yet the word is
utterly unsatisfactory to the sense of the passage; it should almost
certainly be _coil_--i. e., tumult, confusion, fuss, ado. Cf. Field in
_Amends for Ladies_, II, iv: “Here’s a coil with a lord and his sister.”
IV, i, 23. _a lace_--a trimming of lace.
IV, i, 27. _pickadille_--the expansive collar fashionable in the early
part of the seventeenth century.
IV, i, 27. _in puncto_--in point; i. e., in proper condition, in order.
IV, i, 32. _Iacobs staffe_--an instrument formerly used for measuring
the altitude of the sun; a cross-staff.
IV, i, 32. _Ephimerides_--a table showing the positions of a heavenly
body for a series of successive days.
IV, i, 39-40. _if he would but cut the coate according to the cloth
still_--“to cut one’s coat after one’s cloth” was: “to adapt one’s
self to circumstances;” “to measure expense by income.” The point of
its employment here is not plain; it is doubtful if anything were
very clear in Field’s own mind, who was merely trying to hit off an
epigrammatical phrase. Perhaps, “make the coat match the man.”
IV, i, 72. _Narcissus-like_--like Narcissus, in classic myth. See Ovid,
_Meta._, iii, 341-510.
IV, i, 72. _should_--G., f. read _shouldst_, but the breach of
agreement between subject and verb is to be explained by the attraction
of the verb to the third person by the interposed _Narcissus-like_;
just as four lines further on we find _shouldst_ for _should_, because
of the similar intrusion between subject and verb of (_but thy selfe
sweete Lord_).
IV, i, 92. _a Barber Surgeon_--formerly the barber was also a regular
practitioner in surgery and dentistry. Cf. Beaumont & Fletcher, _The
Knight of the Burning Pestle_, III, iv.
IV, i, 96. _ouerthrowne_--M., f. read _overflown_, i. e., become
excessive or inordinate; so full that the contents run over the
brim. The reading of the Q., however, is quite intelligible,--taking
_overthrown_ in the sense of _thrown too strongly_.
IV, i, 135. _Colbran_--more properly _Colbrand_ or _Collebrand_, a
wicked giant in the medieval romance of Guy of Warwick. He is the
champion of the invading King of Denmark, who challenges the English
King, Athelstan, to produce a knight who can vanquish Colbrand, or to
yield as his vassal. In this hour of need Guy appears, fights with the
giant, and kills him.
IV, i, 137. _hee’l make some of you smoake_,--i. e., “make some of you
_suffer_.” Cf. Beaumont & Fletcher, _The Knight of the Burning Pestle_,
I, ii, 136: “I’ll make some of ’em smoke for’t;” and Shakespeare,
_Titus Andronicus_, IV, iii, 111: “Or some of you shall smoke for it in
Rome.”
IV, i, 138. _a Consort_--“In the author’s age, the taverns were
infested with itinerant bands of musicians, each of which (jointly and
individually) was called a noise or _consort_: these were sometimes
invited to play for the company, but seem more frequently to have
thrust themselves, unasked, into it, with an offer of their services:
their intrusion was usually prefaced with, ‘By your leave, gentlemen,
will you hear any music?’”--Gifford.
IV, i, 145. _of_--formerly sometimes substituted, as here, for _on_ in
colloquial usage. So also _on_ for _of_, as in l. 148. Cf. also l. 182.
IV, i, 197-8. _’tis Fairies treasure Which but reueal’d brings on the
blabbers ruine._--To confide in any one about a fairy’s gift rendered
it void, according to popular tradition, and drew down the fairy
giver’s anger. In instance, see John Aubrey’s _Remains_ (Reprinted in
_Publications of the Folk-Lore Society_, vol. IV, p. 102): “Not far
from Sir Bennet Hoskyns, there was a labouring man, that rose up early
every day to go to worke; who for a good while many dayes together
found a nine-pence in the way that he went. His wife wondering how he
came by so much money, was afraid he gott it not honestlye; at last he
told her, and afterwards he never found any more.”
There are numerous literary allusions to this superstition: e. g.,
Shakespeare, _The Winter’s Tale_, III, iii, 127, ff.: “This is fairy
gold, boy; and ’twill prove so. Up with’t, keep it close.... We are
lucky, boy; and to be so still requires nothing but secrecy.”
And Field himself in _Woman is a Weathercock_, I, i:
“I see you labour with some serious thing,
And think (like fairy’s treasure) to reveal it,
Will cause it vanish.”
IV, i, 210-1. _louers periury_, etc.--that Jove laughed at and
overlooked lovers’ perjuries was a familiar proverb. Cf. Massinger,
_The Parliament of Love_, C-G. 192 a: “Jupiter and Venus smile At
lovers’ perjuries;” and Shakespeare, _Romeo and Juliet_, II, ii, 92:
“at lovers’ perjuries, They say, Jove laughs.” The saying goes back to
Ovid’s _Art of Love_, book I;--as Marlowe has translated it:
“For Jove himself sits in the azure skies,
And laughs below at lovers’ perjuries.”
IV, ii, 71. _On all aduantage take thy life_--i. e., “Taking every
advantage of you, kill you.”
IV, ii, 84. Such whose bloods wrongs, or wrong done to
_themselues_--the Q.’s regular omission of the possessive apostrophe
has in this instance confused later editors in their understanding of
the passage. We would write _blood’s_,--with the meaning: “Those whom
wrongs to kindred or to themselves,” etc.
IV, iii, 12. _so_--there is no direct antecedent, but one is easily
understandable from the general sense of what precedes; _to be
so_--i. e., “as you were in thankfulness to the General.”
IV, iv, 10. _it_--another case of a pronoun with antecedent merely
implied in the general sense of what precedes; _it_ = “the fact that I
am not worthy the looking on, but only,” etc.
IV, iv, 30. _such defence_--i. e., “the defence of such a one.” _Such_
= qualis.
IV, iv, 66. _To this_--i. e., to tears.
IV, iv, 70. _those fam’d matrones_--cf. Massinger in _The Virgin
Martyr_, C-G. 33 a:
“You will rise up with reverence, and no more,
As things unworthy of your thoughts, remember
What the canonized Spartan ladies were,
Which lying Greece so boasts of. Your own matrons,
Your Roman dames, whose figures you yet keep
As holy relics, in her history
Will find a second urn: Gracchus’ Cornelia,
Paulina, that in death desired to follow
Her husband Seneca, nor Brutus’ Portia,
That swallowed burning coals to overtake him,
Though all their several worths were given to one,
With this is to be mention’d.”
IV, iv, 112. _on it_--i. e., “on what you say.”
IV, iv, 156. _be_--“be” expresses more doubt than “is” after a verb of
_thinking_. Cf. Abbott, S. G., § 299.
V, i, 5. _lay me vp_--imprison me.
V, i, 7. _varlets_--the name given to city bailiffs or sergeants.
Perhaps here, however, it is applied merely as a term of abuse.
V, i, 9. _Innes of court man_--a member of one of the four Inns of
Court (The Inner Temple, The Middle Temple, Lincoln’s Inn, and Gray’s
Inn), legal societies which served for the Elizabethan the function
which our law-schools perform to-day. Overbury says of the Inns of
Court Man, in his _Characters_: “Hee is distinguished from a scholler
by a pair of silk-stockings, and a beaver hat, which make him contemn
a scholler as much as a scholler doth a school-master.... He is as far
behind a courtier in his fashion, as a scholler is behind him.... He
laughs at every man whose band sits not well, or that hath not a faire
shoo-tie, and he is ashamed to be seen in any mans company that weares
not his clothes well. His very essence he placeth in his outside....
You shall never see him melancholy, but when he wants a new suit, or
feares a sergeant....”
V, i, 13. _coming forth_--appearance in court, or from prison.
V, i, 28. _manchets_--small loaves or rolls of the finest wheaten
bread. There seems to have been a commonplace concerning the huge
quantities of bread devoured by tailors. Cf. l. 88 below, and Note.
V, i, 31. _leaue swordmen_--i. e., swordmen (swaggering ruffians who
claim the profession of arms) _on leave_. It is possible, however, that
_leaue_ is a misprint (by inversion of a letter) for _leane_ = hungry.
V, i, 83. _hangers_--not “short-swords”, as in l. 31, but here
“pendants”, perhaps a part of the hat-band hanging loose, or else loops
or straps on the swordbelt, often richly ornamented, from which the
sword was hung. Cf. Shakespeare, _Hamlet_, V, ii, 157-167.
V, i, 83. _Hell_--a place under a tailor’s shop-board, in which shreds
or pieces of cloth, cut off in the process of cutting clothes, are
thrown, and looked upon as perquisites. Cf. Overbury’s _Characters, A
Taylor_: “Hee differeth altogether from God; for with him the best
pieces are still marked out for damnation, and without hope of recovery
shall be cast down into hell.”
V, i, 88. _Our breakefasts famous for the buttred loaues_--Cf. above
l. 28, and Note; also Glapthorne’s _Wit in a Constable_, V, i:
“as easily as a Taylor
Would do six hot loaves in a morning fasting,
And yet dine after.”
V, i, 90. _vse a conscience_--show or feel compunction; be
tender-hearted.
V, i, 91. _hall_--a house or building belonging to a guild or
fraternity of merchants or tradesmen. At such places the business
of the respective guilds was transacted; and in some instances they
served as the market-houses for the sale of the goods of the associated
members.
V, i, 97. _compleate Mounsieur_--perfect gentleman.
V, i, 102. _pantofle_--slipper; here used figuratively for: the
shoe-maker’s profession.
V, ii, 27. _a barbarous Sythian_--Cf. Purchas’ _Pilgrimage_ (ed. 1613,
p. 333): “They [The Scythians] cut off the noses of men, and imprinted
pictures in the flesh of women, whom they overcame: and generally
their customes of warre were bloudie: what man soever the Scythian
first taketh, he drinketh his bloud: he offereth to the King all the
heads of the men he hath slaine in battell: otherwise he may not share
in the spoile: the skinnes of their crownes flaid off, they hang at
their horse bridles: their skinnes they use to flay for napkins and
other uses, and some for cloathing.... These customes were generall to
the Scythians of Europe and Asia (for which cause _Scytharum facinora
patrare_, grew into a proverbe of immane crueltie, and their Land was
justly called Barbarous).”
V, ii, 40. _made no hornes at me_--to “make horns” at any one was the
common method of taunting one with having horns,--i. e., with being a
cuckold.
V, ii, 51. _made vp with_--set with the expression of.
V, ii, 102. _by pieces_--in part.
V, iii, 8.--Charmi’s speech is addressed to Charalois, as is that of Du
Croy which follows it.
V, iii, 18 ff.--M., f. insert _when_ after _that_ of l. 18. This is
probably the correct reading. It would be possible, however, to let
the line stand without alteration, if the _that_ of l. 20 be taken
as coordinate with the _that_ of l. 18, introducing a second clause
depending on _am sorry_ (instead of correlative with _so_ to introduce
a result-clause). With this reading, _left_ (l. 22) would be taken as
an ellipsis for _being left_; with the emended reading, for _was left_.
Though the construction is in doubt, the sense is easy.
V, iii, 22. _vndermine_--an object, _it_, is understood,--i. e., _the
building of my life_.
V, iii, 34. _her--its_ was rare in Elizabethan usage. Cf. Abbott,
S. G., §§ 228, 229.
V, iii, 46. _compassion of_--former obsolete construction for
“compassion for.” Cf. Shakespeare, _Henry VI, Part I_, IV, i, 56;
“Mov’d with compassion of my country’s wreck.”
V, iii, 59. _motion_--C., f. read _motion’s_,--an uncalled-for
emendation, since ellipsis of _is_ was not infrequent. Cf. Shakespeare,
_Henry V_, IV, i, 197: “’Tis certain, every man that dies ill, the ill
[is] upon his own head.”
V, iii, 93. _and yet the fault kept from me_--loose construction, not
easily parsed, though the sense is clear.
V, iii, 98. _As ... to vndergoe_--again a loose construction. It should
be, properly: _That ... he would undergo_, etc.
V, iii, 107-9. _like the fatall gold_, etc.--In this passage the two
leaders of the Gauls known to history by the same name appear to be
confounded--(1): Brennus, who sacked Rome in 390 B. C., and consented
to withdraw after receiving a large ransom of gold;--and (2): Brennus,
who led the irruption of the Gauls into Greece in the second century
B. C., and attempted to despoil Delphi of its treasure, but did not
succeed in doing so. The fact that their respective expeditions are
said to have borne an immediate sequel of disaster and death for both
alike, may be responsible for the dramatist’s mistake.
V, iii, 131. _homicide_--formerly, as here, = _murderer_.
V, iii, 139. _in way of_--in the manner of.
V, iii, 144. _the hate betweene his house and mine_--cf. III, i, 416.
V, iii, 166. _more presumptions_--C., f. read _mere presumptions_,
which is probably correct. An alternative possibility should be
noted, however: that _presumptions_ by mis-reading from the Ms. (or
by the mere inversion of a _u_) may be a mis-print for presumptious
(presumptuous) = _presumptive_, in which case _more_ would be retained,
with the passage to mean: “You must find other proofs to strengthen
these, and they must, moreover, be of a nature to give more reasonable
grounds for presumption.”
V, iii, 174-5.--The last two lines of Charalois’ speech are addressed
to his judges; what preceded them to Novall.
V, iii, 190. _bands_--the emendation _bawds_, proposed by Coxeter and
followed by all subsequent editors, seems almost surely correct. “Bawd”
prior to 1700 was a term applied to men as well as--and, indeed, more
frequently than--to women. Cf. Shakespeare, _Hamlet_, I, iii, 130.
V, iii, 190. _tooke_--where the common Elizabethan custom of dropping
the _-en_ inflectional ending of the past participle rendered a
confusion with the infinitive liable, the past tense of the verb was
used for the participle. Cf. Abbott, S. G., § 343.
V, iii, 193. _this matron_--i. e., Florimel.
V, iii, 205. _in Nouall_--i. e., “in the person of Novall.”
V, iii, 207. _Thy challenge now I answere_--this phrase would indicate
that Romont crosses swords with Pontalier, and after a moment of
fencing runs him through; instead of striking him unawares, as the
modern stage direction, “_Stabs Pontalier_,” would imply.
V, iii, 226. _these--i. e._, Aymer, Florimel, and Bellapert.
_Court. Song_, l. 3. first--i. e., “in the front part of,” to meet the
customers and be herself an attraction and an object of display, while
the husband remains “at tother end” (l. 8) of the store.
_Court. Song_, l. 4.--This is a most unduly long line. It seems
probable that, in the Ms. from which the play was printed, the three
phrases, “A faire wife,” “a kinde wife,” and “a sweet wife,” were
_three variant_ readings, which, by mistake, were _all_ incorporated in
the text. Any one of them used alone would give a perfectly normal line.
GLOSSARY
_affection_, bent, inclination, _penchant_. I, ii, 32.
_allow_, command, approve. IV, i, 9.
_answere_, correspond to. III, i, 82.
_arrests_, stoppages, delays. III, i, 43.
_author_, to be the author, of a statement; to state, declare, say. IV,
ii, 19.
_baffled_, disgraced, treated with contumely. IV, i, 112.
_balm_, an aromatic preparation for embalming the dead. II, i, 79.
_band_, a collar or ruff worn round the neck by man or woman. II, ii,
77; etc.
_banquerout_, early spelling of _bankrupt_, which was originally _banke
rota_ (see N. E. D. for variants under _bankrupt_), from Italian _banca
rotta_, of which _banqueroute_ is the French adaptation. The modern
spelling, _bankrupt_, with the second part of the word assimilated to
the equivalent Latin _ruptus_, as in _abrupt_, etc., first appears in
1543. I, i, 127; ii, 88.
_black_, a funereal drapery. II, i, 51; ii, 117.
_brabler_, a quarrelsome fellow; a brawler. III, i, 358.
_braue_, in loose sense of approbation, good, excellent, worthy, etc.
I, ii, 256; 292; etc.
_bumfiddles_, beats, thumps. IV, i, 140.
_cabinet_, a secret receptacle; a jewel-box. II, ii, 34.
_canniball_, a strong term of abuse for “blood-thirsty savage.” IV, iv,
185.
_Caroch_, coach. II, ii, 28; IV, ii, 95.
_case_, exterior; skin or hide of an animal, or garments--hence,
perhaps, _disguise_. V, i, 73.
_censure_, a judicial sentence. I, ii, 53.--in the sense of _sentence
to punishment_. II, ii, 166; 172.
_chalenge_, demand. V, ii, 88.
_change_, exchange. III, i, 117.--_chang’d_, I, i, 66.
_charges_, expenses. I, ii, 191.
_charitable_, benevolent, kindly, showing Christian charity. I, i, 117.
_circumstance_, the adjuncts of a fact which make it more or less
criminal. V, iii, 52.
_close_, close-fitting. IV, i, 124.
_cold_, unimpassioned, deliberate. V, ii, 86.
_coloured_, specious. III, i, 139.
_comely_, becoming, proper, decorous. III, i, 163.
_complement_, observing of ceremony in social relations; formal
civility, politeness. III, i, 439.
_conference_, subject of conversation. II, ii, 139.
_conscious_, inwardly sensible of wrong-doing. III, i, 353.--aware. V,
ii, 67.
_consists_, lies, has its place. III, i, 489.
_courtesie_, generosity, benevolence. V, iii, 73.
_Courtship_, courteous behavior, courtesy. III, i, 276; 439.
_credits_, reputations, good name. I, ii, 67.
_curiosity_, elegance of construction. II, ii, 67.
_curious_, careful, studious, solicitous. IV, i, 102.--made with art or
care; elaborately or beautifully wrought; fine; “nice”. _Cit. Song._
l. 5.
_dag_, a kind of heavy pistol or hand-gun. IV, i, 170 _s. d._
_debate_, strife, dissension, quarreling. III, i, 443.
_decent_, becoming, appropriate, fitting. I, ii, 77.
_defeatures_, defeats. I, ii, 177.
_demonstrauely_, in a manner that indicates clearly or plainly. IV, i,
55.
_deserued_, deserving. II, ii, 189.
_determine_, decree. II, ii, 172.
_detract_, disparage, traduce, speak evil of. I, ii, 271.
_dis-become_, misbecome, be unfitting for or unworthy of. V, iii, 47.
_discouery_, revelation, disclosure. III, i, 91; V, iii, 194.
_distaste_, estrangement, quarrel. IV, ii, 1.--offence. V, iii, 15.
_doubtfull_, fearful, apprehensive. IV, ii, 88.
_doubts_, apprehensions. III, i, 246.
_earth’d_, buried. II, i, 126.
_edify_, gain instruction; profit, in a spiritual sense. IV, i, 62.
_engag’d_, obliged, attached by gratitude. III, i, 242.
_engender_, copulate. III, i, 423.
_engine_, device, artifice, plot. III, i, 157.
_ensignes_, signs, tokens, characteristic marks. I, i, 144.
_entertaine_, accept. V, ii, 82.
_entertainment_, provision for the support of persons in
service--especially soldiers; pay, wages. I, ii, 188.
_ernest_, a sum of money paid as an installment to secure a contract.
V, i, 44.
_except against_, take exception against. IV, iii, 19.
_exhaust_, “draw out”; not as to-day, “use up completely.” II, i, 103.
_expression_, designation. V, i, 33.
_factor_, one who has the charge and manages the affairs of an estate;
a bailiff, land-steward. I, ii, 135. Cf. Shakespeare, _Henry IV, Part
I_, III, ii, 147: “Percy is but my factor,” etc.
_familiar_, well acquainted. I, i, 3.
_feares_, fears for. IV, ii, 89.
_fit_, punish; visit with a fit penalty. III, i, 253.
_forespake_, foretold, predicted. III, i, 251.
_fortunes_, happens, chances, occurs. V, ii, 16.
_gallimaufry_, contemptuous term for “a man of many accomplishments”; a
ridiculous medley; a hodge-podge. II, ii, 95.
_gamesters_, those addicted to amorous sport. III, i, 33.
_Geometrician_, one who measures the earth or land; a land-surveyor.
IV, i, 21.
_get_, beget. I, ii, 246.
_gigglet_, a lewd, wanton woman. III, i, 308.
_honestie_, honorable character, in a wide, general sense. To the
Elizabethan it especially connoted _fidelity_, _trustiness_. II, i, 115.
_horslock_, a shackle for a horse’s feet; hence applied to any hanging
lock; a padlock. IV, i, 78.
_humanity_, learning or literature concerned with human culture: a
term including the various branches of polite scholarship, as grammar,
rhetoric, poetry, and esp. the study of the ancient Latin and Greek
classics. II, i, 3.
_humour_, used here in the specific Jonsonian sense of a dominating
trait or mood. I, i, 124; ii, 31.
_imployments_, services (to a person). I, ii, 28.
_individually_, indivisibly, inseparably. II, ii, 316.
_Infanta_, the title properly applied to a daughter of the King and
Queen of Spain or Portugal. IV, i, 75.
_issues_, actions, deeds. II, ii, 198.
_kinde_, agreeable, pleasant, winsome. _Court. Song._ l. 4.
_Lard_, an obsolete form of _Lord_. IV, i, 2. Cf. Congreve, _Old
Bach._, II, iii: “Lard, Cousin, you talk oddly.”
_League_, probably used for _Leaguer_ (so emended by M., f.): a
military camp, especially one engaged in a siege. III, i, 175.
_learnd_, informed. III, i, 156.
_legge_, an obeisance made by drawing back one leg and bending the
other; a bow, scrape. III, i, 124.
_lively_, _living_. II, i, 46.--gay, full of life. II, ii,
76.--life-like. II, ii, 232.
_map_, embodiment, incarnation. II, ii, 136. Cf. H. Smith, _Sinf. Man’s
Search_, Six Sermons: “What were man if he were once left to himselfe?
A map of misery.”
_mome_, blockhead, dolt, fool. Court. Song, l. 13.
_monument_, sepulchre. I, ii, 212.
_moue_, urge, appeal to, make a request to. IV, iv, 11.
_next_, shortest, most convenient or direct. V, i, 37.
_nice_, petty, insignificant, trifling. III, i, 442.
_note_, show forth; demonstrate. III, i, 504.
_Obiect_, bring forward in opposition as an adverse reason, or by way
of accusation. IV, iv, 174.
_obnoxious_, liable, exposed, open, vulnerable. III, i, 354.
_obsequious_, prompt to serve or please, dutiful. V, iii, 90.
_obseruers_, those who show respect, deference, or dutiful attention;
obsequious followers. IV, iv, 43.
_Orphants_, obsolete corrupt form of _Orphans_. I, ii, 206. It survives
in dialect. Cf. James Whitcomb Riley’s _Little Orphant Annie_.
_overcome_, usually, “conquer”, “prevail”; but here, “out-do”,
“surpass”. I, i, 187.
_parts_, function, office, business, duty. Formerly used in the plural,
as here, though usually when referring to a number of persons. I, i, 9;
ii, 9; V. iii, 39.--qualities. IV, iv, 105.
_pious_, used in the arch. sense of _dutiful_. I, i, 101.
_practicke_, practical work or application; practice as opposed to
theory. II, i, 2.
_Praecipuce_ (mis-print for _precipice_), a precipitate or headlong
fall or descent, especially to a great depth. III, i, 464.
_presently_, immediately, quickly, promptly. IV, iv, 89.
_president_ [variant of _precedent_], example, instance, illustration.
V, iii, 226.
_preuent_, anticipate. I, i, 64; ii, 17; IV, ii, 32.
_Prouince_, duty, office, function; branch of the government. I, ii, 23.
_punctual_, punctilious, careful of detail. IV, i, 42.
_purl_, the pleat or fold of a ruff or band; a frill. II, ii, 77.
_quick_, alive. I, ii, 178.
_Ram-heads_, cuckolds. II, i, 31.
_recent_, fresh. II, i, 19.
_roaring_, riotous, bullying, hectoring. IV, i, 203.
_sawcily_, formerly a word of more serious reprobation than in modern
usage: “with presumptuous insolence.” I, ii, 106.
_scandall_, to spread scandal concerning; to defame. I, ii, 58.
_sect_, class, order. V, i, 79.
_seene_, experienced, versed. III, i, 268.
_seruant_, a professed lover; one who is devoted to the service of a
lady. II, ii, 40; etc.
_seruice_, the devotion of a lover. III, i, 81; IV, iv, 107.
_set forth_, adorned. IV, iv, 106.
_skills_, signifies, matters. I, ii, 286.
_snort_, snore. _Court. Song._ l. 12.
_soft_, tender-hearted, pitiful. II, i, 23.
_sooth’d_, assented to; humoured by agreement or concession. V, i, 55.
_Spittle_, hospital. III, i, 210. Cf. Shakespeare, _Henry V_, II, i,
78; V, i, 86.
_spleene_, caprice. I, i, 49.
_state_, estate. II, ii, 294; III, i, 24; IV, iv, 178; V, iii, 119.
_submisse_, submissive. I, i, 179.
_take_, charm, captivate. I, ii, 206.
_taske_, take to task; censure, reprove, chide, reprehend = _tax_. I,
ii, 64.
_temper_, temperateness, calmness of mind, self-restraint. V, iii, 40.
_theorique_, theory; theoretical knowledge, as opposed to practice. II,
i, 2.
_Thrift_, here used in the old sense of _prosperity_ or _success_. I,
i, 170.
_toyes_, whims, caprices, trifles. III, i, 442.
_vncivil_, unrefined, ill-bred, not polished. III, i, 490.
_vailes_, perquisites. V, i, 83.
_Visitation_, visit. II, ii, 310.
_wagtaile_, a term of familiarity and contempt; a wanton. II, ii, 7.
_where_, whereas. I, i, 71.
_wittoll_, a man who knows of his wife’s infidelity and submits to it;
a submissive cuckold. V, iii, 99.
_wreake_, vengeance, revenge. IV, iv, 183; V, ii, 43.
BIBLIOGRAPHICAL NOTE
The Quarto, and the various modern editions and translations of _The
Fatal Dowry_ have already been recorded in the opening pages of the
INTRODUCTION. In the editions there noted of the collected works of
Massinger will be found all the plays which bear his name. (_Believe As
You List_ appears only in Cunningham’s edition of Gifford and in the
Mermaid Series’ _Massinger_.) Field’s two independent plays, _Woman is
a Weathercock_ (Q. 1612) and _Amends for Ladies_ (Q’s. 1618, 1639),
were reprinted by J. P. Collier, London, 1829. They are included in
Thomas White’s _Old English Dramas_, London, 1830; in W. C. Hazlitt’s
edition of Dodsley’s _Old English Plays_, London, Reeves and Turner,
1875; and in the Mermaid Series volume, _Nero and Other Plays_, with
an Introduction by A. W. Verity, London and New York, 1888. All other
extant dramas in which either Massinger or Field had a share may be
found in any edition of the collected works of Beaumont & Fletcher,
with the exception of _Sir John van Olden Barnavelt_, which appears in
vol. II of Bullen’s _Old Plays_, London, Weyman and Sons, 1883.
The stage version of _The Fatal Dowry_ by Sheil is printed in _French’s
Acting Edition_, vol. 9. Of the related plays, _The Lady’s Trial_ and
_The Fair Penitent_ may be found in all editions of the collected works
respectively of John Ford and Nicholas Rowe; _The Fair Penitent_ is
also published along with Rowe’s _Jane Shore_ in the Belles Lettres
Series, 1907. For _The Insolvent_, see _The Dramatic Works of Aaron
Hill, Esq._, 2 vols., 1760. DER GRAF VON CHAROLAIS _ein Trauerspiel von
Richard Beer-Hofmann_ is printed by S. Fischer, Berlin, 1906.
The following works have bearing upon the play or its authors:
Beck, C.: _Phil. Massinger_, THE FATALL DOWRY. _Einleitung zu einer
neuen Ausgabe_. Beyreuth, 1906.
Boyle, R.: _Beaumont, Fletcher and Massinger_. Englische Studien,
vol. V.
CAMBRIDGE HISTORY OF ENGLISH LITERATURE, THE,--vol. VI. Cambridge,
1910.
Courthope, W. J.: _A History of English Poetry_, vol. IV. Macmillan,
1903.
Cumberland: His famous comparison of _The Fatal Dowry_ with _The
Fair Penitent_, which originally appeared in _The Observer_, Nos.
LXXVII-LXXIX, is reprinted in Gifford’s Edition of Massinger.
DICTIONARY OF NATIONAL BIOGRAPHY--_Field_, by J. Knight; _Massinger_,
by R. Boyle.
Fleay, F. G.: _A Biographical Chronicle of the English Drama_
(1559-1642). 2 vols. London. Reeves and Turner. 1891.
_Annals of the Career of Nathaniel Field_. Englische Studien, vol.
XIII.
Genest, John: _Some Account of the English Stage from the Restoration
in 1660 to 1830_. 10 vols. Bath, 1832.
Gosse, E. W.: _The Jacobean Poets_. (Univ. Series). Scribner’s, 1894.
Koeppel, E.: _Quelenstudien zu den Dramen George Chapman’s, Philip
Massinger’s und John Ford’s_. Strassburg. 1897.
Murray, John Tucker: _English Dramatic Companies_ (1558-1642). 2
vols. Houghton, Mifflin & Co. 1910.
Oliphant, E. F.: _The Works of Beaumont and Fletcher_. Englische
Studien, vols. XIV-XVI. [This is not concerned with _The Fatal
Dowry_, but contains inquiry into other collaboration work of
Massinger and Field in plays of the period, with an analysis of the
distinctive characteristics of Massinger (XIV, 71-6) and the same for
Field (XV, 330-1).]
Phelan, James: _On Philip Massinger_. Halle. 1878. Reprinted in
_Anglia_, vol. II, 1879.
Schelling, F. E.: _Elizabethan Drama_. 2 vols. Houghton, Mifflin &
Co. 1908.
Schwarz, F. H.: _Nicholas Rowe’s_ FAIR PENITENT. A Contribution to
Literary Analysis. _With a Side-reference to Richard Beer-Hofmann’s_
GRAF VON CHAROLAIS. Berne. 1907.
Stephens, Sir Leslie: _Philip Massinger_. The Cornhill Magazine.
Reprinted in _Hours in a Library_, Third Series. 1879.
Swinburne, A. C.: _Philip Massinger_. The Fortnightly Review. July,
1889.
Thorndike, Ashley H.: _Tragedy_. Houghton, Mifflin & Co. 1908.
Ward, A. W.: _A History of English Dramatic Literature_. 3 vols.
Macmillan. 1899.
Wurzbach, W. von: _Philip Massinger_. Shakesp. Jahrb., vols. XXXV and
XXXVI.
Footnotes: Preface and Introduction
[1] Fleay (_Chron. Eng. Dra._, I, 208) thinks that the otherwise lost
Massinger play, _The Judge_, licensed by Herbert in 1627, and included
in the list of Warburton’s collection, may have been _The Fatal Dowry_.
He declares, moreover, that “the decree in favor of creditors in I, ii
_a_ was a statute made in 1623,” and suggests that Massinger after this
date made over an independent play of Field’s, now lost. But I think
that any one who surveys in _The Fatal Dowry_ the respective hands of
its authors will incline strongly to the conviction that this drama is
the offspring of joint effort rather than the re-handling of one man’s
work by another. The decree to which Fleay has reference appears to be
that to be found in _Statutes of the Realm_, IV, ii, 1227-9, recorded
as 21º Jac I, 19. This is an act passed by the parliament of 1623-4;
it somewhat increases the stringency of the already-existing severe
laws in regard to bankrupts, but contains nothing which even faintly
suggests the decree in our play, by which the creditors are empowered
to withhold the corpse of their debtor from burial; and, indeed, it is
obviously impossible that a statute permitting any such practice could
have been passed in Christian England of the seventeenth century. The
fact is that this feature of the plot is taken direct from a classical
author (see under SOURCES), and it would be gratuitous to assume in
it a reference to contemporaneous legislation. As for the hypothesis
that _The Fatal Dowry_ and _The Judge_ are the same play, in the utter
absence of any supporting evidence it must be thrown out of court. This
sort of identification is a confirmed vice with Fleay. _The Judge_
is, moreover, listed as a comedy (see reprint of Warburton’s list in
Fleay’s _The Life and Work of Shakespeare_, p. 358).
[2] Two other arguments--both fallacious--have been advanced for a more
assured dating.
Formal prologues and epilogues came into fashion about 1620, and the
absence of such appendages in the case of _The Fatal Dowry_ has been
generally taken as evidence for its appearance before that year; but
for a Massinger production no such inference can be drawn--there is
no formal prologue or epilogue in any of his extant plays before _The
Emperor of the East_ and _Believe as You List_, which were licensed for
acting in 1631.
The suggestion (Fleay: _Chron. Eng. Dra._, I, p. 208) that Field took
the part of Florimel, and that the mention of her age as thirty-two
years (II, ii, 17) has reference to his own age at the time the play
was produced (thus fixing the date: 1619), is an idea so far-fetched
and fantastic that it is amazing to find it quoted with perfect gravity
by Ward (_Hist. Eng. Dra. Lit._, III, 39). That Field, second only to
Burbage among the actors of his time, should have played the petty role
of Florimel is a ridiculous supposition. It is strange that anyone who
considered references of this sort a legitimate clue did not build
rather upon the statement (II, i, 13) that Charalois was twenty-eight.
But such grounds for theorizing are utterly unsubstantial; there is no
earthly warrant for identifying the age of an author’s creation with
the age of the author himself.
[3] I would not, however, think it very improbable that Field might
have engaged in the composition of _The Fatal Dowry_ immediately after
his retirement, when the ties with his old profession were, perhaps,
not yet altogether broken.
[4] On a careful inspection of the entire dramatic output of Massinger,
both unaided work and plays done in collaboration, I have found worthy
of record parallels to passages in _The Fatal Dowry_ to the number of:
24, in _The Unnatural Combat_, 14 in the Massinger share (about ⅗) of
_The Virgin Martyr_, 18 in _The Renegado_, 11 in _The Duke of Milan_,
10 in _The Guardian_, and in none of the rest as many as 8.--But
Massinger’s undoubted share (⅓) of _The Little French Lawyer_ yields 6;
⅖ of _The Double Marriage_, 6; ⅖ of _The Spanish Curate_, 6; ⅖ of _Sir
John van Olden Barnavelt_, 4.
[5] _E. g._, I, i (Massinger) with its grave rhetoric uniformly
sustained, and, in immediate succession, II, i (Decker), a medley of
coarse buffoonery and tender and beautiful verse.
[6] As witness _The False One_. Here Massinger seems to have projected
a stately historical drama of war and factional intrigue, with a
conception of Cleopatra as the Great Queen, more a Semiramis or a
Zenobia than “the serpent of old Nile,” and so treats his subject in
the first and last Acts; while Fletcher “assists” him by filling the
middle section of the play with scenes theatrically effective but
leading nowhere, and in them makes the heroine the traditional “gipsy”
Cleopatra.
[7] The only other modern attempt to apportion the play is that of
C. Beck (_The Fatal Dowry_, Friedrich-Alexander Univ. thesis, 1906,
pp. 89-94). He assigns Massinger everything except the prose passages
of II, ii and IV, i, and perhaps II, i, 93-109. His _a priori_ theory
of distribution seems to be that all portions of the play which he
deems of worth must be Massinger’s. It is difficult to speak of Beck’s
monograph with sufficiently scant respect.
[8] References to the plays of Massinger are either by page and column
of the Cunningham-Gifford edition of his works (designated C-G.), or,
in the case of plays in the Beaumont & Fletcher _corpus_ in which he or
Field collaborated, by volume and page of the Dyce edition (designated
_D._). Field’s two independent comedies are referred to by page of
the Mermaid Series volume which contains them: _Nero and Other Plays_
(designated _M._).
[9] The figures for the speech-ending test for each scene will be found
in the table at the end of this section, and are not given in the
course of the detailed examination of the play, save in the case of one
passage, where the ambiguity of their testimony is noted. In all other
Scenes they merely corroborate the evidence of the other tests.
[10] This is all the more rampant in that it is suddenly called back
into activity after its period of obscuration while she yielded herself
to a cynical, immoral opportunism, and is now brought, by a fearful
shock, to confront higher ethical values and real manhood. For this
time she is given not a Novall but a Charalois to idealize.
[11] See the figure of Captain Pouts in _Woman is a Weathercock_. He
might easily have been made a mere _miles gloriosus_; instead he is a
real man,--coarse, revengeful, dissolute, quarrelsome, hectoring--no
doubt at heart a coward, but not more absurdly so in the face of his
pretensions than many of his type in actual life. For characters
clearly visualized in a few simple strokes, may be noted in the same
play Lady Ninny, Lucida, and, apart from one speech (M. 356-7) out of
character obviously for comic effect, Kate; in _Amends for Ladies_,
Ingen. Examples of Field’s power in more idealistic work may be found
in _The Knight of Malta_ in the delineation of Montferrat’s passion (I,
i) and in the scene between Miranda and Oriana (V, i).
[12] Apparently _The Fatal Dowry_ was not performed every day.
[13] During the run of this play one Warren, who was Powell’s dresser,
claimed a right of lying for his master and performing the dead part
of Lothario--about the middle of the scene Powell called for Warren;
who as loudly replied from the stage, “Here Sir”--Powell (who was
ignorant of the part his man was doing) repeated without loss of time,
“Come here this moment you Son of a Whore or I’ll break all the bones
in your skin”--Warren knew his hasty temper, and therefore without any
reply jumped up with all his sables about him, which unfortunately were
tied to the handles of the bier and dragged after him--but this was
not all--the laugh and roar began in the audience and frightened poor
Warren so much that with the bier at his tail he threw down Calista and
overwhelmed her, with the table, lamp, books, bones, &c.--he tugged
till he broke off his trammels and made his escape, and the play at
once ended with immoderate fits of laughter--Betterton would not suffer
The Fair Penitent to be played again, till poor Warren’s misconduct
was somewhat forgotten--this story was told to Chetwood by Bowman
[Sciolto]--(GENEST, II, 281-2).
[14] This, of course, may require the substitution of a capital for
a small letter, as when a mid-line word of the Quarto becomes in the
re-alignment the first word of the verse.
Footnotes: the Play
[Dramatis Personae]
G. and S. omit _Officers_, and add those roles which are enclosed in
brackets.
They add explanations of each character, also changing the order. For
_Gaoler_, S. reads _Gaolers_.
Baumont--M., f spell _Beaumont_.
C. & M. add after the list of _Dramatis Personae: The Scene_, Dijon
_in_ Burgundy.
[Act I, Scene i]
10 _As--That_ (C., M.
12, 16, etc. _then_--modernized to _than_ throughout by all later eds.
13, end s. d. _Gives him his purse_ (G., S.
19 _your--him_ (G., S.
33 _This such--This is such_ (S.
34 .--? (C., f.
45 _summes--sum_ (C., M.
46 and 47 _Dare ... oportunity?_--printed as one line in Q.
47, end s. d.: _They salute him as they pass by_ (G., S.
56, after _No_--, (C., f.
56 _’em--them_ (G., S.
70 _and in that--and, in that,_ (C., f.
71 _where--whereas_ (C, M.
90 _great men--men great_ (C., f.
92 and 93 _And ... suytor?_--printed as one line in Q.
103 _’Tis well._--G. & S. assign to _Char._ and follow with s. d.:
_Tenders his petition._ The change is uncalled for.
103 s. d., after Nouall--G. & S. insert _Advocates_.
103 and 104 _You ... againe._--printed as one line in Q.
104 _Offer’t--Offer it_ (M., f.
110 end s. d. _Aside to Cred._ (G., S.
114 _I pray heare em.--Pray hear them._ (G.--_I pray hear them._ (S.
114 _Tis--It is_ (G.
116 ;--M., f. omit.
123 _Armors--Armour_ (C., M., G.
127 _banquerout_--here and elsewhere by later eds. always _bankrupt_.
133 _Sir_--assigned to _Char._ by G., who adds s. d.: _Tenders his
petition._
136 and 137 _Yes ... hereby_--printed as one line in Q.
137 _hereby--whereby_ (M., G.
139 _You are--You’re_ (C., M.
139, after _so._--? (C., M.--! (G., S.
139 s. d.--The exit of Novall is placed earlier, at l. 136, by G. & S.
145 G. & S. omit s. d.
149, after _this_,--s. d.; _Beats him_ (G.--_Kicks him_ (S.
154 and 155 _Are ... then_--printed as one line in Q.
155, after _then_.--s. d.: _Kicks them_ (C., f.
157 _haue--hear_ (M.
159 _from_--omitted by C., f.
162, after _Cuckolds_--, (C., M--; (G., S.
162 _ne’er--never_ (M.
162 _prayd_--pray (G.
166 _To--T’_ (M.
168 _forhead--foreheads_ (G.
171 _then_--this form retained in C.
171 s. d. _Creditor--Creditors_ (G., S.
195 _you are--you’re_ (C., M.
[Act I, Scene ii]
first s. d., _3 Presidents--Presidents,... three Creditors_ (G., S.
1 _Lordship’s seated. May--lordships seated, may_ (G., S.
2 and 3 _prosperous ... Burgundy_.--printed as a line in Q.
7, after _resigne_--; (M., f.
13 _President--precedent_ (C., f.
13 _President they--precedent that they_ (C., M.
15 _we are--we’re_ (C., M.
35 _the--th’_ (C., M.
50 _And--I_ (G., S.
51, end --s. d.: _To Nov. sen._ (G., S.
60 _With--Which_ (C., M., G.
64 _taske--tax_ (M.
66 _become--became_ (M., f.
76 _find--finds_ (G., S.
82 and 83 _How ... Court?_--printed as one line in Q.
85 and 86 _I hope ... Lord--_--printed as one line in Q.
91, after _you_ --G. & S. insert, _sir_,
93, after _Why_ --, (C., f.
106 _tell you--tell thee_ (G.
107 _I am--I’m_ (C., M.
115 _ere--ever_ (C., M., G.
125 _purpose--purposes_ (G., S.
145, end --s. d.: _Aside to_ Charalois (G., S.
146 C., f. insert , after _counsayle_ and omit , after _it_.
180 _proud_--S. omits.
185 _enemies_--enemy’s (C., f.
186-’8 Lines in Q. are: _In ... prison._ | _Twas ... prodigall._ | _He
... Army._
187 _frô--from_ (C., f.
189 _Sufficent? My Lord,--Sufficient, my Lord?_ (C., f. G. & S. have
_lords_.
194 _They are--They’re_ (M., f.
195 _’Tis--It is_ (G., S.
201 _right_--See Notes; after _or_ --G. inserts _wish_ in brackets,
which S. accepts in text.
217 _th’ incounter--the incounter_ (C., f.
217, after _cold_--, (G., S.--a plausible but unnecessary emendation.
223 _not be--be or not_ (G.--_or not be_ (S.
234 _Lords--cords_ (C., f.
234 _a--in_ (G., S.
234 _’em--them_ (G., S.
243 _n_ in _tongue_ inverted in Q.
244 _u_ in _reuenge_ inverted in Q.
246 _never--ever_ (C., M.
247 _n_ in _answer_ inverted in Q.
After 255, s. d.: C. & M. substitute _Charalois_ for _Charmi_; G. & S.
insert _Charalois_ before _Charmi_.
264 and 265 _You ... fit_--printed as one line in Q.
266 _’tas--’t has_ (C., M., S.; _’t’as_ (G.
279 and 280 _Am ... request?_--printed as one line in Q.
288 and 289 _I follow you_--Baumont--printed as one line in Q.
290 _th’_--the (G., S.
295 and 296 _Fie ... I?_--printed as one line in Q.
296 _There is--There’s_ (G., S.
[Act II, Scene i]
2 _m_ in _iudgement_ inverted in Q.
13 _sits--sit_ (C., f.
13 and 14 _Twenty eight ... old_--printed as one line in Q.
18 _then’s_--than his (M.
25 _he--they_ (C., M., G.
28 _their--the_ (G., S.
28 _was--were_ (G., S.
40 G. & S. insert _The_ at beginning of line.
43, after _funerall_.--_?_ (G., S.
44 and 45 G. & S. punctuate with . at end of 44 and , at end of 45. The
emendation is plausible, even probable, but not warranted by necessity.
45 and 46 G. & S. omit s. d., _Recorders Musique_,
46 _interd--interr’d_ (M.--_enter’d_ (G., S. See Notes.
After 47, s. d.--G. & S. render: _Solemn music. Enter the Funeral
Procession. The Coffin borne by four, preceeded by a Priest._ Captains,
Lieutenants, Ensigns, _and_ Soldiers; Mourners, Scutcheons _&c., and
very good order_. Romont _and_ Charalois, _followed by the_ Gaolers
_and_ Officers, _with_ Creditors, _meet it_.
After 53 G. & S. insert s. d.: _To the Bearers, who set down the
Coffin_.
After 64 G. & S. insert s. d.: _To the Soldiers_.
75, after _What_ --! (C., f.
93 _Would they not so?--Would they so?_ (C., M., G.--_Would they? Not
so._ (S. See Notes.
94, 95, and 96 Lines in Q.: _Wee’ll ... then_: | _No ... Rogues._ |
_Till ... damn’d._ | _Damn’d ... ha._
94 _’em--them_ (G., S.
95 _Rogues--rogue_ (S.
97 _weel’d--we would_ (M., f.
98 _Y’are--Ye’re_ (C., M.--_You are_ (G., S.
100 _shee--ye_ (M., f. The emendation is probably correct.
100, after rogues.--? (G., S.
104 _yee, ye’are--you, you’re_ (C., M., G.
105 _2 Cred.--1 Cred._ (M., probably misprint.
106 _They have--They’ve_ (C., M.
106 _We have--We’ve_ (C., f.
108 _We haue--we’ve_ (M.
111 _rights--right_ (M.
132 _both heere--here both_ (M.
134 s. d.: _Song. Musicke._--i. e. the First Song, on page
145.--introduced here in text by all editors save Gifford and Coleridge.
135 _’em--them_ (G., S.
137, after _were --at_ inserted by C., f.
137 _Saylor_--misprint for _Iaylor_,--emended by C., f.
143 _Turnes--Turn_ (M., f.
[Act II, Scene ii]
6 _eene--even_ (G., S.
12 _eene--even_ (G., S.
17 _serue--served_ (G., S. See Notes.
18 _Peepe--pip_ (M., f.
20 _ith’--in the_ (G., S.
22 _em--them_ G., S.
37 _Vd’d--Uds_--(M., f.
40 _can’t--can it_ (M., f.
48 _ith’--in the_ (G., S.
49 _please--pleases_ (C., M., G.
55 _Ile--I will_ (G., S.
55 _i’th--in the_ (M., f.
59 _your--you_ (M. (in corrigenda at end of vol. 4), f. A correct
emendation.
60 _loue? the lesse neare you.--love the less near you?_ (M., f.
63 _Humpe--Hum_ (C., M.; _Humph_ (G., S.
64, after _shoulder_, --C. & M. insert _and_.
67 Nou.--C., f. affix Junior throughout.
71 _turn’d--trimm’d_ (G., S. Emend. sug. by M.
78 _discipline falne_) _out--discipline, fallen out_ (C., f.
81 _Lord:_ Per se, _Lord--lord_ per se, _lord_! (G., S.
94 _’em--them_ (G., S.
95 _taught--caught_ (M., f.
98 _’em--them_ (G., S.
99 _i’th--in the_ (G., S.
100 _Quirpo_--thus C. & G.; M. & S. read _Querpo_.
104 _skip_--See Notes.
105 _liue to eate_--for _liue_, G. reads _flatters_; S reads _lie_,
which is probably right.
112 _Mrs.--Must_ (C., M.
122 _i’th_--in the (G., S.
125 end--s. d.: _Nov. jun. kisses her hand._ (G., S.
128 after _recant_,--s. d.: _Kisses her_ (G,. S.
131 _Cant._--i. e. the Second Song, on page 145.--introduced here in
text by all editors save Gifford and Coleridge.
144 _Th’ art--Thou art_ (G., S.
153 _teares_--thus C. & M.;--G. & S. read _fears_, which seems a fitter
word here.
153 s. d.--G. & S. read, _Aside and exit_.
159 _affected_--affectedly (S.
159, after _you_--C., M., & G. insert _will_.
161 _yee--you_ (C., f.
164 _opportunity--opportunely_ (M., f. The emendation is probably
correct.
165 _Hum hum_--omitted by C., M., & G.
172, after _me_ --C. & M. insert _to_.
174 _bile--boil_ (C., f. See Notes.
179 _breath--breath’d_ (M., f.
193 _graue--brave_ (M., f.
194 and 195 _My Lord ... see_,--printed as one line in Q.
198, after _issues_--M., f. omit ,. A correct emendation.
205 _lsoule-esse_--misprint for _soul-less_--corrected by C., f.
211 _’em--them_ (G., S.
215 _friends--friend_ (M., f.
219 _is--it_ (C., f.
219 s. d., _Seruant--Beaumont_ (G., S.
228 _man--Men_ (C., M.
242 _ha’--have_ (C., f.
250 s. d.: _Drawes a Curtayne._--G. & S. add, _and discovers a table
with money and jewels upon it_.
266 _not--no_ (G.
269 s. d.--G. & S. omit _loaden with mony_.
270 _Enfranchist--Enfranchise_ (C.
270, after _him_--G. & S. insert _to_.
277 and 278 Lines in Q.: _That ... for._ | _One ... pleaders._ |
_Honord Rochfort._
279 _bushes, cal’d--blushes, scald_ (C., G., S.--_blushes scald_ (M.
281, end . --, (G., S.
282, before _assure_--C., M., & G. insert _I_.
284 s. d. placed by G. & S. _before_ instead of _after_ line.
285, after _see_--: (M., f.
285 _her education,--her education. Beaumelle_ (C.; & _for education
Beaumelle_ (M., these editors taking _Beau._ in Q. s. d. to be in text!
286 First _l_ in _Followes_ almost invisible in Q.
289 _take her--take her, take_ (G.
296 _participate--precipitate_ (C., f.
301 _I--me_ (C., f.
303 _know_--its _n_ is broken in the Q.
308, end--G. & S. s. d.: _Aside._
309 _met--meet_ (G., S.
310. Beau. This might be either Beaumelle or Beaumont. The Q. generally
spells the latter _Baumont_, but the present speech, none the less,
probably belongs to him, and is so assigned by C., f.
315 _yet these eares--yet these tears_ (C.--_let these tears_ (M., f.
The latter emendation is correct.
319 --M., f. punctuate: _Breath marry breath, and kisses mingle souls._
330 _Mistresse_--G. & S. insert s. d.: _As Beaumelle is going out._
336 1st. _Ile--I will_ (G., S.
346 _you haue--you’ve_ (C., M.
349 _’em--them_ (G., S.
350 G. & S. omit the third _ha_.
After 354 G. omits s. d., _Hoboyes_.
[Act III, Scene i]
3 _spoke--spoken_ (G., S.
3 and 4 _Good ... onely_.--printed as one line in Q.
9, end --; (C., f.
13, end . --omitted by M., f.
19, end --. (C., M.--, (G., S. The latter emendation seems preferable.
22, end --: (C., f.
24 _old_--M. omits.
37 and 38 _But ... Bellapert._--printed as one line in Q.
49, after _onely_----(C., f.
53 and 54 _Hows ... woman?_--printed as one line in Q.
56, after _qu_--C., f. insert s. d.: _Going._
61 _know--now_ (C., f. A correct emendation.
66, after _couch_ --G. suggests to insert _there_ in
brackets,--accepted by S.
74 _reuerence to this likening--reference to his liking_ (M., f. The
emendation appears necessary.
88, after _to_--G. inserts s. d.: _They court._
88 _Enter Romont and Florimell--Enter Romont and Florimell behind_
(G., S
88 _tis--it is_ (G., S.
91 _but due--but the due_ (G., S.
99, after _opportunity_ .--? (G., S.
99 and 100 The three speeches composing these two lines are printed in
Q. severally in three lines.
101, after Rom.--G. & S. insert s. d.: _Comes forward._
111 _makes--make_ (G., S.
116 [_thee_]--so all later editors. The word in the Q. is
illegible,--possibly _yee_.
117 _Thou wouldst--Thou’dst_ (C., f.
123 _on_--i. e., _one_; c. f. line 118. But C. keeps _on_.
124 and 125 _Vse ... other._--printed as one line in Q.
127 _for--as_ (M. in Corrigenda, vol. 4, p. 379, where are supplied ll.
126-130, which are omitted in his text.
139 _is_--G. & S. omit. See Notes.
150 and 151 _They ... otherwise._--printed as one line in Q.
159 _pointed--painted_ (C., f. See Notes.
172, after _And_--G. suggests to insert _then_ in brackets; accepted by
S.
175 _League--Leaguer_ (M., f.
180 _Deceyued--Delivered_ (C., f.
184 _thy--this_ (C., f. See Notes.
185 _twill--it will_ (G., S.
186 _You are--You’re_ (C., M.
203 _that--this_ (G., S.
204 _You haue--You’ve_ (C., M.
221 _so indeed_--C. & M. omit _so; so--indeed_, (G., S.--The Q. reading
is preferable.
222 and 223 _Women ... world._--printed as one line in Q.
223, after _world_.--G. & S. s. d.: _Aside._
231, after _inclin’d_--, (C., f.
235 s. d.--in G. & S.: _Enter_ Rochfort, _speaking to a servant within_.
241 and 242 _Your ... me?_--printed as one line in Q.
250 s. d.--in G. & S.: _Enter_ Beaumelle _and_ Bellapert, _behind_.
254 _turne--turn’d_ (M.
259, end .--_?_ (S., probably misprint for _!_
260 _This in my daughter?_--S. reads: _This is my daughter!_
260 and 261. Lines in Q.: _This ... her._ | _Now begin._ | _The ...
distance._
262 Before Beaumelle’s speech G. & S. insert s. d.: _Comes forward._
267 Rom. _A weak excuse._--G. & S. assign to Beau. with the lines which
follow. The change is without warrant and makes no improvement on Q
reading.
272, after _sport_--C. & M. insert s. d.: _Aside._
272 _Reproue_--Reproved (M., f.
278 and 279 _Does ... this?_--printed as one line in Q.
300 _the--his_ (S.
316 _you are--you’re_ (C., M.
318 s. d.--G. & S. read: _Aside to them, and exit._
322 _Now the fashion--The fashion now_ (G., S.
324 _Rogues_ in Q. begins the succeeding line.
328 _shall--should_ (G., S.
334 _grown--grow_ (G., S.
334 and 335 _Take ... you._--printed as one line in Q.
335 _Gods--Gads_ (C., M., G.
339 and 340 _Will ... disgrace?_--printed as one line in Q.
342 _I am--I’m_ (C., f.
350 _reflects--reflect_ (G., S.
352 _’em--them_ (C., f.
352 _beate--bait_ (M.
354 ,--omitted by C., f.,--a probably correct emendation.
356 _detect--defect_ (C., f.,--a correct emendation.
356 _right--rightly_ (M., f.,--an unnecessary emendation for the sense,
but probably correct, as it improves the metre.
357 and 358 --the ( )’s are omitted by M., f.
372 _a_--C. & M. omit.
373 _They are--They’re_ (C., M.
395, end--. (C., f.
396 _Ile--I will_ (G.
398 _Hump--Hum_ (C., f.
403 _you_--C., f. make obvious correction to _your_.
405 _whatsoeuer--whatsoe’er_ (M., f.
409, after _with_ . --_?_ (G., S.
410 _heare_--G. & S. read _heard_. The final _e_ is blurred in Q., but
certainly _e_, not _d_.
412 and 413 _Why ... possibility_--printed as one line in Q.
416 _u_ in _your_ inverted in Q.
417 _my_--G. & S. omit.
419 _Tye--tied_ (G.
432 _’em--him_ (M., f. See Notes.
434 _yee--you_ (C., f.
434 _eene--even_ (G., S.
436 _ha--have_ (M., f.
460 _my--thy_ (C., f.--The emendation is probably correct.
461 _I administer--I did administer_ (M., f. The Ms. reading may have
been: _administer’d_.
464 _Praecipuce--precipice_ (C., f.
467 _liue--lived_ (G., S. See Notes.
471 _Puffe--Phoh_ (C., M., G.
473 _Bleed--Blood_ (C., M.
482 _this: sir,--this, sir!_ (C., G., S.--_this, sir?_ (M.
483 _Thou art--Thou’rt_ (C., M.
484 _thou art--thou’rt_ (C., M.
[Act IV, Scene i]
_Enter Nouall_, etc.--G. & S. introduce the scene with the following
variant s. d., also omitting s. d. of lines 5-8 of Q.: Noval _junior
discovered seated before a looking-glass, with a Barber and_ Perfumer
_dressing his hair, while a Tailor adjusts a new suit which he wears._
Liladam, Aymer, _and_ a Page _attending_.
13 _Cell_--See Notes.
14 _will--wit_ (C., f. The emendation is probably correct.
19, end--G. & S. insert s. d.: _Aside_, as also after the speeches of
_Page_ ending lines, 25, 36, 40, 62, 66, and 70.
26 _haire breadth’s--hair’s breadth’s_ (C., M., G.--_hair’s breadth_ (S.
29 _’em--them_ (G., S.
30, after _Lordship_--_;_ (C., f.
34 _t’ee--t’ye_ (C., f.
36 _’em--them_ (G., S.
39 _I--Ay_ (G., S.
41 _misters--mistress’s_ (C., M.--_mistress’_ (G., S.
48 _a--O_ (C., M.--_o’_ (G., S.
59 after _then--a_ inserted by C., f.
66 _a--the_ (G.
67 _a--o_ (G., S.
71, after _Flatters,--!_ (G., S.
72 _should--shouldst_ (G., S.
74 _forme--form_ (C., f.
76 _shouldst--should_ (C., f. See Note on l. 72.
77 _oth’--o’ the_ (G., S.
80 _i’th--in the_ (G., S.
84 _pown’d--pounded_ (M.
86 _w’ee--with you_ (C., M.--_wi’ ye_ (G., S.
86 _not take it well--take it not well_ (C., M.
88 _d’ee--d’ye_ (C., f.
90 _ne’re--never_ (M., f.
91 and 92 _Art ... Surgeon?_--printed as one line in Q.
94 _Humph--Hum_ (G., S.
95 _’em--them_ (G., S.
96 _ouer throwne_--overflown (M., f. See Notes.
100 _Thou’ idst--Thou’ldst_ (C., f.
102, _end_ .--omitted by C., f.
103 G. makes _Trim_ last word of line 102, and lengthens _’twere_ to
_It were_.
110 _towne talkes--Town-Talk_ (C., M.
110, after _beleeue_--G. & S. insert _it_.
111 _you are--you’re_ C., M.
116 _Sent_--i. e. _Scent_; so all later editors.
123 _ha’--have_ (G., S.
125 _I am--I’m_ (C., M.
131 and 132 _Farewell ... you._--printed as one line in Q.
133 _louing--living_ (G., S.
137 _d’ee--d’ye_ (C., f.
138 _D’ee--D’ye_ (C., M.--_Do you_ (G., S.
139 In Q., _For_ is last word of line 138.
139 _ya’re--you’re_ (G., S.
145 _of--o’_ (C., f.
147 _arme--aim_ (M., f.
150, end--G. & S. insert s. d.: _Going._
158 _’em--them_ (G., S.
161 _And doore’s--And your door’s_ (G., S.
162-164 --printed as two lines in Q.: _But ... do_ | _Beseach ...
circumstance._
163 --this line is omitted in M.
168 _Tell you why sir--Tell you? why sir?_ (C., M.--_Tell you! why,
sir._ G., S.
171. s. d. _dag.--dagger_ (C., M.
174 _I am--I’m_ (C., M.
178 _wrongs--wooing_ (M., f. Perhaps the Ms. reading was _wooings_.
180 and 181 _But ... assurance?_--printed as one line in Q.
188, after _see_ ,--omitted by G. & S.
189, end G. & S. insert s. d.: _Reading_.
194, after _So_--, (C., M.--_!_ (G., S.
198 _blabbers, ruine--blabber’s ruin_ (M., f. The emendation is
plausible, but not absolutely required.
202, s. d. _Exit_--C., f. place at end of line 200, its obviously
correct position, as would undoubtedly Q., but for insufficient margin
in the page at this point.
203 G. & S. give s. d.: _Enter_ Bellapert, _hastily_.
204 _Coach--caroch_ (G., S.
205 _D’ee--D’ye_ (C., M.--_Do you_ (G., S.
211 _loue--Jove_ (C., f.
[Act IV, Scene ii]
6 _on_--omitted by C., M.
9 , following _something_ transferred to follow _else_ by C., f.
31 _of it--of’t_ (G., S.
32 and 33 _He ... him._--printed as one line in Q.
33, s. d.--G. & S. read: _Enter_ Aymer, _speaking to one within_.
45, after _ayre._--G. & S. insert s. d.: _To the_ Musicians _within_.
48 _consent--content_ (C., f--a correct emendation.
48 _Y’are--You are_ (G., S.
48, end--G. & S. insert s. d.: _To the_ Musicians.
Before 49 --S. inserts s. d.: _Aside._
After 50, s. d.: _Song_--i. e. the _Cittizens Song of the Courtier_, on
page 146.--introduced here in text by Cunningham and S.
52, end--C. & M. punctuate with--; G. & S. with ..
54, after _thanks_--G. & S. insert s. d.: _Aside._
58, end--G. & S. insert s. d.: _Aside._
62 _Pray sing--Pray you sing_ (G.
s. d. after 62, _Song below--Song by Aymer_ (G., S.; it is the
_Courtiers Song of the Citizen_, page 146.--introduced here in text by
Cunningham and S.
63 and 64 _Doe ... doubtfull?_--printed as one line in Q.
66 _they are--they’re_ (C., f.
67, s. d.--_Enter Nouall Iu. Charaloys_,--_Enter_ Charalois, _with his
sword drawn, pursuing_ Novall _junior_, etc. (G., S.
68 _Vndone foreuer--Undone, undone, forever!_ (G.--C. & M. give this
speech to _Bellapert_.
74 _th’--the_ (G., S.
82 M., f. omit _,_’s after _honest_ and _valiant_.
86 _daring looke--daring._ _Look_ (C., f.
89 and 90 _No ... flesh_--printed as one line in Q.
93 _of_--its _f_ is almost invisible in Q.
95 _haue_--its _e_ is almost invisible in Q.
96 _:_ --_?_ (G.
96, after _shall_ G. & S. insert s. d.: _Exeunt_ Beaumont _and_
Bellapert, _with the body of Nouall_; _followed by Beaumelle_.
97 _Y’are--you are_ (G., S.
97, end G. & S. insert s. d.: _Re-enter Beaumont._
[Act IV, Scene iii]
3 _not--nor_ (C.
8 .--_?_ (C., f.
[Act IV, Scene iv]
4 and 5 _Nor ... but--_ --printed as one line in Q.
6, end--C., f. insert s. d.: _Exit_ Beaumont.
7, end--C., f. insert s. d.: Beaumelle _kneels_.
8 _worthy--worth_ (G., S.
30 _th’--the_ (G., S.
33 variously emended for defective metre: _That you have done but
what’s warranted,_ (C., M.; _That you have done but what is warranted,_
(G.; _You have done merely but what’s warranted,_ (S.
36 _of me in--in me of_ (C., M., S. The emendation is unnecessary.
38 _now they--they now_ (G.
50 _thou wert--you were_ (G., S.
60, after _was_--; (C., f.
61 _Within--Which in_ (M., f.
77, _post_--The three s. d.’s are made by C., f. to follow respectively
lines 76, 77, and 78.
89 _be for--before_ (C., M.
90 _destruction--induction_ (G., S., following the suggestion of M.
91, s. d.--G. & S. omit phrase _with Nouals body_. and affix to s. d.
_with Servants bearing the Body of_ Novall _junior_.
92, after _seate_,--G. & S. insert s. d.: _Exeunt Servants._
93 _me_--the _e_ is obliterated in Q.
93 _?_--,(C., f.
96, end--C. & M. insert s. d.: _He hoodwinks_ Rochfort. G. & S. place a
similar s. d. at the end of the following line.
101 and 102 _It ... iustice_--printed as one line in Q.
121, end--G. & S. insert s. d.: Charalois _unbinds his eyes_.
131 _With--Which_ (M., f.
131, after _thy_--G. says a monosyllable has been lost here. S. inserts
_foul_. But an acceptable rhythm is secured by the natural stress of
the voice, which emphasizes and dwells upon _thy_, and again stresses
_kept_.
133 _owne--one_ (M., f.
140, after _her_ .--? (C., f.
141 _liue no--liue. No_ (C., M.--_liue_: _no_ (G., S.
143 _on--one_ (C., f.
147, end--G. & S. insert _out_, changing first word of l. 148 to _Of_.
C. & M. make _Off_ of l. 148 conclude 147, and insert _From_ to begin
l. 148. It is preferable to let the line stand as it is, letting the
voice, in reading, dwell and pause upon _are_.
148 s. d., _He kils her_. transferred to end of line by C., f.
149 _I am. Sure--I am sure_ (M.--_I’m sure_ (G., S.
154, after _nourished_. --C., f. inserts s. d.: _Dies._
156 and 157 _True ... doome_--printed as one line in Q.
158 _and friend--and a friend_ (C., f.
175 _Flinty- -- Flint-_ (G., S.
175 and 176 _Nature ... vertue._--printed as one line in Q.
177, after _of_--C., f. insert _your_. But the change is not required
by the sense; nor by the metre, if the voice be allowed to dwell on
_heart_.
184 s. d.: _Enter Nouall_, etc.--G. & S. place after _doors_ in next
line.
185, before _Force_ --G. & S. insert s. d.: _Within._
190 and 191 _Call ... blood._--printed as one line in Q.
[Act V, Scene i]
_Enter_, etc. _Officers--two_ Bailiffs. (G., S.
2 _T’arrest--To arrest_ (G., S.
4 _for me--for form_ (M., f.
16 _you haue--you’ve_ (C., M.
22 _them--him_ (C., f. The Q. reading is preferable in every way.
24 _so_--M. omits.
26 _You are--You’re_ (C., M.
32, after _and_--G. & S. insert _the_.
33 _are these--or thief_ (M.--_and thief_ (G., S., which seems slightly
the more probable correction.
34 _Synonima--synonymous_ (C., M.
36, end s. d.--C., f. place s. d. after _selfe_.
39 _I will--I’ll_ (C., m.
47 _reueng’d--un-revenged_ (C., f.,--an obviously correct emendation.
57, end .--, (C., f.
61 _’Tas--It has_ (M., f.
68 _obiect--abject_ (C., f.
70 and 71 _Away ... deadly:_--printed as one line in Q.
71, after _know_--G. & S. insert _thee_, which secures a smoother
metre, but is not warranted.
79 _I am--I’m_ (C., f.
84 _sits_--M. reads _fits_, the first letter in Q. not being certainly
distinguishable as _s_ or _f_.
85 _cape--cap_ (C., f.
86 _sate.--sat,_ (C., f.
93 Offi.--1 Bail. (G., S.
97 _Hath--Have_ (M., G.
105 _ones--one_ (C., f.
106 _Additions--Addition_ (C., f.
[Act V, Scene ii]
2 _thou thinkst--you think_ (G., S.
7 _new--now_ (M.
15, after _Nouall_ .--_?_ (G., S.
18 _grieue--grieved_ (M., f., a correct emendation.
23, after _haue_--C., f. insert , .
23 _promis’d--promise_ (C., f.
26 _heires_--i. e., of course, _hairs_;--so modernized by C., f.
33 _worrhy_--Q. misprint for _worthy_;--corrected by C., f.
39, after _people_--C., f. insert ,.
42, after _knowing_--M., f. insert _too_.
55, after _cause_--.--(C., M.--?--(G., S., which is right.
67 _I am--I’m_ (C., M.
68, after _man_--M. inserts , , and G. & S. ;--.
76, end G. & S. omit , .
77, after _But_--G. & S. insert , .
80 and 81 _You ... cause._--printed as one line in Q.
88 _chalenge--challenged_ (G., S.--a correct emendation.
91 _Tygre--tigress_ (C., M.
104 _breed--bread_ (C., f. The Q. reading is perfectly satisfactory.
117 _You haue--You’ve_ (C., M.
[Act V, Scene iii]
_Scaena 3_--omitted by G. & S.,--and correctly so, for there is no
change in place from the preceding, and the action is uninterrupted.
18, after _that_--M., f. insert _when_. See Notes.
30 _fain’d-- -famed_ (M., f.
32 --, after _neyghbour-hood_ in Q. is placed after _ill_ by C., f.
35 _by--my_ (C., f.
44, after _pray_--G. & S. insert _you_.
47 _dis-become--mis-become_ (C., M.
50 --_u_ in _accuser_ is inverted in Q.
51 _or--nor_ (C., f.
59 _motion--motion’s_ (C., f.
60 --_n_ in _confesse_ is inverted in Q.
68 _freed--feed_ (M., f.
68, end--_?_ (C., f.
73 _courtesie--courtesies_ (C., f. Q. reading is preferable. See
Glossary.
77 _that--they_ (S.
88 _dowry--dower_ (G., S.
91 _could preserue--could not preserve_ (C., f. The emendation is
clearly required.
137, after _truth_ ,--. (M., f.
138, after _begin_ .--, (G., S.--C. & M. inclose _For ... begin_ in
( )’s.
139 _n_ in _French_ is inverted in Q.
150 _appou’d_--i. e., _approu’d_; in Q. the _r_ is wanting as above.
Later editors correct.
166 _more--mere_ (C., f. See Notes.
168 _fall--fail_ (M.
169 _like_--omitted by G. & S.
170 _signe--signs_ (S.
180 _against--’gainst_ (G., S.
184 _had_--omitted by G.
190 _bands--bawds_ (C., f.
190 s. d. _Enter Aymer_, etc.--_Enter Officers with_ Aymer, etc. (G., S.
190, _tooke--ta’en_ (G.
201 _iniurie:_--C., f. read _injuries_, the colon in the Q. being
blurred to appear like a broken _s_.
205, end. --C., f. insert s. d.: _Stabs him._
206 _I am--I’m_ (C., M.
207, end--C., f. insert s. d.: _Stabs Pontalier._ See Notes.
215 after _mee_.--C., f. insert s. d.: _Dies._
215-217 --lines in Q. are: _I ... loue_ | _Not ... of._
217 _worthy, worthy of--worthy of_ (C., M.
217, after _of_.--C., f. insert s. d.: _Dies._
217 _We are--We’re_ (C., M.
220 _We are--We’re_ (C., M.
227 _As--A_ (M., misprint.
228 _Be set--Or be set_ (C., M., G.--_Be or set_ (S.
[Songs]
These songs are printed thus in an Appendix at the end of the play
in Q., G., and the edition of Hartley Coleridge. The _First Song_ is
inserted at its proper point in the text--II, i, after line 134--by
C., M., Cunningham, and S.;--so, too, the _Second Song_, after line
131 of II, ii. The other two songs were omitted in C., and appear in
an appendix of vol. 4 of M.,--there wrongly assigned (by D.) to the
“passage over the stage” which closes Act II. Gifford correctly assigns
them to follow respectively IV, ii, 50; and IV, ii, 62;--where they are
printed in the text of Cunningham and S.
_First Song_--A DIRGE (G., S.
_Second Song_--A SONG BY AYMER (G., S.
_A_ ... Nouall, _and_ Beaumelle.--_A ... a Man and a Woman._ (C., f.
2-4 --lines in Q.: _From ... begat’st._ | _I dare ... line,_ | _Each
word ... hooke,_.
7 _doest--dost_ (C., f.
8 _Come strangled--Come, strangle_ (M., f.
(_Citizens Song_) 3 and 4: _If ... state,_--printed as one line in Q.
7 _seruants_--its _u_ is inverted in Q.
(_Courtiers Song_) 16: _Tradesmen--tradesman_ (M.
* * * * *
Transcriber’s Notes
In the play itself all apparent printing errors have been retained; no
attempt has been made to standardise formatting.
In the front and end matter, simple typographical errors have been
corrected; variant spelling, punctuation, and inconsistent hyphenation
have been preserved as printed.
On some reading devices, inline stage directions are set off from the
text by parentheses added by the transcriber. Footnote headings and
navigational [links] in brackets were also added.
The following shows the changed text below the original text:
Page 34:
the repentent sinner
the repentant sinner
Page 163:
--life-like. II, i, 232.
--life-like. II, ii, 232.
Page 164:
_skills_, signifies, matters. I, i, 286.
_skills_, signifies, matters. I, ii, 286.