diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 4039-h.zip | bin | 0 -> 138685 bytes | |||
| -rw-r--r-- | 4039-h/4039-h.htm | 13011 | ||||
| -rw-r--r-- | 4039.txt | 11047 | ||||
| -rw-r--r-- | 4039.zip | bin | 0 -> 134540 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/vlpnr10.txt | 11226 | ||||
| -rw-r--r-- | old/vlpnr10.zip | bin | 0 -> 131512 bytes |
9 files changed, 35300 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/4039-h.zip b/4039-h.zip Binary files differnew file mode 100644 index 0000000..071e71f --- /dev/null +++ b/4039-h.zip diff --git a/4039-h/4039-h.htm b/4039-h/4039-h.htm new file mode 100644 index 0000000..f11c9cc --- /dev/null +++ b/4039-h/4039-h.htm @@ -0,0 +1,13011 @@ +<?xml version="1.0" encoding="us-ascii"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Volpone; Or, the Fox, by Ben Jonson + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of Volpone; Or, The Fox, by Ben Jonson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Volpone; Or, The Fox + +Author: Ben Jonson + +Release Date: February 16, 2010 [EBook #4039] +Last Updated: January 9, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK VOLPONE; OR, THE FOX *** + + + + +Produced by Amy E Zelmer, Robert Prince, Sue Asscheri, and David Widger + + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + VOLPONE; + </h1> + <h3> + OR, THE FOX + </h3> + <p> + <br /><br /> + </p> + <h2> + By Ben Jonson + </h2> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h2> + Contents + </h2> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_INTR"> INTRODUCTION </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> VOLPONE; OR, THE FOX </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> DRAMATIS PERSONAE </a> + </p> + <p class="toc"> + <a href="#link2H_NOTA"> NOTARIO, the Register. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> THE ARGUMENT. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> ACT 1. SCENE 1.1. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0007"> ACT 2. SCENE 2.1. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0008"> ACT 3. SCENE 3.1. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0009"> ACT 4. SCENE 4.1. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0010"> ACT 5. SCENE 5.1 </a> + </p> + <p class="toc"> + <a href="#link2H_GLOS"> GLOSSARY </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_INTR" id="link2H_INTR"> + <!-- H2 anchor --> </a> + </p> + <h2> + INTRODUCTION + </h2> + <p> + The greatest of English dramatists except Shakespeare, the first literary + dictator and poet-laureate, a writer of verse, prose, satire, and + criticism who most potently of all the men of his time affected the + subsequent course of English letters: such was Ben Jonson, and as such his + strong personality assumes an interest to us almost unparalleled, at least + in his age. + </p> + <p> + Ben Jonson came of the stock that was centuries after to give to the world + Thomas Carlyle; for Jonson's grandfather was of Annandale, over the + Solway, whence he migrated to England. Jonson's father lost his estate + under Queen Mary, "having been cast into prison and forfeited." He entered + the church, but died a month before his illustrious son was born, leaving + his widow and child in poverty. Jonson's birthplace was Westminster, and + the time of his birth early in 1573. He was thus nearly ten years + Shakespeare's junior, and less well off, if a trifle better born. But + Jonson did not profit even by this slight advantage. His mother married + beneath her, a wright or bricklayer, and Jonson was for a time apprenticed + to the trade. As a youth he attracted the attention of the famous + antiquary, William Camden, then usher at Westminster School, and there the + poet laid the solid foundations of his classical learning. Jonson always + held Camden in veneration, acknowledging that to him he owed, + </p> +<pre xml:space="preserve"> + "All that I am in arts, all that I know;" +</pre> + <p> + and dedicating his first dramatic success, "Every Man in His Humour," to + him. It is doubtful whether Jonson ever went to either university, though + Fuller says that he was "statutably admitted into St. John's College, + Cambridge." He tells us that he took no degree, but was later "Master of + Arts in both the universities, by their favour, not his study." When a + mere youth Jonson enlisted as a soldier, trailing his pike in Flanders in + the protracted wars of William the Silent against the Spanish. Jonson was + a large and raw-boned lad; he became by his own account in time + exceedingly bulky. In chat with his friend William Drummond of + Hawthornden, Jonson told how "in his service in the Low Countries he had, + in the face of both the camps, killed an enemy, and taken opima spolia + from him;" and how "since his coming to England, being appealed to the + fields, he had killed his adversary which had hurt him in the arm and + whose sword was ten inches longer than his." Jonson's reach may have made + up for the lack of his sword; certainly his prowess lost nothing in the + telling. Obviously Jonson was brave, combative, and not averse to talking + of himself and his doings. + </p> + <p> + In 1592, Jonson returned from abroad penniless. Soon after he married, + almost as early and quite as imprudently as Shakespeare. He told Drummond + curtly that "his wife was a shrew, yet honest"; for some years he lived + apart from her in the household of Lord Albany. Yet two touching epitaphs + among Jonson's "Epigrams," "On my first daughter," and "On my first son," + attest the warmth of the poet's family affections. The daughter died in + infancy, the son of the plague; another son grew up to manhood little + credit to his father whom he survived. We know nothing beyond this of + Jonson's domestic life. + </p> + <p> + How soon Jonson drifted into what we now call grandly "the theatrical + profession" we do not know. In 1593, Marlowe made his tragic exit from + life, and Greene, Shakespeare's other rival on the popular stage, had + preceded Marlowe in an equally miserable death the year before. + Shakespeare already had the running to himself. Jonson appears first in + the employment of Philip Henslowe, the exploiter of several troupes of + players, manager, and father-in-law of the famous actor, Edward Alleyn. + From entries in "Henslowe's Diary," a species of theatrical account book + which has been handed down to us, we know that Jonson was connected with + the Admiral's men; for he borrowed 4 pounds of Henslowe, July 28, 1597, + paying back 3s. 9d. on the same day on account of his "share" (in what is + not altogether clear); while later, on December 3, of the same year, + Henslowe advanced 20s. to him "upon a book which he showed the plot unto + the company which he promised to deliver unto the company at Christmas + next." In the next August Jonson was in collaboration with Chettle and + Porter in a play called "Hot Anger Soon Cold." All this points to an + association with Henslowe of some duration, as no mere tyro would be thus + paid in advance upon mere promise. From allusions in Dekker's play, + "Satiromastix," it appears that Jonson, like Shakespeare, began life as an + actor, and that he "ambled in a leather pitch by a play-wagon" taking at + one time the part of Hieronimo in Kyd's famous play, "The Spanish + Tragedy." By the beginning of 1598, Jonson, though still in needy + circumstances, had begun to receive recognition. Francis Meres—well + known for his "Comparative Discourse of our English Poets with the Greek, + Latin, and Italian Poets," printed in 1598, and for his mention therein of + a dozen plays of Shakespeare by title—accords to Ben Jonson a place + as one of "our best in tragedy," a matter of some surprise, as no known + tragedy of Jonson from so early a date has come down to us. That Jonson + was at work on tragedy, however, is proved by the entries in Henslowe of + at least three tragedies, now lost, in which he had a hand. These are + "Page of Plymouth," "King Robert II. of Scotland," and "Richard + Crookback." But all of these came later, on his return to Henslowe, and + range from August 1599 to June 1602. + </p> + <p> + Returning to the autumn of 1598, an event now happened to sever for a time + Jonson's relations with Henslowe. In a letter to Alleyn, dated September + 26 of that year, Henslowe writes: "I have lost one of my company that + hurteth me greatly; that is Gabriel [Spencer], for he is slain in Hogsden + fields by the hands of Benjamin Jonson, bricklayer." The last word is + perhaps Henslowe's thrust at Jonson in his displeasure rather than a + designation of his actual continuance at his trade up to this time. It is + fair to Jonson to remark however, that his adversary appears to have been + a notorious fire-eater who had shortly before killed one Feeke in a + similar squabble. Duelling was a frequent occurrence of the time among + gentlemen and the nobility; it was an impudent breach of the peace on the + part of a player. This duel is the one which Jonson described years after + to Drummond, and for it Jonson was duly arraigned at Old Bailey, tried, + and convicted. He was sent to prison and such goods and chattels as he had + "were forfeited." It is a thought to give one pause that, but for the + ancient law permitting convicted felons to plead, as it was called, the + benefit of clergy, Jonson might have been hanged for this deed. The + circumstance that the poet could read and write saved him; and he received + only a brand of the letter "T," for Tyburn, on his left thumb. While in + jail Jonson became a Roman Catholic; but he returned to the faith of the + Church of England a dozen years later. + </p> + <p> + On his release, in disgrace with Henslowe and his former associates, + Jonson offered his services as a playwright to Henslowe's rivals, the Lord + Chamberlain's company, in which Shakespeare was a prominent shareholder. A + tradition of long standing, though not susceptible of proof in a court of + law, narrates that Jonson had submitted the manuscript of "Every Man in + His Humour" to the Chamberlain's men and had received from the company a + refusal; that Shakespeare called him back, read the play himself, and at + once accepted it. Whether this story is true or not, certain it is that + "Every Man in His Humour" was accepted by Shakespeare's company and acted + for the first time in 1598, with Shakespeare taking a part. The evidence + of this is contained in the list of actors prefixed to the comedy in the + folio of Jonson's works, 1616. But it is a mistake to infer, because + Shakespeare's name stands first in the list of actors and the elder + Kno'well first in the dramatis personae, that Shakespeare took that + particular part. The order of a list of Elizabethan players was generally + that of their importance or priority as shareholders in the company and + seldom if ever corresponded to the list of characters. + </p> + <p> + "Every Man in His Humour" was an immediate success, and with it Jonson's + reputation as one of the leading dramatists of his time was established + once and for all. This could have been by no means Jonson's earliest + comedy, and we have just learned that he was already reputed one of "our + best in tragedy." Indeed, one of Jonson's extant comedies, "The Case is + Altered," but one never claimed by him or published as his, must certainly + have preceded "Every Man in His Humour" on the stage. The former play may + be described as a comedy modelled on the Latin plays of Plautus. (It + combines, in fact, situations derived from the "Captivi" and the + "Aulularia" of that dramatist). But the pretty story of the beggar-maiden, + Rachel, and her suitors, Jonson found, not among the classics, but in the + ideals of romantic love which Shakespeare had already popularised on the + stage. Jonson never again produced so fresh and lovable a feminine + personage as Rachel, although in other respects "The Case is Altered" is + not a conspicuous play, and, save for the satirising of Antony Munday in + the person of Antonio Balladino and Gabriel Harvey as well, is perhaps the + least characteristic of the comedies of Jonson. + </p> + <p> + "Every Man in His Humour," probably first acted late in the summer of 1598 + and at the Curtain, is commonly regarded as an epoch-making play; and this + view is not unjustified. As to plot, it tells little more than how an + intercepted letter enabled a father to follow his supposedly studious son + to London, and there observe his life with the gallants of the time. The + real quality of this comedy is in its personages and in the theory upon + which they are conceived. Ben Jonson had theories about poetry and the + drama, and he was neither chary in talking of them nor in experimenting + with them in his plays. This makes Jonson, like Dryden in his time, and + Wordsworth much later, an author to reckon with; particularly when we + remember that many of Jonson's notions came for a time definitely to + prevail and to modify the whole trend of English poetry. First of all + Jonson was a classicist, that is, he believed in restraint and precedent + in art in opposition to the prevalent ungoverned and irresponsible + Renaissance spirit. Jonson believed that there was a professional way of + doing things which might be reached by a study of the best examples, and + he found these examples for the most part among the ancients. To confine + our attention to the drama, Jonson objected to the amateurishness and + haphazard nature of many contemporary plays, and set himself to do + something different; and the first and most striking thing that he evolved + was his conception and practice of the comedy of humours. + </p> + <p> + As Jonson has been much misrepresented in this matter, let us quote his + own words as to "humour." A humour, according to Jonson, was a bias of + disposition, a warp, so to speak, in character by which + </p> +<pre xml:space="preserve"> + "Some one peculiar quality + Doth so possess a man, that it doth draw + All his affects, his spirits, and his powers, + In their confluctions, all to run one way." + + But continuing, Jonson is careful to add: + + "But that a rook by wearing a pied feather, + The cable hat-band, or the three-piled ruff, + A yard of shoe-tie, or the Switzers knot + On his French garters, should affect a humour! + O, it is more than most ridiculous." +</pre> + <p> + Jonson's comedy of humours, in a word, conceived of stage personages on + the basis of a ruling trait or passion (a notable simplification of actual + life be it observed in passing); and, placing these typified traits in + juxtaposition in their conflict and contrast, struck the spark of comedy. + Downright, as his name indicates, is "a plain squire"; Bobadill's humour + is that of the braggart who is incidentally, and with delightfully comic + effect, a coward; Brainworm's humour is the finding out of things to the + end of fooling everybody: of course he is fooled in the end himself. But + it was not Jonson's theories alone that made the success of "Every Man in + His Humour." The play is admirably written and each character is vividly + conceived, and with a firm touch based on observation of the men of the + London of the day. Jonson was neither in this, his first great comedy (nor + in any other play that he wrote), a supine classicist, urging that English + drama return to a slavish adherence to classical conditions. He says as to + the laws of the old comedy (meaning by "laws," such matters as the unities + of time and place and the use of chorus): "I see not then, but we should + enjoy the same licence, or free power to illustrate and heighten our + invention as they [the ancients] did; and not be tied to those strict and + regular forms which the niceness of a few, who are nothing but form, would + thrust upon us." "Every Man in His Humour" is written in prose, a novel + practice which Jonson had of his predecessor in comedy, John Lyly. Even + the word "humour" seems to have been employed in the Jonsonian sense by + Chapman before Jonson's use of it. Indeed, the comedy of humours itself is + only a heightened variety of the comedy of manners which represents life, + viewed at a satirical angle, and is the oldest and most persistent species + of comedy in the language. None the less, Jonson's comedy merited its + immediate success and marked out a definite course in which comedy long + continued to run. To mention only Shakespeare's Falstaff and his rout, + Bardolph, Pistol, Dame Quickly, and the rest, whether in "Henry IV." or in + "The Merry Wives of Windsor," all are conceived in the spirit of humours. + So are the captains, Welsh, Scotch, and Irish of "Henry V.," and Malvolio + especially later; though Shakespeare never employed the method of humours + for an important personage. It was not Jonson's fault that many of his + successors did precisely the thing that he had reprobated, that is, + degrade "the humour: into an oddity of speech, an eccentricity of manner, + of dress, or cut of beard. There was an anonymous play called "Every Woman + in Her Humour." Chapman wrote "A Humourous Day's Mirth," Day, "Humour Out + of Breath," Fletcher later, "The Humourous Lieutenant," and Jonson, + besides "Every Man Out of His Humour," returned to the title in closing + the cycle of his comedies in "The Magnetic Lady or Humours Reconciled." + </p> + <p> + With the performance of "Every Man Out of His Humour" in 1599, by + Shakespeare's company once more at the Globe, we turn a new page in + Jonson's career. Despite his many real virtues, if there is one feature + more than any other that distinguishes Jonson, it is his arrogance; and to + this may be added his self-righteousness, especially under criticism or + satire. "Every Man Out of His Humour" is the first of three "comical + satires" which Jonson contributed to what Dekker called the poetomachia or + war of the theatres as recent critics have named it. This play as a fabric + of plot is a very slight affair; but as a satirical picture of the manners + of the time, proceeding by means of vivid caricature, couched in witty and + brilliant dialogue and sustained by that righteous indignation which must + lie at the heart of all true satire—as a realisation, in short, of + the classical ideal of comedy—there had been nothing like Jonson's + comedy since the days of Aristophanes. "Every Man in His Humour," like the + two plays that follow it, contains two kinds of attack, the critical or + generally satiric, levelled at abuses and corruptions in the abstract; and + the personal, in which specific application is made of all this in the + lampooning of poets and others, Jonson's contemporaries. The method of + personal attack by actual caricature of a person on the stage is almost as + old as the drama. Aristophanes so lampooned Euripides in "The Acharnians" + and Socrates in "The Clouds," to mention no other examples; and in English + drama this kind of thing is alluded to again and again. What Jonson really + did, was to raise the dramatic lampoon to an art, and make out of a casual + burlesque and bit of mimicry a dramatic satire of literary pretensions and + permanency. With the arrogant attitude mentioned above and his uncommon + eloquence in scorn, vituperation, and invective, it is no wonder that + Jonson soon involved himself in literary and even personal quarrels with + his fellow-authors. The circumstances of the origin of this 'poetomachia' + are far from clear, and those who have written on the topic, except of + late, have not helped to make them clearer. The origin of the "war" has + been referred to satirical references, apparently to Jonson, contained in + "The Scourge of Villainy," a satire in regular form after the manner of + the ancients by John Marston, a fellow playwright, subsequent friend and + collaborator of Jonson's. On the other hand, epigrams of Jonson have been + discovered (49, 68, and 100) variously charging "playwright" (reasonably + identified with Marston) with scurrility, cowardice, and plagiarism; + though the dates of the epigrams cannot be ascertained with certainty. + Jonson's own statement of the matter to Drummond runs: "He had many + quarrels with Marston, beat him, and took his pistol from him, wrote his + "Poetaster" on him; the beginning[s] of them were that Marston represented + him on the stage."* + </p> +<pre xml:space="preserve"> + * The best account of this whole subject is to be + found in the edition of "Poetaster" and "Satiromastrix" by + J. H. Penniman in "Belles Lettres Series" shortly to appear. + See also his earlier work, "The War of the Theatres," 1892, + and the excellent contributions to the subject by H. C. Hart + in "Notes and Queries," and in his edition of Jonson, 1906. +</pre> + <p> + Here at least we are on certain ground; and the principals of the quarrel + are known. "Histriomastix," a play revised by Marston in 1598, has been + regarded as the one in which Jonson was thus "represented on the stage"; + although the personage in question, Chrisogonus, a poet, satirist, and + translator, poor but proud, and contemptuous of the common herd, seems + rather a complimentary portrait of Jonson than a caricature. As to the + personages actually ridiculed in "Every Man Out of His Humour," Carlo + Buffone was formerly thought certainly to be Marston, as he was described + as "a public, scurrilous, and profane jester," and elsewhere as the "grand + scourge or second untruss [that is, satirist], of the time" (Joseph Hall + being by his own boast the first, and Marston's work being entitled "The + Scourge of Villainy"). Apparently we must now prefer for Carlo a notorious + character named Charles Chester, of whom gossipy and inaccurate Aubrey + relates that he was "a bold impertinent fellow... a perpetual talker and + made a noise like a drum in a room. So one time at a tavern Sir Walter + Raleigh beats him and seals up his mouth (that is his upper and nether + beard) with hard wax. From him Ben Jonson takes his Carlo Buffone ['i.e.', + jester] in "Every Man in His Humour" ['sic']." Is it conceivable that + after all Jonson was ridiculing Marston, and that the point of the satire + consisted in an intentional confusion of "the grand scourge or second + untruss" with "the scurrilous and profane" Chester? + </p> + <p> + We have digressed into detail in this particular case to exemplify the + difficulties of criticism in its attempts to identify the allusions in + these forgotten quarrels. We are on sounder ground of fact in recording + other manifestations of Jonson's enmity. In "The Case is Altered" there is + clear ridicule in the character Antonio Balladino of Anthony Munday, + pageant-poet of the city, translator of romances and playwright as well. + In "Every Man in His Humour" there is certainly a caricature of Samuel + Daniel, accepted poet of the court, sonneteer, and companion of men of + fashion. These men held recognised positions to which Jonson felt his + talents better entitled him; they were hence to him his natural enemies. + It seems almost certain that he pursued both in the personages of his + satire through "Every Man Out of His Humour," and "Cynthia's Revels," + Daniel under the characters Fastidious Brisk and Hedon, Munday as + Puntarvolo and Amorphus; but in these last we venture on quagmire once + more. Jonson's literary rivalry of Daniel is traceable again and again, in + the entertainments that welcomed King James on his way to London, in the + masques at court, and in the pastoral drama. As to Jonson's personal + ambitions with respect to these two men, it is notable that he became, not + pageant-poet, but chronologer to the City of London; and that, on the + accession of the new king, he came soon to triumph over Daniel as the + accepted entertainer of royalty. + </p> + <p> + "Cynthia's Revels," the second "comical satire," was acted in 1600, and, + as a play, is even more lengthy, elaborate, and impossible than "Every Man + Out of His Humour." Here personal satire seems to have absorbed + everything, and while much of the caricature is admirable, especially in + the detail of witty and trenchantly satirical dialogue, the central idea + of a fountain of self-love is not very well carried out, and the persons + revert at times to abstractions, the action to allegory. It adds to our + wonder that this difficult drama should have been acted by the Children of + Queen Elizabeth's Chapel, among them Nathaniel Field with whom Jonson read + Horace and Martial, and whom he taught later how to make plays. Another of + these precocious little actors was Salathiel Pavy, who died before he was + thirteen, already famed for taking the parts of old men. Him Jonson + immortalised in one of the sweetest of his epitaphs. An interesting + sidelight is this on the character of this redoubtable and rugged + satirist, that he should thus have befriended and tenderly remembered + these little theatrical waifs, some of whom (as we know) had been + literally kidnapped to be pressed into the service of the theatre and + whipped to the conning of their difficult parts. To the caricature of + Daniel and Munday in "Cynthia's Revels" must be added Anaides (impudence), + here assuredly Marston, and Asotus (the prodigal), interpreted as Lodge + or, more perilously, Raleigh. Crites, like Asper-Macilente in "Every Man + Out of His Humour," is Jonson's self-complaisant portrait of himself, the + just, wholly admirable, and judicious scholar, holding his head high above + the pack of the yelping curs of envy and detraction, but careless of their + puny attacks on his perfections with only too mindful a neglect. + </p> + <p> + The third and last of the "comical satires" is "Poetaster," acted, once + more, by the Children of the Chapel in 1601, and Jonson's only avowed + contribution to the fray. According to the author's own account, this play + was written in fifteen weeks on a report that his enemies had entrusted to + Dekker the preparation of "Satiromastix, the Untrussing of the Humorous + Poet," a dramatic attack upon himself. In this attempt to forestall his + enemies Jonson succeeded, and "Poetaster" was an immediate and deserved + success. While hardly more closely knit in structure than its earlier + companion pieces, "Poetaster" is planned to lead up to the ludicrous final + scene in which, after a device borrowed from the "Lexiphanes" of Lucian, + the offending poetaster, Marston-Crispinus, is made to throw up the + difficult words with which he had overburdened his stomach as well as + overlarded his vocabulary. In the end Crispinus with his fellow, + Dekker-Demetrius, is bound over to keep the peace and never thenceforward + "malign, traduce, or detract the person or writings of Quintus Horatius + Flaccus [Jonson] or any other eminent man transcending you in merit." One + of the most diverting personages in Jonson's comedy is Captain Tucca. "His + peculiarity" has been well described by Ward as "a buoyant blackguardism + which recovers itself instantaneously from the most complete exposure, and + a picturesqueness of speech like that of a walking dictionary of slang." + </p> + <p> + It was this character, Captain Tucca, that Dekker hit upon in his reply, + "Satiromastix," and he amplified him, turning his abusive vocabulary back + upon Jonson and adding "an immodesty to his dialogue that did not enter + into Jonson's conception." It has been held, altogether plausibly, that + when Dekker was engaged professionally, so to speak, to write a dramatic + reply to Jonson, he was at work on a species of chronicle history, dealing + with the story of Walter Terill in the reign of William Rufus. This he + hurriedly adapted to include the satirical characters suggested by + "Poetaster," and fashioned to convey the satire of his reply. The + absurdity of placing Horace in the court of a Norman king is the result. + But Dekker's play is not without its palpable hits at the arrogance, the + literary pride, and self-righteousness of Jonson-Horace, whose "ningle" or + pal, the absurd Asinius Bubo, has recently been shown to figure forth, in + all likelihood, Jonson's friend, the poet Drayton. Slight and hastily + adapted as is "Satiromastix," especially in a comparison with the better + wrought and more significant satire of "Poetaster," the town awarded the + palm to Dekker, not to Jonson; and Jonson gave over in consequence his + practice of "comical satire." Though Jonson was cited to appear before the + Lord Chief Justice to answer certain charges to the effect that he had + attacked lawyers and soldiers in "Poetaster," nothing came of this + complaint. It may be suspected that much of this furious clatter and + give-and-take was pure playing to the gallery. The town was agog with the + strife, and on no less an authority than Shakespeare ("Hamlet," ii. 2), we + learn that the children's company (acting the plays of Jonson) did "so + berattle the common stages... that many, wearing rapiers, are afraid of + goose-quills, and dare scarce come thither." + </p> + <p> + Several other plays have been thought to bear a greater or less part in + the war of the theatres. Among them the most important is a college play, + entitled "The Return from Parnassus," dating 1601-02. In it a much-quoted + passage makes Burbage, as a character, declare: "Why here's our fellow + Shakespeare puts them all down; aye and Ben Jonson, too. O that Ben Jonson + is a pestilent fellow; he brought up Horace, giving the poets a pill, but + our fellow Shakespeare hath given him a purge that made him bewray his + credit." Was Shakespeare then concerned in this war of the stages? And + what could have been the nature of this "purge"? Among several + suggestions, "Troilus and Cressida" has been thought by some to be the + play in which Shakespeare thus "put down" his friend, Jonson. A wiser + interpretation finds the "purge" in "Satiromastix," which, though not + written by Shakespeare, was staged by his company, and therefore with his + approval and under his direction as one of the leaders of that company. + </p> + <p> + The last years of the reign of Elizabeth thus saw Jonson recognised as a + dramatist second only to Shakespeare, and not second even to him as a + dramatic satirist. But Jonson now turned his talents to new fields. Plays + on subjects derived from classical story and myth had held the stage from + the beginning of the drama, so that Shakespeare was making no new + departure when he wrote his "Julius Caesar" about 1600. Therefore when + Jonson staged "Sejanus," three years later and with Shakespeare's company + once more, he was only following in the elder dramatist's footsteps. But + Jonson's idea of a play on classical history, on the one hand, and + Shakespeare's and the elder popular dramatists, on the other, were very + different. Heywood some years before had put five straggling plays on the + stage in quick succession, all derived from stories in Ovid and dramatised + with little taste or discrimination. Shakespeare had a finer conception of + form, but even he was contented to take all his ancient history from + North's translation of Plutarch and dramatise his subject without further + inquiry. Jonson was a scholar and a classical antiquarian. He reprobated + this slipshod amateurishness, and wrote his "Sejanus" like a scholar, + reading Tacitus, Suetonius, and other authorities, to be certain of his + facts, his setting, and his atmosphere, and somewhat pedantically noting + his authorities in the margin when he came to print. "Sejanus" is a + tragedy of genuine dramatic power in which is told with discriminating + taste the story of the haughty favourite of Tiberius with his tragical + overthrow. Our drama presents no truer nor more painstaking representation + of ancient Roman life than may be found in Jonson's "Sejanus" and + "Catiline his Conspiracy," which followed in 1611. A passage in the + address of the former play to the reader, in which Jonson refers to a + collaboration in an earlier version, has led to the surmise that + Shakespeare may have been that "worthier pen." There is no evidence to + determine the matter. + </p> + <p> + In 1605, we find Jonson in active collaboration with Chapman and Marston + in the admirable comedy of London life entitled "Eastward Hoe." In the + previous year, Marston had dedicated his "Malcontent," in terms of fervid + admiration, to Jonson; so that the wounds of the war of the theatres must + have been long since healed. Between Jonson and Chapman there was the + kinship of similar scholarly ideals. The two continued friends throughout + life. "Eastward Hoe" achieved the extraordinary popularity represented in + a demand for three issues in one year. But this was not due entirely to + the merits of the play. In its earliest version a passage which an + irritable courtier conceived to be derogatory to his nation, the Scots, + sent both Chapman and Jonson to jail; but the matter was soon patched up, + for by this time Jonson had influence at court. + </p> + <p> + With the accession of King James, Jonson began his long and successful + career as a writer of masques. He wrote more masques than all his + competitors together, and they are of an extraordinary variety and poetic + excellence. Jonson did not invent the masque; for such premeditated + devices to set and frame, so to speak, a court ball had been known and + practised in varying degrees of elaboration long before his time. But + Jonson gave dramatic value to the masque, especially in his invention of + the antimasque, a comedy or farcical element of relief, entrusted to + professional players or dancers. He enhanced, as well, the beauty and + dignity of those portions of the masque in which noble lords and ladies + took their parts to create, by their gorgeous costumes and artistic + grouping and evolutions, a sumptuous show. On the mechanical and scenic + side Jonson had an inventive and ingenious partner in Inigo Jones, the + royal architect, who more than any one man raised the standard of stage + representation in the England of his day. Jonson continued active in the + service of the court in the writing of masques and other entertainments + far into the reign of King Charles; but, towards the end, a quarrel with + Jones embittered his life, and the two testy old men appear to have become + not only a constant irritation to each other, but intolerable bores at + court. In "Hymenaei," "The Masque of Queens," "Love Freed from Ignorance," + "Lovers made Men," "Pleasure Reconciled to Virtue," and many more will be + found Jonson's aptitude, his taste, his poetry and inventiveness in these + by-forms of the drama; while in "The Masque of Christmas," and "The + Gipsies Metamorphosed" especially, is discoverable that power of broad + comedy which, at court as well as in the city, was not the least element + of Jonson's contemporary popularity. + </p> + <p> + But Jonson had by no means given up the popular stage when he turned to + the amusement of King James. In 1605 "Volpone" was produced, "The Silent + Woman" in 1609, "The Alchemist" in the following year. These comedies, + with "Bartholomew Fair," 1614, represent Jonson at his height, and for + constructive cleverness, character successfully conceived in the manner of + caricature, wit and brilliancy of dialogue, they stand alone in English + drama. "Volpone, or the Fox," is, in a sense, a transition play from the + dramatic satires of the war of the theatres to the purer comedy + represented in the plays named above. Its subject is a struggle of wit + applied to chicanery; for among its dramatis personae, from the villainous + Fox himself, his rascally servant Mosca, Voltore (the vulture), Corbaccio + and Corvino (the big and the little raven), to Sir Politic Would-be and + the rest, there is scarcely a virtuous character in the play. Question has + been raised as to whether a story so forbidding can be considered a + comedy, for, although the plot ends in the discomfiture and imprisonment + of the most vicious, it involves no mortal catastrophe. But Jonson was on + sound historical ground, for "Volpone" is conceived far more logically on + the lines of the ancients' theory of comedy than was ever the romantic + drama of Shakespeare, however repulsive we may find a philosophy of life + that facilely divides the world into the rogues and their dupes, and, + identifying brains with roguery and innocence with folly, admires the + former while inconsistently punishing them. + </p> + <p> + "The Silent Woman" is a gigantic farce of the most ingenious construction. + The whole comedy hinges on a huge joke, played by a heartless nephew on + his misanthropic uncle, who is induced to take to himself a wife, young, + fair, and warranted silent, but who, in the end, turns out neither silent + nor a woman at all. In "The Alchemist," again, we have the utmost + cleverness in construction, the whole fabric building climax on climax, + witty, ingenious, and so plausibly presented that we forget its departures + from the possibilities of life. In "The Alchemist" Jonson represented, + none the less to the life, certain sharpers of the metropolis, revelling + in their shrewdness and rascality and in the variety of the stupidity and + wickedness of their victims. We may object to the fact that the only + person in the play possessed of a scruple of honesty is discomfited, and + that the greatest scoundrel of all is approved in the end and rewarded. + The comedy is so admirably written and contrived, the personages stand out + with such lifelike distinctness in their several kinds, and the whole is + animated with such verve and resourcefulness that "The Alchemist" is a new + marvel every time it is read. Lastly of this group comes the tremendous + comedy, "Bartholomew Fair," less clear cut, less definite, and less + structurally worthy of praise than its three predecessors, but full of the + keenest and cleverest of satire and inventive to a degree beyond any + English comedy save some other of Jonson's own. It is in "Bartholomew + Fair" that we are presented to the immortal caricature of the Puritan, + Zeal-in-the-Land Busy, and the Littlewits that group about him, and it is + in this extraordinary comedy that the humour of Jonson, always open to + this danger, loosens into the Rabelaisian mode that so delighted King + James in "The Gipsies Metamorphosed." Another comedy of less merit is "The + Devil is an Ass," acted in 1616. It was the failure of this play that + caused Jonson to give over writing for the public stage for a period of + nearly ten years. + </p> + <p> + "Volpone" was laid as to scene in Venice. Whether because of the success + of "Eastward Hoe" or for other reasons, the other three comedies declare + in the words of the prologue to "The Alchemist": + </p> +<pre xml:space="preserve"> + "Our scene is London, 'cause we would make known + No country's mirth is better than our own." +</pre> + <p> + Indeed Jonson went further when he came to revise his plays for collected + publication in his folio of 1616, he transferred the scene of "Every Man + in His Humour" from Florence to London also, converting Signior Lorenzo di + Pazzi to Old Kno'well, Prospero to Master Welborn, and Hesperida to Dame + Kitely "dwelling i' the Old Jewry." + </p> + <p> + In his comedies of London life, despite his trend towards caricature, + Jonson has shown himself a genuine realist, drawing from the life about + him with an experience and insight rare in any generation. A happy + comparison has been suggested between Ben Jonson and Charles Dickens. Both + were men of the people, lowly born and hardly bred. Each knew the London + of his time as few men knew it; and each represented it intimately and in + elaborate detail. Both men were at heart moralists, seeking the truth by + the exaggerated methods of humour and caricature; perverse, even + wrong-headed at times, but possessed of a true pathos and largeness of + heart, and when all has been said—though the Elizabethan ran to + satire, the Victorian to sentimentality—leaving the world better for + the art that they practised in it. + </p> + <p> + In 1616, the year of the death of Shakespeare, Jonson collected his plays, + his poetry, and his masques for publication in a collective edition. This + was an unusual thing at the time and had been attempted by no dramatist + before Jonson. This volume published, in a carefully revised text, all the + plays thus far mentioned, excepting "The Case is Altered," which Jonson + did not acknowledge, "Bartholomew Fair," and "The Devil is an Ass," which + was written too late. It included likewise a book of some hundred and + thirty odd "Epigrams," in which form of brief and pungent writing Jonson + was an acknowledged master; "The Forest," a smaller collection of lyric + and occasional verse and some ten "Masques" and "Entertainments." In this + same year Jonson was made poet laureate with a pension of one hundred + marks a year. This, with his fees and returns from several noblemen, and + the small earnings of his plays must have formed the bulk of his income. + The poet appears to have done certain literary hack-work for others, as, + for example, parts of the Punic Wars contributed to Raleigh's "History of + the World." We know from a story, little to the credit of either, that + Jonson accompanied Raleigh's son abroad in the capacity of a tutor. In + 1618 Jonson was granted the reversion of the office of Master of the + Revels, a post for which he was peculiarly fitted; but he did not live to + enjoy its perquisites. Jonson was honoured with degrees by both + universities, though when and under what circumstances is not known. It + has been said that he narrowly escaped the honour of knighthood, which the + satirists of the day averred King James was wont to lavish with an + indiscriminate hand. Worse men were made knights in his day than worthy + Ben Jonson. + </p> + <p> + From 1616 to the close of the reign of King James, Jonson produced nothing + for the stage. But he "prosecuted" what he calls "his wonted studies" with + such assiduity that he became in reality, as by report, one of the most + learned men of his time. Jonson's theory of authorship involved a wide + acquaintance with books and "an ability," as he put it, "to convert the + substance or riches of another poet to his own use." Accordingly Jonson + read not only the Greek and Latin classics down to the lesser writers, but + he acquainted himself especially with the Latin writings of his learned + contemporaries, their prose as well as their poetry, their antiquities and + curious lore as well as their more solid learning. Though a poor man, + Jonson was an indefatigable collector of books. He told Drummond that "the + Earl of Pembroke sent him 20 pounds every first day of the new year to buy + new books." Unhappily, in 1623, his library was destroyed by fire, an + accident serio-comically described in his witty poem, "An Execration upon + Vulcan." Yet even now a book turns up from time to time in which is + inscribed, in fair large Italian lettering, the name, Ben Jonson. With + respect to Jonson's use of his material, Dryden said memorably of him: + "[He] was not only a professed imitator of Horace, but a learned plagiary + of all the others; you track him everywhere in their snow.... But he has + done his robberies so openly that one sees he fears not to be taxed by any + law. He invades authors like a monarch, and what would be theft in other + poets is only victory in him." And yet it is but fair to say that Jonson + prided himself, and justly, on his originality. In "Catiline," he not only + uses Sallust's account of the conspiracy, but he models some of the + speeches of Cicero on the Roman orator's actual words. In "Poetaster," he + lifts a whole satire out of Horace and dramatises it effectively for his + purposes. The sophist Libanius suggests the situation of "The Silent + Woman"; a Latin comedy of Giordano Bruno, "Il Candelaio," the relation of + the dupes and the sharpers in "The Alchemist," the "Mostellaria" of + Plautus, its admirable opening scene. But Jonson commonly bettered his + sources, and putting the stamp of his sovereignty on whatever bullion he + borrowed made it thenceforward to all time current and his own. + </p> + <p> + The lyric and especially the occasional poetry of Jonson has a peculiar + merit. His theory demanded design and the perfection of literary finish. + He was furthest from the rhapsodist and the careless singer of an idle + day; and he believed that Apollo could only be worthily served in singing + robes and laurel crowned. And yet many of Jonson's lyrics will live as + long as the language. Who does not know "Queen and huntress, chaste and + fair." "Drink to me only with thine eyes," or "Still to be neat, still to + be dressed"? Beautiful in form, deft and graceful in expression, with not + a word too much or one that bears not its part in the total effect, there + is yet about the lyrics of Jonson a certain stiffness and formality, a + suspicion that they were not quite spontaneous and unbidden, but that they + were carved, so to speak, with disproportionate labour by a potent man of + letters whose habitual thought is on greater things. It is for these + reasons that Jonson is even better in the epigram and in occasional verse + where rhetorical finish and pointed wit less interfere with the + spontaneity and emotion which we usually associate with lyrical poetry. + There are no such epitaphs as Ben Jonson's, witness the charming ones on + his own children, on Salathiel Pavy, the child-actor, and many more; and + this even though the rigid law of mine and thine must now restore to + William Browne of Tavistock the famous lines beginning: "Underneath this + sable hearse." Jonson is unsurpassed, too, in the difficult poetry of + compliment, seldom falling into fulsome praise and disproportionate + similitude, yet showing again and again a generous appreciation of worth + in others, a discriminating taste and a generous personal regard. There + was no man in England of his rank so well known and universally beloved as + Ben Jonson. The list of his friends, of those to whom he had written + verses, and those who had written verses to him, includes the name of + every man of prominence in the England of King James. And the tone of many + of these productions discloses an affectionate familiarity that speaks for + the amiable personality and sound worth of the laureate. In 1619, growing + unwieldy through inactivity, Jonson hit upon the heroic remedy of a + journey afoot to Scotland. On his way thither and back he was hospitably + received at the houses of many friends and by those to whom his friends + had recommended him. When he arrived in Edinburgh, the burgesses met to + grant him the freedom of the city, and Drummond, foremost of Scottish + poets, was proud to entertain him for weeks as his guest at Hawthornden. + Some of the noblest of Jonson's poems were inspired by friendship. Such is + the fine "Ode to the memory of Sir Lucius Cary and Sir Henry Moryson," and + that admirable piece of critical insight and filial affection, prefixed to + the first Shakespeare folio, "To the memory of my beloved master, William + Shakespeare, and what he hath left us," to mention only these. Nor can the + earlier "Epode," beginning "Not to know vice at all," be matched in + stately gravity and gnomic wisdom in its own wise and stately age. + </p> + <p> + But if Jonson had deserted the stage after the publication of his folio + and up to the end of the reign of King James, he was far from inactive; + for year after year his inexhaustible inventiveness continued to + contribute to the masquing and entertainment at court. In "The Golden Age + Restored," Pallas turns the Iron Age with its attendant evils into statues + which sink out of sight; in "Pleasure Reconciled to Virtue," Atlas figures + represented as an old man, his shoulders covered with snow, and Comus, + "the god of cheer or the belly," is one of the characters, a circumstance + which an imaginative boy of ten, named John Milton, was not to forget. + "Pan's Anniversary," late in the reign of James, proclaimed that Jonson + had not yet forgotten how to write exquisite lyrics, and "The Gipsies + Metamorphosed" displayed the old drollery and broad humorous stroke still + unimpaired and unmatchable. These, too, and the earlier years of Charles + were the days of the Apollo Room of the Devil Tavern where Jonson + presided, the absolute monarch of English literary Bohemia. We hear of a + room blazoned about with Jonson's own judicious "Leges Convivales" in + letters of gold, of a company made up of the choicest spirits of the time, + devotedly attached to their veteran dictator, his reminiscences, opinions, + affections, and enmities. And we hear, too, of valorous potations; but in + the words of Herrick addressed to his master, Jonson, at the Devil Tavern, + as at the Dog, the Triple Tun, and at the Mermaid, + </p> +<pre xml:space="preserve"> + "We such clusters had + As made us nobly wild, not mad, + And yet each verse of thine + Outdid the meat, outdid the frolic wine." +</pre> + <p> + But the patronage of the court failed in the days of King Charles, though + Jonson was not without royal favours; and the old poet returned to the + stage, producing, between 1625 and 1633, "The Staple of News," "The New + Inn," "The Magnetic Lady," and "The Tale of a Tub," the last doubtless + revised from a much earlier comedy. None of these plays met with any + marked success, although the scathing generalisation of Dryden that + designated them "Jonson's dotages" is unfair to their genuine merits. Thus + the idea of an office for the gathering, proper dressing, and promulgation + of news (wild flight of the fancy in its time) was an excellent subject + for satire on the existing absurdities among newsmongers; although as much + can hardly be said for "The Magnetic Lady," who, in her bounty, draws to + her personages of differing humours to reconcile them in the end according + to the alternative title, or "Humours Reconciled." These last plays of the + old dramatist revert to caricature and the hard lines of allegory; the + moralist is more than ever present, the satire degenerates into personal + lampoon, especially of his sometime friend, Inigo Jones, who appears + unworthily to have used his influence at court against the broken-down old + poet. And now disease claimed Jonson, and he was bedridden for months. He + had succeeded Middleton in 1628 as Chronologer to the City of London, but + lost the post for not fulfilling its duties. King Charles befriended him, + and even commissioned him to write still for the entertainment of the + court; and he was not without the sustaining hand of noble patrons and + devoted friends among the younger poets who were proud to be "sealed of + the tribe of Ben." + </p> + <p> + Jonson died, August 6, 1637, and a second folio of his works, which he had + been some time gathering, was printed in 1640, bearing in its various + parts dates ranging from 1630 to 1642. It included all the plays mentioned + in the foregoing paragraphs, excepting "The Case is Altered;" the masques, + some fifteen, that date between 1617 and 1630; another collection of + lyrics and occasional poetry called "Underwoods", including some further + entertainments; a translation of "Horace's Art of Poetry" (also published + in a vicesimo quarto in 1640), and certain fragments and ingatherings + which the poet would hardly have included himself. These last comprise the + fragment (less than seventy lines) of a tragedy called "Mortimer his + Fall," and three acts of a pastoral drama of much beauty and poetic + spirit, "The Sad Shepherd." There is also the exceedingly interesting + "English Grammar" "made by Ben Jonson for the benefit of all strangers out + of his observation of the English language now spoken and in use," in + Latin and English; and "Timber, or Discoveries" "made upon men and matter + as they have flowed out of his daily reading, or had their reflux to his + peculiar notion of the times." The "Discoveries," as it is usually called, + is a commonplace book such as many literary men have kept, in which their + reading was chronicled, passages that took their fancy translated or + transcribed, and their passing opinions noted. Many passages of Jonson's + "Discoveries" are literal translations from the authors he chanced to be + reading, with the reference, noted or not, as the accident of the moment + prescribed. At times he follows the line of Macchiavelli's argument as to + the nature and conduct of princes; at others he clarifies his own + conception of poetry and poets by recourse to Aristotle. He finds a choice + paragraph on eloquence in Seneca the elder and applies it to his own + recollection of Bacon's power as an orator; and another on facile and + ready genius, and translates it, adapting it to his recollection of his + fellow-playwright, Shakespeare. To call such passages—which Jonson + never intended for publication—plagiarism, is to obscure the + significance of words. To disparage his memory by citing them is a + preposterous use of scholarship. Jonson's prose, both in his dramas, in + the descriptive comments of his masques, and in the "Discoveries," is + characterised by clarity and vigorous directness, nor is it wanting in a + fine sense of form or in the subtler graces of diction. + </p> + <p> + When Jonson died there was a project for a handsome monument to his + memory. But the Civil War was at hand, and the project failed. A memorial, + not insufficient, was carved on the stone covering his grave in one of the + aisles of Westminster Abbey: + </p> + <p> + "O rare Ben Jonson." + </p> + <p> + FELIX E. SCHELLING. THE COLLEGE, PHILADELPHIA, U.S.A. + </p> + <p> + The following is a complete list of his published works:— + </p> +<pre xml:space="preserve"> + DRAMAS: + Every Man in his Humour, 4to, 1601; + The Case is Altered, 4to, 1609; + Every Man out of his Humour, 4to, 1600; + Cynthia's Revels, 4to, 1601; + Poetaster, 4to, 1602; + Sejanus, 4to, 1605; + Eastward Ho (with Chapman and Marston), 4to, 1605; + Volpone, 4to, 1607; + Epicoene, or the Silent Woman, 4to, 1609 (?), fol., 1616; + The Alchemist, 4to, 1612; + Catiline, his Conspiracy, 4to, 1611; + Bartholomew Fayre, 4to, 1614 (?), fol., 1631; + The Divell is an Asse, fol., 1631; + The Staple of Newes, fol., 1631; + The New Sun, 8vo, 1631, fol., 1692; + The Magnetic Lady, or Humours Reconcild, fol., 1640; + A Tale of a Tub, fol., 1640; + The Sad Shepherd, or a Tale of Robin Hood, fol., 1641; + Mortimer his Fall (fragment), fol., 1640. + + To Jonson have also been attributed additions to Kyd's Jeronymo, + and collaboration in The Widow with Fletcher and Middleton, and + in the Bloody Brother with Fletcher. + + POEMS: + Epigrams, The Forrest, Underwoods, published in fols., 1616, 1640; + Selections: Execration against Vulcan, and Epigrams, 1640; + G. Hor. Flaccus his art of Poetry, Englished by Ben Jonson, 1640; + Leges Convivialis, fol., 1692. + Other minor poems first appeared in Gifford's edition of Works. + + PROSE: + Timber, or Discoveries made upon Men and Matter, fol., 1641; + The English Grammar, made by Ben Jonson for the benefit of + Strangers, fol., 1640. + + Masques and Entertainments were published in the early folios. + + WORKS: + Fol., 1616, volume. 2, 1640 (1631-41); + fol., 1692, 1716-19, 1729; + edited by P. Whalley, 7 volumes., 1756; + by Gifford (with Memoir), 9 volumes., 1816, 1846; + re-edited by F. Cunningham, 3 volumes., 1871; + in 9 volumes., 1875; + by Barry Cornwall (with Memoir), 1838; + by B. Nicholson (Mermaid Series), with Introduction by + C. H. Herford, 1893, etc.; + Nine Plays, 1904; + ed. H. C. Hart (Standard Library), 1906, etc; + Plays and Poems, with Introduction by H. Morley (Universal + Library), 1885; + Plays (7) and Poems (Newnes), 1905; + Poems, with Memoir by H. Bennett (Carlton Classics), 1907; + Masques and Entertainments, ed. by H. Morley, 1890. + + SELECTIONS: + J. A. Symonds, with Biographical and Critical Essay, + (Canterbury Poets), 1886; + Grosart, Brave Translunary Things, 1895; + Arber, Jonson Anthology, 1901; + Underwoods, Cambridge University Press, 1905; + Lyrics (Jonson, Beaumont and Fletcher), the Chap Books, + No. 4, 1906; + Songs (from Plays, Masques, etc.), with earliest known + setting, Eragny Press, 1906. + + LIFE: + See Memoirs affixed to Works; + J. A. Symonds (English Worthies), 1886; + Notes of Ben Jonson Conversations with Drummond of Hawthornden; + Shakespeare Society, 1842; + ed. with Introduction and Notes by P. Sidney, 1906; + Swinburne, A Study of Ben Jonson, 1889. +</pre> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + VOLPONE; OR, THE FOX + </h2> + <h3> + By Ben Jonson + </h3> + <p> + TO THE MOST NOBLE AND MOST EQUAL SISTERS, THE TWO FAMOUS UNIVERSITIES, FOR + THEIR LOVE AND ACCEPTANCE SHEWN TO HIS POEM IN THE PRESENTATION, BEN + JONSON, THE GRATEFUL ACKNOWLEDGER, DEDICATES BOTH IT AND HIMSELF. + </p> + <p> + Never, most equal Sisters, had any man a wit so presently excellent, as + that it could raise itself; but there must come both matter, occasion, + commenders, and favourers to it. If this be true, and that the fortune of + all writers doth daily prove it, it behoves the careful to provide well + towards these accidents; and, having acquired them, to preserve that part + of reputation most tenderly, wherein the benefit of a friend is also + defended. Hence is it, that I now render myself grateful, and am studious + to justify the bounty of your act; to which, though your mere authority + were satisfying, yet it being an age wherein poetry and the professors of + it hear so ill on all sides, there will a reason be looked for in the + subject. It is certain, nor can it with any forehead be opposed, that the + too much license of poetasters in this time, hath much deformed their + mistress; that, every day, their manifold and manifest ignorance doth + stick unnatural reproaches upon her: but for their petulancy, it were an + act of the greatest injustice, either to let the learned suffer, or so + divine a skill (which indeed should not be attempted with unclean hands) + to fall under the least contempt. For, if men will impartially, and not + asquint, look toward the offices and function of a poet, they will easily + conclude to themselves the impossibility of any man's being the good poet, + without first being a good man. He that is said to be able to inform young + men to all good disciplines, inflame grown men to all great virtues, keep + old men in their best and supreme state, or, as they decline to childhood, + recover them to their first strength; that comes forth the interpreter and + arbiter of nature, a teacher of things divine no less than human, a master + in manners; and can alone, or with a few, effect the business of mankind: + this, I take him, is no subject for pride and ignorance to exercise their + railing rhetoric upon. But it will here be hastily answered, that the + writers of these days are other things; that not only their manners, but + their natures, are inverted, and nothing remaining with them of the + dignity of poet, but the abused name, which every scribe usurps; that now, + especially in dramatic, or, as they term it, stage-poetry, nothing but + ribaldry, profanation, blasphemy, all license of offence to God and man is + practised. I dare not deny a great part of this, and am sorry I dare not, + because in some men's abortive features (and would they had never boasted + the light) it is over-true; but that all are embarked in this bold + adventure for hell, is a most uncharitable thought, and, uttered, a more + malicious slander. For my particular, I can, and from a most clear + conscience, affirm, that I have ever trembled to think toward the least + profaneness; have loathed the use of such foul and unwashed bawdry, as is + now made the food of the scene: and, howsoever I cannot escape from some, + the imputation of sharpness, but that they will say, I have taken a pride, + or lust, to be bitter, and not my youngest infant but hath come into the + world with all his teeth; I would ask of these supercilious politics, what + nation, society, or general order or state, I have provoked? What public + person? Whether I have not in all these preserved their dignity, as mine + own person, safe? My works are read, allowed, (I speak of those that are + intirely mine,) look into them, what broad reproofs have I used? where + have I been particular? where personal? except to a mimic, cheater, bawd, + or buffoon, creatures, for their insolencies, worthy to be taxed? yet to + which of these so pointingly, as he might not either ingenuously have + confest, or wisely dissembled his disease? But it is not rumour can make + men guilty, much less entitle me to other men's crimes. I know, that + nothing can be so innocently writ or carried, but may be made obnoxious to + construction; marry, whilst I bear mine innocence about me, I fear it not. + Application is now grown a trade with many; and there are that profess to + have a key for the decyphering of every thing: but let wise and noble + persons take heed how they be too credulous, or give leave to these + invading interpreters to be over-familiar with their fames, who cunningly, + and often, utter their own virulent malice, under other men's simplest + meanings. As for those that will (by faults which charity hath raked up, + or common honesty concealed) make themselves a name with the multitude, + or, to draw their rude and beastly claps, care not whose living faces they + intrench with their petulant styles, may they do it without a rival, for + me! I choose rather to live graved in obscurity, than share with them in + so preposterous a fame. Nor can I blame the wishes of those severe and + wise patriots, who providing the hurts these licentious spirits may do in + a state, desire rather to see fools and devils, and those antique relics + of barbarism retrieved, with all other ridiculous and exploded follies, + than behold the wounds of private men, of princes and nations: for, as + Horace makes Trebatius speak among these, + </p> +<pre xml:space="preserve"> + "Sibi quisque timet, quanquam est intactus, et odit." +</pre> + <p> + And men may justly impute such rages, if continued, to the writer, as his + sports. The increase of which lust in liberty, together with the present + trade of the stage, in all their miscelline interludes, what learned or + liberal soul doth not already abhor? where nothing but the filth of the + time is uttered, and with such impropriety of phrase, such plenty of + solecisms, such dearth of sense, so bold prolepses, so racked metaphors, + with brothelry, able to violate the ear of a pagan, and blasphemy, to turn + the blood of a Christian to water. I cannot but be serious in a cause of + this nature, wherein my fame, and the reputation of divers honest and + learned are the question; when a name so full of authority, antiquity, and + all great mark, is, through their insolence, become the lowest scorn of + the age; and those men subject to the petulancy of every vernaculous + orator, that were wont to be the care of kings and happiest monarchs. This + it is that hath not only rapt me to present indignation, but made me + studious heretofore, and by all my actions, to stand off from them; which + may most appear in this my latest work, which you, most learned + Arbitresses, have seen, judged, and to my crown, approved; wherein I have + laboured for their instruction and amendment, to reduce not only the + ancient forms, but manners of the scene, the easiness, the propriety, the + innocence, and last, the doctrine, which is the principal end of poesie, + to inform men in the best reason of living. And though my catastrophe may, + in the strict rigour of comic law, meet with censure, as turning back to + my promise; I desire the learned and charitable critic, to have so much + faith in me, to think it was done of industry: for, with what ease I could + have varied it nearer his scale (but that I fear to boast my own faculty) + I could here insert. But my special aim being to put the snaffle in their + mouths, that cry out, We never punish vice in our interludes, etc., I took + the more liberty; though not without some lines of example, drawn even in + the ancients themselves, the goings out of whose comedies are not always + joyful, but oft times the bawds, the servants, the rivals, yea, and the + masters are mulcted; and fitly, it being the office of a comic poet to + imitate justice, and instruct to life, as well as purity of language, or + stir up gentle affections; to which I shall take the occasion elsewhere to + speak. + </p> + <p> + For the present, most reverenced Sisters, as I have cared to be thankful + for your affections past, and here made the understanding acquainted with + some ground of your favours; let me not despair their continuance, to the + maturing of some worthier fruits; wherein, if my muses be true to me, I + shall raise the despised head of poetry again, and stripping her out of + those rotten and base rags wherewith the times have adulterated her form, + restore her to her primitive habit, feature, and majesty, and render her + worthy to be embraced and kist of all the great and master-spirits of our + world. As for the vile and slothful, who never affected an act worthy of + celebration, or are so inward with their own vicious natures, as they + worthily fear her, and think it an high point of policy to keep her in + contempt, with their declamatory and windy invectives; she shall out of + just rage incite her servants (who are genus irritabile) to spout ink in + their faces, that shall eat farther than their marrow into their fames; + and not Cinnamus the barber, with his art, shall be able to take out the + brands; but they shall live, and be read, till the wretches die, as things + worst deserving of themselves in chief, and then of all mankind. + </p> + <p> + From my House in the Black-Friars, + </p> + <p> + this 11th day of February, 1607. + </p> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0003" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + </p> + <h2> + DRAMATIS PERSONAE + </h2> + <h3> + VOLPONE, a Magnifico. + </h3> + <p> + MOSCA, his Parasite. + </p> + <p> + VOLTORE, an Advocate. + </p> + <p> + CORBACCIO, an old Gentleman. + </p> + <p> + CORVINO, a Merchant. + </p> + <p> + BONARIO, son to Corbaccio. + </p> + <p> + SIR POLITICK WOULD-BE, a Knight. + </p> + <p> + PEREGRINE, a Gentleman Traveller. + </p> + <p> + NANO, a Dwarf. + </p> + <p> + CASTRONE, an Eunuch. + </p> + <p> + ANDROGYNO, an Hermaphrodite. + </p> + <p> + GREGE (or Mob). + </p> + <p> + COMMANDADORI, Officers of Justice. + </p> + <p> + MERCATORI, three Merchants. + </p> + <p> + AVOCATORI, four Magistrates. + </p> + <p> + <a name="link2H_NOTA" id="link2H_NOTA"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTARIO, the Register. + </h2> + <h3> + LADY WOULD-BE, Sir Politick's Wife. + </h3> + <p> + CELIA, Corvino's Wife. + </p> + <p> + SERVITORI, Servants, two Waiting-women, etc. + </p> + <p> + SCENE: VENICE. <a name="link2H_4_0005" id="link2H_4_0005"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + THE ARGUMENT. + </h2> + <h3> + V olpone, childless, rich, feigns sick, despairs, + </h3> + <p> + O ffers his state to hopes of several heirs, + </p> + <p> + L ies languishing: his parasite receives + </p> + <p> + P resents of all, assures, deludes; then weaves + </p> + <p> + O ther cross plots, which ope themselves, are told. + </p> + <p> + N ew tricks for safety are sought; they thrive: when bold, + </p> + <p> + E ach tempts the other again, and all are sold. + </p> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + PROLOGUE. + + Now, luck yet sends us, and a little wit + Will serve to make our play hit; + (According to the palates of the season) + Here is rhime, not empty of reason. + This we were bid to credit from our poet, + Whose true scope, if you would know it, + In all his poems still hath been this measure, + To mix profit with your pleasure; + And not as some, whose throats their envy failing, + Cry hoarsely, All he writes is railing: + And when his plays come forth, think they can flout them, + With saying, he was a year about them. + To this there needs no lie, but this his creature, + Which was two months since no feature; + And though he dares give them five lives to mend it, + 'Tis known, five weeks fully penn'd it, + From his own hand, without a co-adjutor, + Novice, journey-man, or tutor. + Yet thus much I can give you as a token + Of his play's worth, no eggs are broken, + Nor quaking custards with fierce teeth affrighted, + Wherewith your rout are so delighted; + Nor hales he in a gull old ends reciting, + To stop gaps in his loose writing; + With such a deal of monstrous and forced action, + As might make Bethlem a faction: + Nor made he his play for jests stolen from each table, + But makes jests to fit his fable; + And so presents quick comedy refined, + As best critics have designed; + The laws of time, place, persons he observeth, + From no needful rule he swerveth. + All gall and copperas from his ink he draineth, + Only a little salt remaineth, + Wherewith he'll rub your cheeks, till red, with laughter, + They shall look fresh a week after. +</pre> + <p> + <a name="link2H_4_0006" id="link2H_4_0006"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT 1. SCENE 1.1. + </h2> +<pre xml:space="preserve"> + A ROOM IN VOLPONE'S HOUSE. + + ENTER VOLPONE AND MOSCA. + + VOLP: Good morning to the day; and next, my gold: + Open the shrine, that I may see my Saint. + [MOSCA WITHDRAWS THE CURTAIN, AND DISCOVERS PILES OF GOLD, + PLATE, JEWELS, ETC.] + Hail the world's soul, and mine! more glad than is + The teeming earth to see the long'd-for sun + Peep through the horns of the celestial Ram, + Am I, to view thy splendour darkening his; + That lying here, amongst my other hoards, + Shew'st like a flame by night; or like the day + Struck out of chaos, when all darkness fled + Unto the centre. O thou son of Sol, + But brighter than thy father, let me kiss, + With adoration, thee, and every relick + Of sacred treasure, in this blessed room. + Well did wise poets, by thy glorious name, + Title that age which they would have the best; + Thou being the best of things: and far transcending + All style of joy, in children, parents, friends, + Or any other waking dream on earth: + Thy looks when they to Venus did ascribe, + They should have given her twenty thousand Cupids; + Such are thy beauties and our loves! Dear saint, + Riches, the dumb God, that giv'st all men tongues; + That canst do nought, and yet mak'st men do all things; + The price of souls; even hell, with thee to boot, + Is made worth heaven. Thou art virtue, fame, + Honour, and all things else. Who can get thee, + He shall be noble, valiant, honest, wise,— + + MOS: And what he will, sir. Riches are in fortune + A greater good than wisdom is in nature. + + VOLP: True, my beloved Mosca. Yet I glory + More in the cunning purchase of my wealth, + Than in the glad possession; since I gain + No common way; I use no trade, no venture; + I wound no earth with plough-shares; fat no beasts, + To feed the shambles; have no mills for iron, + Oil, corn, or men, to grind them into powder: + I blow no subtle glass; expose no ships + To threat'nings of the furrow-faced sea; + I turn no monies in the public bank, + Nor usure private. + + MOS: No sir, nor devour + Soft prodigals. You shall have some will swallow + A melting heir as glibly as your Dutch + Will pills of butter, and ne'er purge for it; + Tear forth the fathers of poor families + Out of their beds, and coffin them alive + In some kind clasping prison, where their bones + May be forth-coming, when the flesh is rotten: + But your sweet nature doth abhor these courses; + You lothe the widdow's or the orphan's tears + Should wash your pavements, or their piteous cries + Ring in your roofs, and beat the air for vengeance. + + VOLP: Right, Mosca; I do lothe it. + + MOS: And besides, sir, + You are not like a thresher that doth stand + With a huge flail, watching a heap of corn, + And, hungry, dares not taste the smallest grain, + But feeds on mallows, and such bitter herbs; + Nor like the merchant, who hath fill'd his vaults + With Romagnia, and rich Candian wines, + Yet drinks the lees of Lombard's vinegar: + You will not lie in straw, whilst moths and worms + Feed on your sumptuous hangings and soft beds; + You know the use of riches, and dare give now + From that bright heap, to me, your poor observer, + Or to your dwarf, or your hermaphrodite, + Your eunuch, or what other household-trifle + Your pleasure allows maintenance. + + VOLP: Hold thee, Mosca, + [GIVES HIM MONEY.] + Take of my hand; thou strik'st on truth in all, + And they are envious term thee parasite. + Call forth my dwarf, my eunuch, and my fool, + And let them make me sport. + [EXIT MOS.] + What should I do, + But cocker up my genius, and live free + To all delights my fortune calls me to? + I have no wife, no parent, child, ally, + To give my substance to; but whom I make + Must be my heir: and this makes men observe me: + This draws new clients daily, to my house, + Women and men of every sex and age, + That bring me presents, send me plate, coin, jewels, + With hope that when I die (which they expect + Each greedy minute) it shall then return + Ten-fold upon them; whilst some, covetous + Above the rest, seek to engross me whole, + And counter-work the one unto the other, + Contend in gifts, as they would seem in love: + All which I suffer, playing with their hopes, + And am content to coin them into profit, + To look upon their kindness, and take more, + And look on that; still bearing them in hand, + Letting the cherry knock against their lips, + And draw it by their mouths, and back again.— + How now! + + [RE-ENTER MOSCA WITH NANO, ANDROGYNO, AND CASTRONE.] + + NAN: Now, room for fresh gamesters, who do will you to know, + They do bring you neither play, nor university show; + And therefore do entreat you, that whatsoever they rehearse, + May not fare a whit the worse, for the false pace of the verse. + If you wonder at this, you will wonder more ere we pass, + For know, here is inclosed the soul of Pythagoras, + That juggler divine, as hereafter shall follow; + Which soul, fast and loose, sir, came first from Apollo, + And was breath'd into Aethalides; Mercurius his son, + Where it had the gift to remember all that ever was done. + From thence it fled forth, and made quick transmigration + To goldy-lock'd Euphorbus, who was killed in good fashion, + At the siege of old Troy, by the cuckold of Sparta. + Hermotimus was next (I find it in my charta) + To whom it did pass, where no sooner it was missing + But with one Pyrrhus of Delos it learn'd to go a fishing; + And thence did it enter the sophist of Greece. + From Pythagore, she went into a beautiful piece, + Hight Aspasia, the meretrix; and the next toss of her + Was again of a whore, she became a philosopher, + Crates the cynick, as it self doth relate it: + Since kings, knights, and beggars, knaves, lords and fools gat it, + Besides, ox and ass, camel, mule, goat, and brock, + In all which it hath spoke, as in the cobler's cock. + But I come not here to discourse of that matter, + Or his one, two, or three, or his greath oath, BY QUATER! + His musics, his trigon, his golden thigh, + Or his telling how elements shift, but I + Would ask, how of late thou best suffered translation, + And shifted thy coat in these days of reformation. + + AND: Like one of the reformed, a fool, as you see, + Counting all old doctrine heresy. + + NAN: But not on thine own forbid meats hast thou ventured? + + AND: On fish, when first a Carthusian I enter'd. + + NAN: Why, then thy dogmatical silence hath left thee? + + AND: Of that an obstreperous lawyer bereft me. + + NAN: O wonderful change, when sir lawyer forsook thee! + For Pythagore's sake, what body then took thee? + + AND: A good dull mule. + + NAN: And how! by that means + Thou wert brought to allow of the eating of beans? + + AND: Yes. + + NAN: But from the mule into whom didst thou pass? + + AND: Into a very strange beast, by some writers call'd an ass; + By others, a precise, pure, illuminate brother, + Of those devour flesh, and sometimes one another; + And will drop you forth a libel, or a sanctified lie, + Betwixt every spoonful of a nativity pie. + + NAN: Now quit thee, for heaven, of that profane nation; + And gently report thy next transmigration. + + AND: To the same that I am. + + NAN: A creature of delight, + And, what is more than a fool, an hermaphrodite! + Now, prithee, sweet soul, in all thy variation, + Which body would'st thou choose, to keep up thy station? + + AND: Troth, this I am in: even here would I tarry. + + NAN: 'Cause here the delight of each sex thou canst vary? + + AND: Alas, those pleasures be stale and forsaken; + No, 'tis your fool wherewith I am so taken, + The only one creature that I can call blessed: + For all other forms I have proved most distressed. + + NAN: Spoke true, as thou wert in Pythagoras still. + This learned opinion we celebrate will, + Fellow eunuch, as behoves us, with all our wit and art, + To dignify that whereof ourselves are so great and special a part. + + VOLP: Now, very, very pretty! Mosca, this + Was thy invention? + + MOS: If it please my patron, + Not else. + + VOLP: It doth, good Mosca. + + MOS: Then it was, sir. + + NANO AND CASTRONE [SING.]: Fools, they are the only nation + Worth men's envy, or admiration: + Free from care or sorrow-taking, + Selves and others merry making: + All they speak or do is sterling. + Your fool he is your great man's darling, + And your ladies' sport and pleasure; + Tongue and bauble are his treasure. + E'en his face begetteth laughter, + And he speaks truth free from slaughter; + He's the grace of every feast, + And sometimes the chiefest guest; + Hath his trencher and his stool, + When wit waits upon the fool: + O, who would not be + He, he, he? + + [KNOCKING WITHOUT.] + + VOLP: Who's that? Away! + [EXEUNT NANO AND CASTRONE.] + Look, Mosca. Fool, begone! + [EXIT ANDROGYNO.] + + MOS: 'Tis Signior Voltore, the advocate; + I know him by his knock. + + VOLP: Fetch me my gown, + My furs and night-caps; say, my couch is changing, + And let him entertain himself awhile + Without i' the gallery. + [EXIT MOSCA.] + Now, now, my clients + Begin their visitation! Vulture, kite, + Raven, and gorcrow, all my birds of prey, + That think me turning carcase, now they come; + I am not for them yet— + [RE-ENTER MOSCA, WITH THE GOWN, ETC.] + How now! the news? + + MOS: A piece of plate, sir. + + VOLP: Of what bigness? + + MOS: Huge, + Massy, and antique, with your name inscribed, + And arms engraven. + + VOLP: Good! and not a fox + Stretch'd on the earth, with fine delusive sleights, + Mocking a gaping crow? ha, Mosca? + + MOS: Sharp, sir. + + VOLP: Give me my furs. + [PUTS ON HIS SICK DRESS.] + Why dost thou laugh so, man? + + MOS: I cannot choose, sir, when I apprehend + What thoughts he has without now, as he walks: + That this might be the last gift he should give; + That this would fetch you; if you died to-day, + And gave him all, what he should be to-morrow; + What large return would come of all his ventures; + How he should worship'd be, and reverenced; + Ride with his furs, and foot-cloths; waited on + By herds of fools, and clients; have clear way + Made for his mule, as letter'd as himself; + Be call'd the great and learned advocate: + And then concludes, there's nought impossible. + + VOLP: Yes, to be learned, Mosca. + + MOS: O no: rich + Implies it. Hood an ass with reverend purple, + So you can hide his two ambitious ears, + And he shall pass for a cathedral doctor. + + VOLP: My caps, my caps, good Mosca. Fetch him in. + + MOS: Stay, sir, your ointment for your eyes. + + VOLP: That's true; + Dispatch, dispatch: I long to have possession + Of my new present. + + MOS: That, and thousands more, + I hope, to see you lord of. + + VOLP: Thanks, kind Mosca. + + MOS: And that, when I am lost in blended dust, + And hundred such as I am, in succession— + + VOLP: Nay, that were too much, Mosca. + + MOS: You shall live, + Still, to delude these harpies. + + VOLP: Loving Mosca! + 'Tis well: my pillow now, and let him enter. + [EXIT MOSCA.] + Now, my fain'd cough, my pthisic, and my gout, + My apoplexy, palsy, and catarrhs, + Help, with your forced functions, this my posture, + Wherein, this three year, I have milk'd their hopes. + He comes; I hear him—Uh! [COUGHING.] uh! uh! uh! O— + + [RE-ENTER MOSCA, INTRODUCING VOLTORE, WITH A PIECE OF PLATE.] + + MOS: You still are what you were, sir. Only you, + Of all the rest, are he commands his love, + And you do wisely to preserve it thus, + With early visitation, and kind notes + Of your good meaning to him, which, I know, + Cannot but come most grateful. Patron! sir! + Here's signior Voltore is come— + + VOLP [FAINTLY.]: What say you? + + MOS: Sir, signior Voltore is come this morning + To visit you. + + VOLP: I thank him. + + MOS: And hath brought + A piece of antique plate, bought of St Mark, + With which he here presents you. + + VOLP: He is welcome. + Pray him to come more often. + + MOS: Yes. + + VOLT: What says he? + + MOS: He thanks you, and desires you see him often. + + VOLP: Mosca. + + MOS: My patron! + + VOLP: Bring him near, where is he? + I long to feel his hand. + + MOS: The plate is here, sir. + + VOLT: How fare you, sir? + + VOLP: I thank you, signior Voltore; + Where is the plate? mine eyes are bad. + + VOLT [PUTTING IT INTO HIS HANDS.]: I'm sorry, + To see you still thus weak. + + MOS [ASIDE.]: That he's not weaker. + + VOLP: You are too munificent. + + VOLT: No sir; would to heaven, + I could as well give health to you, as that plate! + + VOLP: You give, sir, what you can: I thank you. Your love + Hath taste in this, and shall not be unanswer'd: + I pray you see me often. + + VOLT: Yes, I shall sir. + + VOLP: Be not far from me. + + MOS: Do you observe that, sir? + + VOLP: Hearken unto me still; it will concern you. + + MOS: You are a happy man, sir; know your good. + + VOLP: I cannot now last long— + + MOS: You are his heir, sir. + + VOLT: Am I? + + VOLP: I feel me going; Uh! uh! uh! uh! + I'm sailing to my port, Uh! uh! uh! uh! + And I am glad I am so near my haven. + + MOS: Alas, kind gentleman! Well, we must all go— + + VOLT: But, Mosca— + + MOS: Age will conquer. + + VOLT: 'Pray thee hear me: + Am I inscribed his heir for certain? + + MOS: Are you! + I do beseech you, sir, you will vouchsafe + To write me in your family. All my hopes + Depend upon your worship: I am lost, + Except the rising sun do shine on me. + + VOLT: It shall both shine, and warm thee, Mosca. + + MOS: Sir, + I am a man, that hath not done your love + All the worst offices: here I wear your keys, + See all your coffers and your caskets lock'd, + Keep the poor inventory of your jewels, + Your plate and monies; am your steward, sir. + Husband your goods here. + + VOLT: But am I sole heir? + + MOS: Without a partner, sir; confirm'd this morning: + The wax is warm yet, and the ink scarce dry + Upon the parchment. + + VOLT: Happy, happy, me! + By what good chance, sweet Mosca? + + MOS: Your desert, sir; + I know no second cause. + + VOLT: Thy modesty + Is not to know it; well, we shall requite it. + + MOS: He ever liked your course sir; that first took him. + I oft have heard him say, how he admired + Men of your large profession, that could speak + To every cause, and things mere contraries, + Till they were hoarse again, yet all be law; + That, with most quick agility, could turn, + And [re-] return; [could] make knots, and undo them; + Give forked counsel; take provoking gold + On either hand, and put it up: these men, + He knew, would thrive with their humility. + And, for his part, he thought he should be blest + To have his heir of such a suffering spirit, + So wise, so grave, of so perplex'd a tongue, + And loud withal, that would not wag, nor scarce + Lie still, without a fee; when every word + Your worship but lets fall, is a chequin!— + [LOUD KNOCKING WITHOUT.] + Who's that? one knocks; I would not have you seen, sir. + And yet—pretend you came, and went in haste: + I'll fashion an excuse.—and, gentle sir, + When you do come to swim in golden lard, + Up to the arms in honey, that your chin + Is born up stiff, with fatness of the flood, + Think on your vassal; but remember me: + I have not been your worst of clients. + + VOLT: Mosca!— + + MOS: When will you have your inventory brought, sir? + Or see a coppy of the will?—Anon!— + I will bring them to you, sir. Away, be gone, + Put business in your face. + + [EXIT VOLTORE.] + + VOLP [SPRINGING UP.]: Excellent Mosca! + Come hither, let me kiss thee. + + MOS: Keep you still, sir. + Here is Corbaccio. + + VOLP: Set the plate away: + The vulture's gone, and the old raven's come! + + MOS: Betake you to your silence, and your sleep: + Stand there and multiply. + [PUTTING THE PLATE TO THE REST.] + Now, shall we see + A wretch who is indeed more impotent + Than this can feign to be; yet hopes to hop + Over his grave.— + [ENTER CORBACCIO.] + Signior Corbaccio! + You're very welcome, sir. + + CORB: How does your patron? + + MOS: Troth, as he did, sir; no amends. + + CORB: What! mends he? + + MOS: No, sir: he's rather worse. + + CORB: That's well. Where is he? + + MOS: Upon his couch sir, newly fall'n asleep. + + CORB: Does he sleep well? + + MOS: No wink, sir, all this night. + Nor yesterday; but slumbers. + + CORB: Good! he should take + Some counsel of physicians: I have brought him + An opiate here, from mine own doctor. + + MOS: He will not hear of drugs. + + CORB: Why? I myself + Stood by while it was made; saw all the ingredients: + And know, it cannot but most gently work: + My life for his, 'tis but to make him sleep. + + VOLP [ASIDE.]: Ay, his last sleep, if he would take it. + + MOS: Sir, + He has no faith in physic. + + CORB: 'Say you? 'say you? + + MOS: He has no faith in physic: he does think + Most of your doctors are the greater danger, + And worse disease, to escape. I often have + Heard him protest, that your physician + Should never be his heir. + + CORB: Not I his heir? + + MOS: Not your physician, sir. + + CORB: O, no, no, no, + I do not mean it. + + MOS: No, sir, nor their fees + He cannot brook: he says, they flay a man, + Before they kill him. + + CORB: Right, I do conceive you. + + MOS: And then they do it by experiment; + For which the law not only doth absolve them, + But gives them great reward: and he is loth + To hire his death, so. + + CORB: It is true, they kill, + With as much license as a judge. + + MOS: Nay, more; + For he but kills, sir, where the law condemns, + And these can kill him too. + + CORB: Ay, or me; + Or any man. How does his apoplex? + Is that strong on him still? + + MOS: Most violent. + His speech is broken, and his eyes are set, + His face drawn longer than 'twas wont— + + CORB: How! how! + Stronger then he was wont? + + MOS: No, sir: his face + Drawn longer than 'twas wont. + + CORB: O, good! + + MOS: His mouth + Is ever gaping, and his eyelids hang. + + CORB: Good. + + MOS: A freezing numbness stiffens all his joints, + And makes the colour of his flesh like lead. + + CORB: 'Tis good. + + MOS: His pulse beats slow, and dull. + + CORB: Good symptoms, still. + + MOS: And from his brain— + + CORB: I conceive you; good. + + MOS: Flows a cold sweat, with a continual rheum, + Forth the resolved corners of his eyes. + + CORB: Is't possible? yet I am better, ha! + How does he, with the swimming of his head? + + B: O, sir, 'tis past the scotomy; he now + Hath lost his feeling, and hath left to snort: + You hardly can perceive him, that he breathes. + + CORB: Excellent, excellent! sure I shall outlast him: + This makes me young again, a score of years. + + MOS: I was a coming for you, sir. + + CORB: Has he made his will? + What has he given me? + + MOS: No, sir. + + CORB: Nothing! ha? + + MOS: He has not made his will, sir. + + CORB: Oh, oh, oh! + But what did Voltore, the Lawyer, here? + + MOS: He smelt a carcase, sir, when he but heard + My master was about his testament; + As I did urge him to it for your good— + + CORB: He came unto him, did he? I thought so. + + MOS: Yes, and presented him this piece of plate. + + CORB: To be his heir? + + MOS: I do not know, sir. + + CORB: True: + I know it too. + + MOS [ASIDE.]: By your own scale, sir. + + CORB: Well, + I shall prevent him, yet. See, Mosca, look, + Here, I have brought a bag of bright chequines, + Will quite weigh down his plate. + + MOS [TAKING THE BAG.]: Yea, marry, sir. + This is true physic, this your sacred medicine, + No talk of opiates, to this great elixir! + + CORB: 'Tis aurum palpabile, if not potabile. + + MOS: It shall be minister'd to him, in his bowl. + + CORB: Ay, do, do, do. + + MOS: Most blessed cordial! + This will recover him. + + CORB: Yes, do, do, do. + + MOS: I think it were not best, sir. + + CORB: What? + + MOS: To recover him. + + CORB: O, no, no, no; by no means. + + MOS: Why, sir, this + Will work some strange effect, if he but feel it. + + CORB: 'Tis true, therefore forbear; I'll take my venture: + Give me it again. + + MOS: At no hand; pardon me: + You shall not do yourself that wrong, sir. I + Will so advise you, you shall have it all. + + CORB: How? + + MOS: All, sir; 'tis your right, your own; no man + Can claim a part: 'tis yours, without a rival, + Decreed by destiny. + + CORB: How, how, good Mosca? + + MOS: I'll tell you sir. This fit he shall recover. + + CORB: I do conceive you. + + MOS: And, on first advantage + Of his gain'd sense, will I re-importune him + Unto the making of his testament: + And shew him this. + [POINTING TO THE MONEY.] + + CORB: Good, good. + + MOS: 'Tis better yet, + If you will hear, sir. + + CORB: Yes, with all my heart. + + MOS: Now, would I counsel you, make home with speed; + There, frame a will; whereto you shall inscribe + My master your sole heir. + + CORB: And disinherit + My son! + + MOS: O, sir, the better: for that colour + Shall make it much more taking. + + CORB: O, but colour? + + MOS: This will sir, you shall send it unto me. + Now, when I come to inforce, as I will do, + Your cares, your watchings, and your many prayers, + Your more than many gifts, your this day's present, + And last, produce your will; where, without thought, + Or least regard, unto your proper issue, + A son so brave, and highly meriting, + The stream of your diverted love hath thrown you + Upon my master, and made him your heir: + He cannot be so stupid, or stone-dead, + But out of conscience, and mere gratitude— + + CORB: He must pronounce me his? + + MOS: 'Tis true. + + CORB: This plot + Did I think on before. + + MOS: I do believe it. + + CORB: Do you not believe it? + + MOS: Yes, sir. + + CORB: Mine own project. + + MOS: Which, when he hath done, sir. + + CORB: Publish'd me his heir? + + MOS: And you so certain to survive him— + + CORB: Ay. + + MOS: Being so lusty a man— + + CORB: 'Tis true. + + MOS: Yes, sir— + + CORB: I thought on that too. See, how he should be + The very organ to express my thoughts! + + MOS: You have not only done yourself a good— + + CORB: But multiplied it on my son. + + MOS: 'Tis right, sir. + + CORB: Still, my invention. + + MOS: 'Las, sir! heaven knows, + It hath been all my study, all my care, + (I e'en grow gray withal,) how to work things— + + CORB: I do conceive, sweet Mosca. + + MOS: You are he, + For whom I labour here. + + CORB: Ay, do, do, do: + I'll straight about it. + [GOING.] + + MOS: Rook go with you, raven! + + CORB: I know thee honest. + + MOS [ASIDE.]: You do lie, sir! + + CORB: And— + + MOS: Your knowledge is no better than your ears, sir. + + CORB: I do not doubt, to be a father to thee. + + MOS: Nor I to gull my brother of his blessing. + + CORB: I may have my youth restored to me, why not? + + MOS: Your worship is a precious ass! + + CORB: What say'st thou? + + MOS: I do desire your worship to make haste, sir. + + CORB: 'Tis done, 'tis done, I go. + [EXIT.] + + VOLP [LEAPING FROM HIS COUCH.]: O, I shall burst! + Let out my sides, let out my sides— + + MOS: Contain + Your flux of laughter, sir: you know this hope + Is such a bait, it covers any hook. + + VOLP: O, but thy working, and thy placing it! + I cannot hold; good rascal, let me kiss thee: + I never knew thee in so rare a humour. + + MOS: Alas sir, I but do as I am taught; + Follow your grave instructions; give them words; + Pour oil into their ears, and send them hence. + + VOLP: 'Tis true, 'tis true. What a rare punishment + Is avarice to itself! + + MOS: Ay, with our help, sir. + + VOLP: So many cares, so many maladies, + So many fears attending on old age, + Yea, death so often call'd on, as no wish + Can be more frequent with them, their limbs faint, + Their senses dull, their seeing, hearing, going, + All dead before them; yea, their very teeth, + Their instruments of eating, failing them: + Yet this is reckon'd life! nay, here was one; + Is now gone home, that wishes to live longer! + Feels not his gout, nor palsy; feigns himself + Younger by scores of years, flatters his age + With confident belying it, hopes he may, + With charms, like Aeson, have his youth restored: + And with these thoughts so battens, as if fate + Would be as easily cheated on, as he, + And all turns air! + [KNOCKING WITHIN.] + Who's that there, now? a third? + + MOS: Close, to your couch again; I hear his voice: + It is Corvino, our spruce merchant. + + VOLP [LIES DOWN AS BEFORE.]: Dead. + + MOS: Another bout, sir, with your eyes. + [ANOINTING THEM.] + —Who's there? + [ENTER CORVINO.] + Signior Corvino! come most wish'd for! O, + How happy were you, if you knew it, now! + + CORV: Why? what? wherein? + + MOS: The tardy hour is come, sir. + + CORV: He is not dead? + + MOS: Not dead, sir, but as good; + He knows no man. + + CORV: How shall I do then? + + MOS: Why, sir? + + CORV: I have brought him here a pearl. + + MOS: Perhaps he has + So much remembrance left, as to know you, sir: + He still calls on you; nothing but your name + Is in his mouth: Is your pearl orient, sir? + + CORV: Venice was never owner of the like. + + VOLP [FAINTLY.]: Signior Corvino. + + MOS: Hark. + + VOLP: Signior Corvino! + + MOS: He calls you; step and give it him.—He's here, sir, + And he has brought you a rich pearl. + + CORV: How do you, sir? + Tell him, it doubles the twelfth caract. + + MOS: Sir, + He cannot understand, his hearing's gone; + And yet it comforts him to see you— + + CORV: Say, + I have a diamond for him, too. + + MOS: Best shew it, sir; + Put it into his hand; 'tis only there + He apprehends: he has his feeling, yet. + See how he grasps it! + + CORV: 'Las, good gentleman! + How pitiful the sight is! + + MOS: Tut! forget, sir. + The weeping of an heir should still be laughter + Under a visor. + + CORV: Why, am I his heir? + + MOS: Sir, I am sworn, I may not shew the will, + Till he be dead; but, here has been Corbaccio, + Here has been Voltore, here were others too, + I cannot number 'em, they were so many; + All gaping here for legacies: but I, + Taking the vantage of his naming you, + "Signior Corvino, Signior Corvino," took + Paper, and pen, and ink, and there I asked him, + Whom he would have his heir? "Corvino." Who + Should be executor? "Corvino." And, + To any question he was silent too, + I still interpreted the nods he made, + Through weakness, for consent: and sent home th' others, + Nothing bequeath'd them, but to cry and curse. + + CORV: O, my dear Mosca! + [THEY EMBRACE.] + Does he not perceive us? + + MOS: No more than a blind harper. He knows no man, + No face of friend, nor name of any servant, + Who 'twas that fed him last, or gave him drink: + Not those he hath begotten, or brought up, + Can he remember. + + CORV: Has he children? + + MOS: Bastards, + Some dozen, or more, that he begot on beggars, + Gipsies, and Jews, and black-moors, when he was drunk. + Knew you not that, sir? 'tis the common fable. + The dwarf, the fool, the eunuch, are all his; + He's the true father of his family, + In all, save me:—but he has giv'n them nothing. + + CORV: That's well, that's well. Art sure he does not hear us? + + MOS: Sure, sir! why, look you, credit your own sense. + [SHOUTS IN VOL.'S EAR.] + The pox approach, and add to your diseases, + If it would send you hence the sooner, sir, + For your incontinence, it hath deserv'd it + Thoroughly, and thoroughly, and the plague to boot!— + You may come near, sir.—Would you would once close + Those filthy eyes of yours, that flow with slime, + Like two frog-pits; and those same hanging cheeks, + Cover'd with hide, instead of skin—Nay help, sir— + That look like frozen dish-clouts, set on end! + + CORV [ALOUD.]: Or like an old smoked wall, on which the rain + Ran down in streaks! + + MOS: Excellent! sir, speak out: + You may be louder yet: A culverin + Discharged in his ear would hardly bore it. + + CORV: His nose is like a common sewer, still running. + + MOS: 'Tis good! And what his mouth? + + CORV: A very draught. + + MOS: O, stop it up— + + CORV: By no means. + + MOS: 'Pray you, let me. + Faith I could stifle him, rarely with a pillow, + As well as any woman that should keep him. + + CORV: Do as you will: but I'll begone. + + MOS: Be so: + It is your presence makes him last so long. + + CORV: I pray you, use no violence. + + MOS: No, sir! why? + Why should you be thus scrupulous, pray you, sir? + + CORV: Nay, at your discretion. + + MOS: Well, good sir, begone. + + CORV: I will not trouble him now, to take my pearl. + + MOS: Puh! nor your diamond. What a needless care + Is this afflicts you? Is not all here yours? + Am not I here, whom you have made your creature? + That owe my being to you? + + CORV: Grateful Mosca! + Thou art my friend, my fellow, my companion, + My partner, and shalt share in all my fortunes. + + MOS: Excepting one. + + CORV: What's that? + + MOS: Your gallant wife, sir,— + [EXIT CORV.] + Now is he gone: we had no other means + To shoot him hence, but this. + + VOLP: My divine Mosca! + Thou hast to-day outgone thyself. + [KNOCKING WITHIN.] + —Who's there? + I will be troubled with no more. Prepare + Me music, dances, banquets, all delights; + The Turk is not more sensual in his pleasures, + Than will Volpone. + [EXIT MOS.] + Let me see; a pearl! + A diamond! plate! chequines! Good morning's purchase, + Why, this is better than rob churches, yet; + Or fat, by eating, once a month, a man. + [RE-ENTER MOSCA.] + Who is't? + + MOS: The beauteous lady Would-be, sir. + Wife to the English knight, Sir Politick Would-be, + (This is the style, sir, is directed me,) + Hath sent to know how you have slept to-night, + And if you would be visited? + + VOLP: Not now: + Some three hours hence— + + MOS: I told the squire so much. + + VOLP: When I am high with mirth and wine; then, then: + 'Fore heaven, I wonder at the desperate valour + Of the bold English, that they dare let loose + Their wives to all encounters! + + MOS: Sir, this knight + Had not his name for nothing, he is politick, + And knows, howe'er his wife affect strange airs, + She hath not yet the face to be dishonest: + But had she signior Corvino's wife's face— + + VOLP: Has she so rare a face? + + MOS: O, sir, the wonder, + The blazing star of Italy! a wench + Of the first year! a beauty ripe as harvest! + Whose skin is whiter than a swan all over, + Than silver, snow, or lilies! a soft lip, + Would tempt you to eternity of kissing! + And flesh that melteth in the touch to blood! + Bright as your gold, and lovely as your gold! + + VOLP: Why had not I known this before? + + MOS: Alas, sir, + Myself but yesterday discover'd it. + + VOLP: How might I see her? + + MOS: O, not possible; + She's kept as warily as is your gold; + Never does come abroad, never takes air, + But at a window. All her looks are sweet, + As the first grapes or cherries, and are watch'd + As near as they are. + + VOLP: I must see her. + + MOS: Sir, + There is a guard of spies ten thick upon her, + All his whole household; each of which is set + Upon his fellow, and have all their charge, + When he goes out, when he comes in, examined. + + VOLP: I will go see her, though but at her window. + + MOS: In some disguise, then. + + VOLP: That is true; I must + Maintain mine own shape still the same: we'll think. + + [EXEUNT.] +</pre> + <p> + <a name="link2H_4_0007" id="link2H_4_0007"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT 2. SCENE 2.1. + </h2> +<pre xml:space="preserve"> + ST. MARK'S PLACE; A RETIRED CORNER BEFORE CORVINO'S HOUSE. + + ENTER SIR POLITICK WOULD-BE, AND PEREGRINE. + + SIR P: Sir, to a wise man, all the world's his soil: + It is not Italy, nor France, nor Europe, + That must bound me, if my fates call me forth. + Yet, I protest, it is no salt desire + Of seeing countries, shifting a religion, + Nor any disaffection to the state + Where I was bred, and unto which I owe + My dearest plots, hath brought me out; much less, + That idle, antique, stale, gray-headed project + Of knowing men's minds, and manners, with Ulysses! + But a peculiar humour of my wife's + Laid for this height of Venice, to observe, + To quote, to learn the language, and so forth— + I hope you travel, sir, with license? + + PER: Yes. + + SIR P: I dare the safelier converse—How long, sir, + Since you left England? + + PER: Seven weeks. + + SIR P: So lately! + You have not been with my lord ambassador? + + PER: Not yet, sir. + + SIR P: Pray you, what news, sir, vents our climate? + I heard last night a most strange thing reported + By some of my lord's followers, and I long + To hear how 'twill be seconded. + + PER: What was't, sir? + + SIR P: Marry, sir, of a raven that should build + In a ship royal of the king's. + + PER [ASIDE.]: This fellow, + Does he gull me, trow? or is gull'd? + —Your name, sir. + + SIR P: My name is Politick Would-be. + + PER [ASIDE.]: O, that speaks him. + —A knight, sir? + + SIR P: A poor knight, sir. + + PER: Your lady + Lies here in Venice, for intelligence + Of tires, and fashions, and behaviour, + Among the courtezans? the fine lady Would-be? + + SIR P: Yes, sir; the spider and the bee, ofttimes, + Suck from one flower. + + PER: Good Sir Politick, + I cry you mercy; I have heard much of you: + 'Tis true, sir, of your raven. + + SIR P: On your knowledge? + + PER: Yes, and your lion's whelping, in the Tower. + + SIR P: Another whelp! + + PER: Another, sir. + + SIR P: Now heaven! + What prodigies be these? The fires at Berwick! + And the new star! these things concurring, strange, + And full of omen! Saw you those meteors? + + PER: I did, sir. + + SIR P: Fearful! Pray you, sir, confirm me, + Were there three porpoises seen above the bridge, + As they give out? + + PER: Six, and a sturgeon, sir. + + SIR P: I am astonish'd. + + PER: Nay, sir, be not so; + I'll tell you a greater prodigy than these. + + SIR P: What should these things portend? + + PER: The very day + (Let me be sure) that I put forth from London, + There was a whale discover'd in the river, + As high as Woolwich, that had waited there, + Few know how many months, for the subversion + Of the Stode fleet. + + SIR P: Is't possible? believe it, + 'Twas either sent from Spain, or the archdukes: + Spinola's whale, upon my life, my credit! + Will they not leave these projects? Worthy sir, + Some other news. + + PER: Faith, Stone the fool is dead; + And they do lack a tavern fool extremely. + + SIR P: Is Mass Stone dead? + + PER: He's dead sir; why, I hope + You thought him not immortal? + [ASIDE.] + —O, this knight, + Were he well known, would be a precious thing + To fit our English stage: he that should write + But such a fellow, should be thought to feign + Extremely, if not maliciously. + + SIR P: Stone dead! + + PER: Dead.—Lord! how deeply sir, you apprehend it? + He was no kinsman to you? + + SIR P: That I know of. + Well! that same fellow was an unknown fool. + + PER: And yet you knew him, it seems? + + SIR P: I did so. Sir, + I knew him one of the most dangerous heads + Living within the state, and so I held him. + + PER: Indeed, sir? + + SIR P: While he lived, in action. + He has received weekly intelligence, + Upon my knowledge, out of the Low Countries, + For all parts of the world, in cabbages; + And those dispensed again to ambassadors, + In oranges, musk-melons, apricocks, + Lemons, pome-citrons, and such-like: sometimes + In Colchester oysters, and your Selsey cockles. + + PER: You make me wonder. + + SIR P: Sir, upon my knowledge. + Nay, I've observed him, at your public ordinary, + Take his advertisement from a traveller + A conceal'd statesman, in a trencher of meat; + And instantly, before the meal was done, + Convey an answer in a tooth-pick. + + PER: Strange! + How could this be, sir? + + SIR P: Why, the meat was cut + So like his character, and so laid, as he + Must easily read the cipher. + + PER: I have heard, + He could not read, sir. + + SIR P: So 'twas given out, + In policy, by those that did employ him: + But he could read, and had your languages, + And to't, as sound a noddle— + + PER: I have heard, sir, + That your baboons were spies, and that they were + A kind of subtle nation near to China: + + SIR P: Ay, ay, your Mamuluchi. Faith, they had + Their hand in a French plot or two; but they + Were so extremely given to women, as + They made discovery of all: yet I + Had my advices here, on Wednesday last. + From one of their own coat, they were return'd, + Made their relations, as the fashion is, + And now stand fair for fresh employment. + + PER: 'Heart! + [ASIDE.] + This sir Pol will be ignorant of nothing. + —It seems, sir, you know all? + + SIR P: Not all sir, but + I have some general notions. I do love + To note and to observe: though I live out, + Free from the active torrent, yet I'd mark + The currents and the passages of things, + For mine own private use; and know the ebbs, + And flows of state. + + PER: Believe it, sir, I hold + Myself in no small tie unto my fortunes, + For casting me thus luckily upon you, + Whose knowledge, if your bounty equal it, + May do me great assistance, in instruction + For my behaviour, and my bearing, which + Is yet so rude and raw. + + SIR P: Why, came you forth + Empty of rules, for travel? + + PER: Faith, I had + Some common ones, from out that vulgar grammar, + Which he that cried Italian to me, taught me. + + SIR P: Why this it is, that spoils all our brave bloods, + Trusting our hopeful gentry unto pedants, + Fellows of outside, and mere bark. You seem + To be a gentleman, of ingenuous race:— + I not profess it, but my fate hath been + To be, where I have been consulted with, + In this high kind, touching some great men's sons, + Persons of blood, and honour.— + + [ENTER MOSCA AND NANO DISGUISED, FOLLOWED BY PERSONS WITH + MATERIALS FOR ERECTING A STAGE.] + + PER: Who be these, sir? + + MOS: Under that window, there 't must be. The same. + + SIR P: Fellows, to mount a bank. Did your instructor + In the dear tongues, never discourse to you + Of the Italian mountebanks? + + PER: Yes, sir. + + SIR P: Why, + Here shall you see one. + + PER: They are quacksalvers; + Fellows, that live by venting oils and drugs. + + SIR P: Was that the character he gave you of them? + + PER: As I remember. + + SIR P: Pity his ignorance. + They are the only knowing men of Europe! + Great general scholars, excellent physicians, + Most admired statesmen, profest favourites, + And cabinet counsellors to the greatest princes; + The only languaged men of all the world! + + PER: And, I have heard, they are most lewd impostors; + Made all of terms and shreds; no less beliers + Of great men's favours, than their own vile med'cines; + Which they will utter upon monstrous oaths: + Selling that drug for two-pence, ere they part, + Which they have valued at twelve crowns before. + + SIR P: Sir, calumnies are answer'd best with silence. + Yourself shall judge.—Who is it mounts, my friends? + + MOS: Scoto of Mantua, sir. + + SIR P: Is't he? Nay, then + I'll proudly promise, sir, you shall behold + Another man than has been phant'sied to you. + I wonder yet, that he should mount his bank, + Here in this nook, that has been wont t'appear + In face of the Piazza!—Here, he comes. + + [ENTER VOLPONE, DISGUISED AS A MOUNTEBANK DOCTOR, AND + FOLLOWED BY A CROWD OF PEOPLE.] + + VOLP [TO NANO.]: Mount zany. + + MOB: Follow, follow, follow, follow! + + SIR P: See how the people follow him! he's a man + May write ten thousand crowns in bank here. Note, + [VOLPONE MOUNTS THE STAGE.] + Mark but his gesture:—I do use to observe + The state he keeps in getting up. + + PER: 'Tis worth it, sir. + + VOLP: Most noble gentlemen, and my worthy patrons! It may seem + strange, that I, your Scoto Mantuano, who was ever wont to fix + my bank in face of the public Piazza, near the shelter of the + Portico to the Procuratia, should now, after eight months' + absence from this illustrious city of Venice, humbly retire + myself into an obscure nook of the Piazza. + + SIR P: Did not I now object the same? + + PER: Peace, sir. + + VOLP: Let me tell you: I am not, as your Lombard proverb saith, + cold on my feet; or content to part with my commodities at a + cheaper rate, than I accustomed: look not for it. Nor that the + calumnious reports of that impudent detractor, and shame to our + profession, (Alessandro Buttone, I mean,) who gave out, in + public, I was condemn'd a sforzato to the galleys, for + poisoning the cardinal Bembo's—cook, hath at all attached, + much less dejected me. No, no, worthy gentlemen; to tell you + true, I cannot endure to see the rabble of these ground + ciarlitani, that spread their cloaks on the pavement, as if + they meant to do feats of activity, and then come in lamely, + with their mouldy tales out of Boccacio, like stale Tabarine, + the fabulist: some of them discoursing their travels, and of + their tedious captivity in the Turks' galleys, when, indeed, + were the truth known, they were the Christians' galleys, where + very temperately they eat bread, and drunk water, as a + wholesome penance, enjoined them by their confessors, for base + pilferies. + + SIR P: Note but his bearing, and contempt of these. + + VOLP: These turdy-facy-nasty-paty-lousy-fartical rogues, with + one poor groat's-worth of unprepared antimony, finely wrapt up + in several scartoccios, are able, very well, to kill their + twenty a week, and play; yet, these meagre, starved spirits, + who have half stopt the organs of their minds with earthy + oppilations, want not their favourers among your shrivell'd + sallad-eating artizans, who are overjoyed that they may have + their half-pe'rth of physic; though it purge them into another + world, it makes no matter. + + SIR P: Excellent! have you heard better language, sir? + + VOLP: Well, let them go. And, gentlemen, honourable gentlemen, + know, that for this time, our bank, being thus removed from the + clamours of the canaglia, shall be the scene of pleasure and + delight; for I have nothing to sell, little or nothing to sell. + + SIR P: I told you, sir, his end. + + PER: You did so, sir. + + VOLP: I protest, I, and my six servants, are not able to make + of this precious liquor, so fast as it is fetch'd away from my + lodging by gentlemen of your city; strangers of the Terra-firma; + worshipful merchants; ay, and senators too: who, ever since my + arrival, have detained me to their uses, by their splendidous + liberalities. And worthily; for, what avails your rich man to + have his magazines stuft with moscadelli, or of the purest + grape, when his physicians prescribe him, on pain of death, + to drink nothing but water cocted with aniseeds? O health! + health! the blessing of the rich, the riches of the poor! who + can buy thee at too dear a rate, since there is no enjoying + this world without thee? Be not then so sparing of your purses, + honourable gentlemen, as to abridge the natural course of life— + + PER: You see his end. + + SIR P: Ay, is't not good? + + VOLP: For, when a humid flux, or catarrh, by the mutability of + air, falls from your head into an arm or shoulder, or any other + part; take you a ducat, or your chequin of gold, and apply to + the place affected: see what good effect it can work. No, no, + 'tis this blessed unguento, this rare extraction, that hath + only power to disperse all malignant humours, that proceed + either of hot, cold, moist, or windy causes— + + PER: I would he had put in dry too. + + SIR P: 'Pray you, observe. + + VOLP: To fortify the most indigest and crude stomach, ay, were + it of one, that, through extreme weakness, vomited blood, + applying only a warm napkin to the place, after the unction + and fricace;—for the vertigine in the head, putting but a drop + into your nostrils, likewise behind the ears; a most sovereign + and approved remedy. The mal caduco, cramps, convulsions, + paralysies, epilepsies, tremor-cordia, retired nerves, ill + vapours of the spleen, stopping of the liver, the stone, the + strangury, hernia ventosa, iliaca passio; stops a disenteria + immediately; easeth the torsion of the small guts: and cures + melancholia hypocondriaca, being taken and applied according to + my printed receipt. + [POINTING TO HIS BILL AND HIS VIAL.] + For, this is the physician, this the medicine; this counsels, + this cures; this gives the direction, this works the effect; + and, in sum, both together may be termed an abstract of the + theorick and practick in the Aesculapian art. 'Twill cost you + eight crowns. And,—Zan Fritada, prithee sing a verse extempore + in honour of it. + + SIR P: How do you like him, sir? + + PER: Most strangely, I! + + SIR P: Is not his language rare? + + PER: But alchemy, + I never heard the like: or Broughton's books. + + NANO [SINGS.]: Had old Hippocrates, or Galen, + That to their books put med'cines all in, + But known this secret, they had never + (Of which they will be guilty ever) + Been murderers of so much paper, + Or wasted many a hurtless taper; + No Indian drug had e'er been famed, + Tabacco, sassafras not named; + Ne yet, of guacum one small stick, sir, + Nor Raymund Lully's great elixir. + Ne had been known the Danish Gonswart, + Or Paracelsus, with his long-sword. + + PER: All this, yet, will not do, eight crowns is high. + + VOLP: No more.—Gentlemen, if I had but time to discourse to you + the miraculous effects of this my oil, surnamed Oglio del Scoto; + with the countless catalogue of those I have cured of the + aforesaid, and many more diseases; the pattents and privileges of + all the princes and commonwealths of Christendom; or but the + depositions of those that appeared on my part, before the signiory + of the Sanita and most learned College of Physicians; where I was + authorised, upon notice taken of the admirable virtues of my + medicaments, and mine own excellency in matter of rare and unknown + secrets, not only to disperse them publicly in this famous city, + but in all the territories, that happily joy under the government + of the most pious and magnificent states of Italy. But may some + other gallant fellow say, O, there be divers that make profession + to have as good, and as experimented receipts as yours: indeed, + very many have assayed, like apes, in imitation of that, which is + really and essentially in me, to make of this oil; bestowed great + cost in furnaces, stills, alembecks, continual fires, and + preparation of the ingredients, (as indeed there goes to it six + hundred several simples, besides some quantity of human fat, for + the conglutination, which we buy of the anatomists,) but, when + these practitioners come to the last decoction, blow, blow, puff, + puff, and all flies in fumo: ha, ha, ha! Poor wretches! I rather + pity their folly and indiscretion, than their loss of time and + money; for these may be recovered by industry: but to be a fool + born, is a disease incurable. + For myself, I always from my youth have endeavoured to get the + rarest secrets, and book them, either in exchange, or for money; + I spared nor cost nor labour, where any thing was worthy to be + learned. And gentlemen, honourable gentlemen, I will undertake, + by virtue of chemical art, out of the honourable hat that covers + your head, to extract the four elements; that is to say, the + fire, air, water, and earth, and return you your felt without + burn or stain. For, whilst others have been at the Balloo, I + have been at my book; and am now past the craggy paths of study, + and come to the flowery plains of honour and reputation. + + SIR P: I do assure you, sir, that is his aim. + + VOLP: But, to our price— + + PER: And that withal, sir Pol. + + VOLP: You all know, honourable gentlemen, I never valued this + ampulla, or vial, at less than eight crowns, but for this time, + I am content, to be deprived of it for six; six crowns is the + price; and less, in courtesy I know you cannot offer me; take it, + or leave it, howsoever, both it and I am at your service. I ask + you not as the value of the thing, for then I should demand of + you a thousand crowns, so the cardinals Montalto, Fernese, the + great Duke of Tuscany, my gossip, with divers other princes, have + given me; but I despise money. Only to shew my affection to you, + honourable gentlemen, and your illustrious State here, I have + neglected the messages of these princes, mine own offices, + framed my journey hither, only to present you with the fruits of + my travels.—Tune your voices once more to the touch of your + instruments, and give the honourable assembly some delightful + recreation. + + PER: What monstrous and most painful circumstance + Is here, to get some three or four gazettes, + Some three-pence in the whole! for that 'twill come to. + + NANO [SINGS.]: You that would last long, list to my song, + Make no more coil, but buy of this oil. + Would you be ever fair and young? + Stout of teeth, and strong of tongue? + Tart of palate? quick of ear? + Sharp of sight? of nostril clear? + Moist of hand? and light of foot? + Or, I will come nearer to't, + Would you live free from all diseases? + Do the act your mistress pleases; + Yet fright all aches from your bones? + Here's a med'cine, for the nones. + + VOLP: Well, I am in a humour at this time to make a present of + the small quantity my coffer contains; to the rich, in + courtesy, and to the poor for God's sake. Wherefore now mark: + I ask'd you six crowns, and six crowns, at other times, you + have paid me; you shall not give me six crowns, nor five, nor + four, nor three, nor two, nor one; nor half a ducat; no, nor a + moccinigo. Sixpence it will cost you, or six hundred pound— + expect no lower price, for, by the banner of my front, I will + not bate a bagatine, that I will have, only, a pledge of your + loves, to carry something from amongst you, to shew I am not + contemn'd by you. Therefore, now, toss your handkerchiefs, + cheerfully, cheerfully; and be advertised, that the first + heroic spirit that deignes to grace me with a handkerchief, I + will give it a little remembrance of something, beside, shall + please it better, than if I had presented it with a double + pistolet. + + PER: Will you be that heroic spark, sir Pol? + [CELIA AT A WINDOW ABOVE, THROWS DOWN HER HANDKERCHIEF.] + O see! the window has prevented you. + + VOLP: Lady, I kiss your bounty; and for this timely grace you + have done your poor Scoto of Mantua, I will return you, over and + above my oil, a secret of that high and inestimable nature, + shall make you for ever enamour'd on that minute, wherein your + eye first descended on so mean, yet not altogether to be + despised, an object. Here is a powder conceal'd in this paper, + of which, if I should speak to the worth, nine thousand volumes + were but as one page, that page as a line, that line as a word; + so short is this pilgrimage of man (which some call life) to the + expressing of it. Would I reflect on the price? why, the whole + world is but as an empire, that empire as a province, that + province as a bank, that bank as a private purse to the purchase + of it. I will only tell you; it is the powder that made Venus a + goddess (given her by Apollo,) that kept her perpetually young, + clear'd her wrinkles, firm'd her gums, fill'd her skin, colour'd + her hair; from her deriv'd to Helen, and at the sack of Troy + unfortunately lost: till now, in this our age, it was as happily + recovered, by a studious antiquary, out of some ruins of Asia, + who sent a moiety of it to the court of France, (but much + sophisticated,) wherewith the ladies there, now, colour their + hair. The rest, at this present, remains with me; extracted to a + quintessence: so that, whereever it but touches, in youth it + perpetually preserves, in age restores the complexion; seats your + teeth, did they dance like virginal jacks, firm as a wall; makes + them white as ivory, that were black, as— + + [ENTER CORVINO.] + + COR: Spight o' the devil, and my shame! come down here; + Come down;—No house but mine to make your scene? + Signior Flaminio, will you down, sir? down? + What, is my wife your Franciscina, sir? + No windows on the whole Piazza, here, + To make your properties, but mine? but mine? + [BEATS AWAY VOLPONE, NANO, ETC.] + Heart! ere to-morrow, I shall be new-christen'd, + And call'd the Pantalone di Besogniosi, + About the town. + + PER: What should this mean, sir Pol? + + SIR P: Some trick of state, believe it. I will home. + + PER: It may be some design on you: + + SIR P: I know not. + I'll stand upon my guard. + + PER: It is your best, sir. + + SIR P: This three weeks, all my advices, all my letters, + They have been intercepted. + + PER: Indeed, sir! + Best have a care. + + SIR P: Nay, so I will. + + PER: This knight, + I may not lose him, for my mirth, till night. + + [EXEUNT.] + + SCENE 2.2. + + A ROOM IN VOLPONE'S HOUSE. + + ENTER VOLPONE AND MOSCA. + + VOLP: O, I am wounded! + + MOS: Where, sir? + + VOLP: Not without; + Those blows were nothing: I could bear them ever. + But angry Cupid, bolting from her eyes, + Hath shot himself into me like a flame; + Where, now, he flings about his burning heat, + As in a furnace an ambitious fire, + Whose vent is stopt. The fight is all within me. + I cannot live, except thou help me, Mosca; + My liver melts, and I, without the hope + Of some soft air, from her refreshing breath, + Am but a heap of cinders. + + MOS: 'Las, good sir, + Would you had never seen her! + + VOLP: Nay, would thou + Had'st never told me of her! + + MOS: Sir 'tis true; + I do confess I was unfortunate, + And you unhappy: but I'm bound in conscience, + No less than duty, to effect my best + To your release of torment, and I will, sir. + + VOLP: Dear Mosca, shall I hope? + + MOS: Sir, more than dear, + I will not bid you to dispair of aught + Within a human compass. + + VOLP: O, there spoke + My better angel. Mosca, take my keys, + Gold, plate, and jewels, all's at thy devotion; + Employ them how thou wilt; nay, coin me too: + So thou, in this, but crown my longings, Mosca. + + MOS: Use but your patience. + + VOLP: So I have. + + MOS: I doubt not + To bring success to your desires. + + VOLP: Nay, then, + I not repent me of my late disguise. + + MOS: If you can horn him, sir, you need not. + + VOLP: True: + Besides, I never meant him for my heir.— + Is not the colour of my beard and eyebrows, + To make me known? + + MOS: No jot. + + VOLP: I did it well. + + MOS: So well, would I could follow you in mine, + With half the happiness! + [ASIDE.] + —and yet I would + Escape your Epilogue. + + VOLP: But were they gull'd + With a belief that I was Scoto? + + MOS: Sir, + Scoto himself could hardly have distinguish'd! + I have not time to flatter you now; we'll part; + And as I prosper, so applaud my art. + + [EXEUNT.] +</pre> +<pre xml:space="preserve"> + SCENE 2.3. + + A ROOM IN CORVINO'S HOUSE. + + ENTER CORVINO, WITH HIS SWORD IN HIS HAND, DRAGGING + IN CELIA. + + CORV: Death of mine honour, with the city's fool! + A juggling, tooth-drawing, prating mountebank! + And at a public window! where, whilst he, + With his strain'd action, and his dole of faces, + To his drug-lecture draws your itching ears, + A crew of old, unmarried, noted letchers, + Stood leering up like satyrs; and you smile + Most graciously, and fan your favours forth, + To give your hot spectators satisfaction! + What; was your mountebank their call? their whistle? + Or were you enamour'd on his copper rings, + His saffron jewel, with the toad-stone in't, + Or his embroider'd suit, with the cope-stitch, + Made of a herse-cloth? or his old tilt-feather? + Or his starch'd beard? Well; you shall have him, yes! + He shall come home, and minister unto you + The fricace for the mother. Or, let me see, + I think you'd rather mount; would you not mount? + Why, if you'll mount, you may; yes truly, you may: + And so you may be seen, down to the foot. + Get you a cittern, lady Vanity, + And be a dealer with the virtuous man; + Make one: I'll but protest myself a cuckold, + And save your dowry. I'm a Dutchman, I! + For, if you thought me an Italian, + You would be damn'd, ere you did this, you whore! + Thou'dst tremble, to imagine, that the murder + Of father, mother, brother, all thy race, + Should follow, as the subject of my justice. + + CEL: Good sir, have pacience. + + CORV: What couldst thou propose + Less to thyself, than in this heat of wrath + And stung with my dishonour, I should strike + This steel into thee, with as many stabs, + As thou wert gaz'd upon with goatish eyes? + + CEL: Alas, sir, be appeas'd! I could not think + My being at the window should more now + Move your impatience, than at other times. + + CORV: No! not to seek and entertain a parley + With a known knave, before a multitude! + You were an actor with your handkerchief; + Which he most sweetly kist in the receipt, + And might, no doubt, return it with a letter, + And point the place where you might meet: your sister's, + Your mother's, or your aunt's might serve the turn. + + CEL: Why, dear sir, when do I make these excuses, + Or ever stir abroad, but to the church? + And that so seldom— + + CORV: Well, it shall be less; + And thy restraint before was liberty, + To what I now decree: and therefore mark me. + First, I will have this bawdy light damm'd up; + And till't be done, some two or three yards off, + I'll chalk a line: o'er which if thou but chance + To set thy desperate foot; more hell, more horror + More wild remorseless rage shall seize on thee, + Than on a conjurer, that had heedless left + His circle's safety ere his devil was laid. + Then here's a lock which I will hang upon thee; + And, now I think on't, I will keep thee backwards; + Thy lodging shall be backwards; thy walks backwards; + Thy prospect, all be backwards; and no pleasure, + That thou shalt know but backwards: nay, since you force + My honest nature, know, it is your own, + Being too open, makes me use you thus: + Since you will not contain your subtle nostrils + In a sweet room, but they must snuff the air + Of rank and sweaty passengers. + [KNOCKING WITHIN.] + —One knocks. + Away, and be not seen, pain of thy life; + Nor look toward the window: if thou dost— + Nay, stay, hear this—let me not prosper, whore, + But I will make thee an anatomy, + Dissect thee mine own self, and read a lecture + Upon thee to the city, and in public. + Away! + [EXIT CELIA.] + [ENTER SERVANT.] + Who's there? + + SERV: 'Tis signior Mosca, sir. + + CORV: Let him come in. + [EXIT SERVANT.] + His master's dead: There's yet + Some good to help the bad.— + [ENTER MOSCA.] + My Mosca, welcome! + I guess your news. + + MOS: I fear you cannot, sir. + + CORV: Is't not his death? + + MOS: Rather the contrary. + + CORV: Not his recovery? + + MOS: Yes, sir, + + CORV: I am curs'd, + I am bewitch'd, my crosses meet to vex me. + How? how? how? how? + + MOS: Why, sir, with Scoto's oil; + Corbaccio and Voltore brought of it, + Whilst I was busy in an inner room— + + CORV: Death! that damn'd mountebank; but for the law + Now, I could kill the rascal: it cannot be, + His oil should have that virtue. Have not I + Known him a common rogue, come fidling in + To the osteria, with a tumbling whore, + And, when he has done all his forced tricks, been glad + Of a poor spoonful of dead wine, with flies in't? + It cannot be. All his ingredients + Are a sheep's gall, a roasted bitch's marrow, + Some few sod earwigs pounded caterpillars, + A little capon's grease, and fasting spittle: + I know them to a dram. + + MOS: I know not, sir, + But some on't, there, they pour'd into his ears, + Some in his nostrils, and recover'd him; + Applying but the fricace. + + CORV: Pox o' that fricace. + + MOS: And since, to seem the more officious + And flatt'ring of his health, there, they have had, + At extreme fees, the college of physicians + Consulting on him, how they might restore him; + Where one would have a cataplasm of spices, + Another a flay'd ape clapp'd to his breast, + A third would have it a dog, a fourth an oil, + With wild cats' skins: at last, they all resolved + That, to preserve him, was no other means, + But some young woman must be straight sought out, + Lusty, and full of juice, to sleep by him; + And to this service, most unhappily, + And most unwillingly, am I now employ'd, + Which here I thought to pre-acquaint you with, + For your advice, since it concerns you most; + Because, I would not do that thing might cross + Your ends, on whom I have my whole dependance, sir: + Yet, if I do it not, they may delate + My slackness to my patron, work me out + Of his opinion; and there all your hopes, + Ventures, or whatsoever, are all frustrate! + I do but tell you, sir. Besides, they are all + Now striving, who shall first present him; therefore— + I could entreat you, briefly conclude somewhat; + Prevent them if you can. + + CORV: Death to my hopes, + This is my villainous fortune! Best to hire + Some common courtezan. + + MOS: Ay, I thought on that, sir; + But they are all so subtle, full of art— + And age again doting and flexible, + So as—I cannot tell—we may, perchance, + Light on a quean may cheat us all. + + CORV: 'Tis true. + + MOS: No, no: it must be one that has no tricks, sir, + Some simple thing, a creature made unto it; + Some wench you may command. Have you no kinswoman? + Odso—Think, think, think, think, think, think, think, sir. + One o' the doctors offer'd there his daughter. + + CORV: How! + + MOS: Yes, signior Lupo, the physician. + + CORV: His daughter! + + MOS: And a virgin, sir. Why? alas, + He knows the state of's body, what it is; + That nought can warm his blood sir, but a fever; + Nor any incantation raise his spirit: + A long forgetfulness hath seized that part. + Besides sir, who shall know it? some one or two— + + CORV: I prithee give me leave. + [WALKS ASIDE.] + If any man + But I had had this luck—The thing in't self, + I know, is nothing—Wherefore should not I + As well command my blood and my affections, + As this dull doctor? In the point of honour, + The cases are all one of wife and daughter. + + MOS [ASIDE.]: I hear him coming. + + CORV: She shall do't: 'tis done. + Slight! if this doctor, who is not engaged, + Unless 't be for his counsel, which is nothing, + Offer his daughter, what should I, that am + So deeply in? I will prevent him: Wretch! + Covetous wretch!—Mosca, I have determined. + + MOS: How, sir? + + CORV: We'll make all sure. The party you wot of + Shall be mine own wife, Mosca. + + MOS: Sir, the thing, + But that I would not seem to counsel you, + I should have motion'd to you, at the first: + And make your count, you have cut all their throats. + Why! 'tis directly taking a possession! + And in his next fit, we may let him go. + 'Tis but to pull the pillow from his head, + And he is throttled: it had been done before, + But for your scrupulous doubts. + + CORV: Ay, a plague on't, + My conscience fools my wit! Well, I'll be brief, + And so be thou, lest they should be before us: + Go home, prepare him, tell him with what zeal + And willingness I do it; swear it was + On the first hearing, as thou mayst do, truly, + Mine own free motion. + + MOS: Sir, I warrant you, + I'll so possess him with it, that the rest + Of his starv'd clients shall be banish'd all; + And only you received. But come not, sir, + Until I send, for I have something else + To ripen for your good, you must not know't. + + CORV: But do not you forget to send now. + + MOS: Fear not. + + [EXIT.] + + CORV: Where are you, wife? my Celia? wife? + [RE-ENTER CELIA.] + —What, blubbering? + Come, dry those tears. I think thou thought'st me in earnest; + Ha! by this light I talk'd so but to try thee: + Methinks the lightness of the occasion + Should have confirm'd thee. Come, I am not jealous. + + CEL: No! + + CORV: Faith I am not I, nor never was; + It is a poor unprofitable humour. + Do not I know, if women have a will, + They'll do 'gainst all the watches of the world, + And that the feircest spies are tamed with gold? + Tut, I am confident in thee, thou shalt see't; + And see I'll give thee cause too, to believe it. + Come kiss me. Go, and make thee ready, straight, + In all thy best attire, thy choicest jewels, + Put them all on, and, with them, thy best looks: + We are invited to a solemn feast, + At old Volpone's, where it shall appear + How far I am free from jealousy or fear. + + [exeunt.] +</pre> + <p> + <a name="link2H_4_0008" id="link2H_4_0008"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT 3. SCENE 3.1. + </h2> +<pre xml:space="preserve"> + A STREET. + + ENTER MOSCA. + + MOS: I fear, I shall begin to grow in love + With my dear self, and my most prosperous parts, + They do so spring and burgeon; I can feel + A whimsy in my blood: I know not how, + Success hath made me wanton. I could skip + Out of my skin, now, like a subtle snake, + I am so limber. O! your parasite + Is a most precious thing, dropt from above, + Not bred 'mongst clods, and clodpoles, here on earth. + I muse, the mystery was not made a science, + It is so liberally profest! almost + All the wise world is little else, in nature, + But parasites, or sub-parasites.—And yet, + I mean not those that have your bare town-art, + To know who's fit to feed them; have no house, + No family, no care, and therefore mould + Tales for men's ears, to bait that sense; or get + Kitchen-invention, and some stale receipts + To please the belly, and the groin; nor those, + With their court dog-tricks, that can fawn and fleer, + Make their revenue out of legs and faces, + Echo my lord, and lick away a moth: + But your fine elegant rascal, that can rise, + And stoop, almost together, like an arrow; + Shoot through the air as nimbly as a star; + Turn short as doth a swallow; and be here, + And there, and here, and yonder, all at once; + Present to any humour, all occasion; + And change a visor, swifter than a thought! + This is the creature had the art born with him; + Toils not to learn it, but doth practise it + Out of most excellent nature: and such sparks + Are the true parasites, others but their zanis. + + [ENTER BONARIO.] + + MOS: Who's this? Bonario, old Corbaccio's son? + The person I was bound to seek.—Fair sir, + You are happily met. + + BON: That cannot be by thee. + + MOS: Why, sir? + + BON: Nay, pray thee know thy way, and leave me: + I would be loth to interchange discourse + With such a mate as thou art + + MOS: Courteous sir, + Scorn not my poverty. + + BON: Not I, by heaven; + But thou shalt give me leave to hate thy baseness. + + MOS: Baseness! + + BON: Ay; answer me, is not thy sloth + Sufficient argument? thy flattery? + Thy means of feeding? + + MOS: Heaven be good to me! + These imputations are too common, sir, + And easily stuck on virtue when she's poor. + You are unequal to me, and however, + Your sentence may be righteous, yet you are not + That, ere you know me, thus proceed in censure: + St. Mark bear witness 'gainst you, 'tis inhuman. + [WEEPS.] + + BON [ASIDE.]: What! does he weep? the sign is soft and good; + I do repent me that I was so harsh. + + MOS: 'Tis true, that, sway'd by strong necessity, + I am enforced to eat my careful bread + With too much obsequy; 'tis true, beside, + That I am fain to spin mine own poor raiment + Out of my mere observance, being not born + To a free fortune: but that I have done + Base offices, in rending friends asunder, + Dividing families, betraying counsels, + Whispering false lies, or mining men with praises, + Train'd their credulity with perjuries, + Corrupted chastity, or am in love + With mine own tender ease, but would not rather + Prove the most rugged, and laborious course, + That might redeem my present estimation, + Let me here perish, in all hope of goodness. + + BON [ASIDE.]: This cannot be a personated passion.— + I was to blame, so to mistake thy nature; + Prithee, forgive me: and speak out thy business. + + MOS: Sir, it concerns you; and though I may seem, + At first to make a main offence in manners, + And in my gratitude unto my master; + Yet, for the pure love, which I bear all right, + And hatred of the wrong, I must reveal it. + This very hour your father is in purpose + To disinherit you— + + BON: How! + + MOS: And thrust you forth, + As a mere stranger to his blood; 'tis true, sir: + The work no way engageth me, but, as + I claim an interest in the general state + Of goodness and true virtue, which I hear + To abound in you: and, for which mere respect, + Without a second aim, sir, I have done it. + + BON: This tale hath lost thee much of the late trust + Thou hadst with me; it is impossible: + I know not how to lend it any thought, + My father should be so unnatural. + + MOS: It is a confidence that well becomes + Your piety; and form'd, no doubt, it is + From your own simple innocence: which makes + Your wrong more monstrous, and abhorr'd. But, sir, + I now will tell you more. This very minute, + It is, or will be doing; and, if you + Shall be but pleas'd to go with me, I'll bring you, + I dare not say where you shall see, but where + Your ear shall be a witness of the deed; + Hear yourself written bastard; and profest + The common issue of the earth. + + BON: I am amazed! + + MOS: Sir, if I do it not, draw your just sword, + And score your vengeance on my front and face; + Mark me your villain: you have too much wrong, + And I do suffer for you, sir. My heart + Weeps blood in anguish— + + BON: Lead; I follow thee. + + [EXEUNT.] + + SCENE 3.2. + + A ROOM IN VOLPONE'S HOUSE. + + ENTER VOLPONE. + + VOLP: Mosca stays long, methinks. Bring forth your sports, + And help to make the wretched time more sweet. + + [ENTER NANO, ANDROGYNO, AND CASTRONE.] + + NAN: Dwarf, fool, and eunuch, well met here we be. + A question it were now, whether of us three, + Being all the known delicates of a rich man, + In pleasing him, claim the precedency can? + + CAS: I claim for myself. + + AND: And so doth the fool. + + NAN: 'Tis foolish indeed: let me set you both to school. + First for your dwarf, he's little and witty, + And every thing, as it is little, is pretty; + Else why do men say to a creature of my shape, + So soon as they see him, It's a pretty little ape? + And why a pretty ape, but for pleasing imitation + Of greater men's actions, in a ridiculous fashion? + Beside, this feat body of mine doth not crave + Half the meat, drink, and cloth, one of your bulks will have. + Admit your fool's face be the mother of laughter, + Yet, for his brain, it must always come after: + And though that do feed him, 'tis a pitiful case, + His body is beholding to such a bad face. + + [KNOCKING WITHIN.] + + VOLP: Who's there? my couch; away! look! Nano, see: + [EXE. AND. AND CAS.] + Give me my caps, first—go, enquire. + [EXIT NANO.] + —Now, Cupid + Send it be Mosca, and with fair return! + + NAN [WITHIN.]: It is the beauteous madam— + + VOLP: Would-be?—is it? + + NAN: The same. + + VOLP: Now torment on me! Squire her in; + For she will enter, or dwell here for ever: + Nay, quickly. + [RETIRES TO HIS COUCH.] + —That my fit were past! I fear + A second hell too, that my lothing this + Will quite expel my appetite to the other: + Would she were taking now her tedious leave. + Lord, how it threats me what I am to suffer! + + [RE-ENTER NANO, WITH LADY POLITICK WOULD-BE.] + + LADY P: I thank you, good sir. 'Pray you signify + Unto your patron, I am here.—This band + Shews not my neck enough.—I trouble you, sir; + Let me request you, bid one of my women + Come hither to me.—In good faith, I, am drest + Most favorably, to-day! It is no matter: + 'Tis well enough.— + [ENTER 1 WAITING-WOMAN.] + Look, see, these petulant things, + How they have done this! + + VOLP [ASIDE.]: I do feel the fever + Entering in at mine ears; O, for a charm, + To fright it hence. + + LADY P: Come nearer: Is this curl + In his right place, or this? Why is this higher + Then all the rest? You have not wash'd your eyes, yet! + Or do they not stand even in your head? + Where is your fellow? call her. + + [EXIT 1 WOMAN.] + + NAN: Now, St. Mark + Deliver us! anon, she will beat her women, + Because her nose is red. + + [RE-ENTER 1 WITH 2 WOMAN.] + + LADY P: I pray you, view + This tire, forsooth; are all things apt, or no? + + 1 WOM: One hair a little, here, sticks out, forsooth. + + LADY P: Does't so, forsooth? and where was your dear sight, + When it did so, forsooth! What now! bird-eyed? + And you too? 'Pray you, both approach and mend it. + Now, by that light, I muse you are not ashamed! + I, that have preach'd these things so oft unto you, + Read you the principles, argued all the grounds, + Disputed every fitness, every grace, + Call'd you to counsel of so frequent dressings— + + NAN [ASIDE.]: More carefully than of your fame or honour. + + LADY P: Made you acquainted, what an ample dowry + The knowledge of these things would be unto you, + Able, alone, to get you noble husbands + At your return: and you thus to neglect it! + Besides you seeing what a curious nation + The Italians are, what will they say of me? + "The English lady cannot dress herself." + Here's a fine imputation to our country: + Well, go your ways, and stay, in the next room. + This fucus was too course too, it's no matter.— + Good-sir, you will give them entertainment? + + [EXEUNT NANO AND WAITING-WOMEN.] + + VOLP: The storm comes toward me. + + LADY P [GOES TO THE COUCH.]: How does my Volpone? + + VOLP: Troubled with noise, I cannot sleep; I dreamt + That a strange fury enter'd, now, my house, + And, with the dreadful tempest of her breath, + Did cleave my roof asunder. + + LADY P: Believe me, and I + Had the most fearful dream, could I remember't— + + VOLP [ASIDE.]: Out on my fate! I have given her the occasion + How to torment me: she will tell me hers. + + LADY P: Me thought, the golden mediocrity, + Polite and delicate— + + VOLP: O, if you do love me, + No more; I sweat, and suffer, at the mention + Of any dream: feel, how I tremble yet. + + LADY P: Alas, good soul! the passion of the heart. + Seed-pearl were good now, boil'd with syrup of apples, + Tincture of gold, and coral, citron-pills, + Your elicampane root, myrobalanes— + + VOLP [ASIDE.]: Ah me, I have ta'en a grass-hopper by the wing! + + LADY P: Burnt silk, and amber: you have muscadel + Good in the house— + + VOLP: You will not drink, and part? + + LADY P: No, fear not that. I doubt, we shall not get + Some English saffron, half a dram would serve; + Your sixteen cloves, a little musk, dried mints, + Bugloss, and barley-meal— + + VOLP [ASIDE.]: She's in again! + Before I fain'd diseases, now I have one. + + LADY P: And these applied with a right scarlet cloth. + + VOLP [ASIDE.]: Another flood of words! a very torrent! + + LADY P: Shall I, sir, make you a poultice? + + VOLP: No, no, no; + I am very well: you need prescribe no more. + + LADY P: I have a little studied physic; but now, + I'm all for music, save, in the forenoons, + An hour or two for painting. I would have + A lady, indeed, to have all, letters, and arts, + Be able to discourse, to write, to paint, + But principal, as Plato holds, your music, + And, so does wise Pythagoras, I take it, + Is your true rapture: when there is concent + In face, in voice, and clothes: and is, indeed, + Our sex's chiefest ornament. + + VOLP: The poet + As old in time as Plato, and as knowing, + Says that your highest female grace is silence. + + LADY P: Which of your poets? Petrarch, or Tasso, or Dante? + Guarini? Ariosto? Aretine? + Cieco di Hadria? I have read them all. + + VOLP [ASIDE.]: Is every thing a cause to my distruction? + + LADY P: I think I have two or three of them about me. + + VOLP [ASIDE.]: The sun, the sea will sooner both stand still, + Then her eternal tongue; nothing can 'scape it. + + LADY P: Here's pastor Fido— + + VOLP [ASIDE.]: Profess obstinate silence, + That's now my safest. + + LADY P: All our English writers, + I mean such as are happy in the Italian, + Will deign to steal out of this author, mainly: + Almost as much, as from Montagnie; + He has so modern and facile a vein, + Fitting the time, and catching the court-ear! + Your Petrarch is more passionate, yet he, + In days of sonetting, trusted them with much: + Dante is hard, and few can understand him. + But, for a desperate wit, there's Aretine; + Only, his pictures are a little obscene— + You mark me not. + + VOLP: Alas, my mind is perturb'd. + + LADY P: Why, in such cases, we must cure ourselves, + Make use of our philosophy— + + VOLP: Oh me! + + LADY P: And as we find our passions do rebel, + Encounter them with reason, or divert them, + By giving scope unto some other humour + Of lesser danger: as, in politic bodies, + There's nothing more doth overwhelm the judgment, + And cloud the understanding, than too much + Settling and fixing, and, as 'twere, subsiding + Upon one object. For the incorporating + Of these same outward things, into that part, + Which we call mental, leaves some certain faeces + That stop the organs, and as Plato says, + Assassinate our Knowledge. + + VOLP [ASIDE.]: Now, the spirit + Of patience help me! + + LADY P: Come, in faith, I must + Visit you more a days; and make you well: + Laugh and be lusty. + + VOLP [ASIDE.]: My good angel save me! + + LADY P: There was but one sole man in all the world, + With whom I e'er could sympathise; and he + Would lie you, often, three, four hours together + To hear me speak; and be sometimes so rapt, + As he would answer me quite from the purpose, + Like you, and you are like him, just. I'll discourse, + An't be but only, sir, to bring you asleep, + How we did spend our time and loves together, + For some six years. + + VOLP: Oh, oh, oh, oh, oh, oh! + + LADY P: For we were coaetanei, and brought up— + + VOLP: Some power, some fate, some fortune rescue me! + + [ENTER MOSCA.] + + MOS: God save you, madam! + + LADY P: Good sir. + + VOLP: Mosca? welcome, + Welcome to my redemption. + + MOS: Why, sir? + + VOLP: Oh, + Rid me of this my torture, quickly, there; + My madam, with the everlasting voice: + The bells, in time of pestilence, ne'er made + Like noise, or were in that perpetual motion! + The Cock-pit comes not near it. All my house, + But now, steam'd like a bath with her thick breath. + A lawyer could not have been heard; nor scarce + Another woman, such a hail of words + She has let fall. For hell's sake, rid her hence. + + MOS: Has she presented? + + VOLP: O, I do not care; + I'll take her absence, upon any price, + With any loss. + + MOS: Madam— + + LADY P: I have brought your patron + A toy, a cap here, of mine own work. + + MOS: 'Tis well. + I had forgot to tell you, I saw your knight, + Where you would little think it.— + + LADY P: Where? + + MOS: Marry, + Where yet, if you make haste, you may apprehend, + Rowing upon the water in a gondole, + With the most cunning courtezan of Venice. + + LADY P: Is't true? + + MOS: Pursue them, and believe your eyes; + Leave me, to make your gift. + [EXIT LADY P. HASTILY.] + —I knew 'twould take: + For, lightly, they, that use themselves most license, + Are still most jealous. + + VOLP: Mosca, hearty thanks, + For thy quick fiction, and delivery of me. + Now to my hopes, what say'st thou? + + [RE-ENTER LADY P. WOULD-BE.] + + LADY P: But do you hear, sir?— + + VOLP: Again! I fear a paroxysm. + + LADY P: Which way + Row'd they together? + + MOS: Toward the Rialto. + + LADY P: I pray you lend me your dwarf. + + MOS: I pray you, take him.— + [EXIT LADY P.] + Your hopes, sir, are like happy blossoms, fair, + And promise timely fruit, if you will stay + But the maturing; keep you at your couch, + Corbaccio will arrive straight, with the Will; + When he is gone, I'll tell you more. + + [EXIT.] + + VOLP: My blood, + My spirits are return'd; I am alive: + And like your wanton gamester, at primero, + Whose thought had whisper'd to him, not go less, + Methinks I lie, and draw—for an encounter. + + [THE SCENE CLOSES UPON VOLPONE.] + + SCENE 3.3 + + THE PASSAGE LEADING TO VOLPONE'S CHAMBER. + + ENTER MOSCA AND BONARIO. + + MOS: Sir, here conceal'd, + [SHEWS HIM A CLOSET.] + you may here all. But, pray you, + Have patience, sir; + [KNOCKING WITHIN.] + —the same's your father knocks: + I am compell'd to leave you. + + [EXIT.] + + BON: Do so.—Yet, + Cannot my thought imagine this a truth. + + [GOES INTO THE CLOSET.] + + SCENE 3.4. + + ANOTHER PART OF THE SAME. + + ENTER MOSCA AND CORVINO, CELIA FOLLOWING. + + MOS: Death on me! you are come too soon, what meant you? + Did not I say, I would send? + + CORV: Yes, but I fear'd + You might forget it, and then they prevent us. + + MOS [ASIDE.]: Prevent! did e'er man haste so, for his horns? + A courtier would not ply it so, for a place. + —Well, now there's no helping it, stay here; + I'll presently return. + + [EXIT.] + + CORV: Where are you, Celia? + You know not wherefore I have brought you hither? + + CEL: Not well, except you told me. + + CORV: Now, I will: + Hark hither. + + [EXEUNT.] + + SCENE 3.5. + + A CLOSET OPENING INTO A GALLERY. + + ENTER MOSCA AND BONARIO. + + MOS: Sir, your father hath sent word, + It will be half an hour ere he come; + And therefore, if you please to walk the while + Into that gallery—at the upper end, + There are some books to entertain the time: + And I'll take care no man shall come unto you, sir. + + BON: Yes, I will stay there. + [ASIDE.]—I do doubt this fellow. + + [EXIT.] + + MOS [LOOKING AFTER HIM.]: There; he is far enough; + he can hear nothing: + And, for his father, I can keep him off. + + [EXIT.] + + SCENE 3.6. + + VOLPONE'S CHAMBER.—VOLPONE ON HIS COUCH. + MOSCA SITTING BY HIM. + + ENTER CORVINO, FORCING IN CELIA. + + CORV: Nay, now, there is no starting back, and therefore, + Resolve upon it: I have so decreed. + It must be done. Nor would I move't, afore, + Because I would avoid all shifts and tricks, + That might deny me. + + CEL: Sir, let me beseech you, + Affect not these strange trials; if you doubt + My chastity, why, lock me up for ever: + Make me the heir of darkness. Let me live, + Where I may please your fears, if not your trust. + + CORV: Believe it, I have no such humour, I. + All that I speak I mean; yet I'm not mad; + Nor horn-mad, see you? Go to, shew yourself + Obedient, and a wife. + + CEL: O heaven! + + CORV: I say it, + Do so. + + CEL: Was this the train? + + CORV: I've told you reasons; + What the physicians have set down; how much + It may concern me; what my engagements are; + My means; and the necessity of those means, + For my recovery: wherefore, if you be + Loyal, and mine, be won, respect my venture. + + CEL: Before your honour? + + CORV: Honour! tut, a breath: + There's no such thing, in nature: a mere term + Invented to awe fools. What is my gold + The worse, for touching, clothes for being look'd on? + Why, this is no more. An old decrepit wretch, + That has no sense, no sinew; takes his meat + With others' fingers; only knows to gape, + When you do scald his gums; a voice; a shadow; + And, what can this man hurt you? + + CEL [ASIDE.]: Lord! what spirit + Is this hath enter'd him? + + CORV: And for your fame, + That's such a jig; as if I would go tell it, + Cry it on the Piazza! who shall know it, + But he that cannot speak it, and this fellow, + Whose lips are in my pocket? save yourself, + (If you'll proclaim't, you may,) I know no other, + Shall come to know it. + + CEL: Are heaven and saints then nothing? + Will they be blind or stupid? + + CORV: How! + + CEL: Good sir, + Be jealous still, emulate them; and think + What hate they burn with toward every sin. + + CORV: I grant you: if I thought it were a sin, + I would not urge you. Should I offer this + To some young Frenchman, or hot Tuscan blood + That had read Aretine, conn'd all his prints, + Knew every quirk within lust's labyrinth, + And were professed critic in lechery; + And I would look upon him, and applaud him, + This were a sin: but here, 'tis contrary, + A pious work, mere charity for physic, + And honest polity, to assure mine own. + + CEL: O heaven! canst thou suffer such a change? + + VOLP: Thou art mine honour, Mosca, and my pride, + My joy, my tickling, my delight! Go bring them. + + MOS [ADVANCING.]: Please you draw near, sir. + + CORV: Come on, what— + You will not be rebellious? by that light— + + MOS: Sir, + Signior Corvino, here, is come to see you. + + VOLP: Oh! + + MOS: And hearing of the consultation had, + So lately, for your health, is come to offer, + Or rather, sir, to prostitute— + + CORV: Thanks, sweet Mosca. + + MOS: Freely, unask'd, or unintreated— + + CORV: Well. + + MOS: As the true fervent instance of his love, + His own most fair and proper wife; the beauty, + Only of price in Venice— + + CORV: 'Tis well urged. + + MOS: To be your comfortress, and to preserve you. + + VOLP: Alas, I am past, already! Pray you, thank him + For his good care and promptness; but for that, + 'Tis a vain labour e'en to fight 'gainst heaven; + Applying fire to stone— + [COUGHING.] uh, uh, uh, uh! + Making a dead leaf grow again. I take + His wishes gently, though; and you may tell him, + What I have done for him: marry, my state is hopeless. + Will him to pray for me; and to use his fortune + With reverence, when he comes to't. + + MOS: Do you hear, sir? + Go to him with your wife. + + CORV: Heart of my father! + Wilt thou persist thus? come, I pray thee, come. + Thou seest 'tis nothing, Celia. By this hand, + I shall grow violent. Come, do't, I say. + + CEL: Sir, kill me, rather: I will take down poison, + Eat burning coals, do any thing.— + + CORV: Be damn'd! + Heart, I'll drag thee hence, home, by the hair; + Cry thee a strumpet through the streets; rip up + Thy mouth unto thine ears; and slit thy nose, + Like a raw rotchet!—Do not tempt me; come, + Yield, I am loth—Death! I will buy some slave + Whom I will kill, and bind thee to him, alive; + And at my window hang you forth: devising + Some monstrous crime, which I, in capital letters, + Will eat into thy flesh with aquafortis, + And burning corsives, on this stubborn breast. + Now, by the blood thou hast incensed, I'll do it! + + CEL: Sir, what you please, you may, I am your martyr. + + CORV: Be not thus obstinate, I have not deserved it: + Think who it is intreats you. 'Prithee, sweet;— + Good faith, thou shalt have jewels, gowns, attires, + What thou wilt think, and ask. Do but go kiss him. + Or touch him, but, for my sake.—At my suit.— + This once.—No! not! I shall remember this. + Will you disgrace me thus? Do you thirst my undoing? + + MOS: Nay, gentle lady, be advised. + + CORV: No, no. + She has watch'd her time. Ods precious, this is scurvy, + 'Tis very scurvy: and you are— + + MOS: Nay, good, sir. + + CORV: An arrant Locust, by heaven, a locust! + Whore, crocodile, that hast thy tears prepared, + Expecting how thou'lt bid them flow— + + MOS: Nay, 'Pray you, sir! + She will consider. + + CEL: Would my life would serve + To satisfy— + + CORV: S'death! if she would but speak to him, + And save my reputation, it were somewhat; + But spightfully to affect my utter ruin! + + MOS: Ay, now you have put your fortune in her hands. + Why i'faith, it is her modesty, I must quit her. + If you were absent, she would be more coming; + I know it: and dare undertake for her. + What woman can before her husband? 'pray you, + Let us depart, and leave her here. + + CORV: Sweet Celia, + Thou may'st redeem all, yet; I'll say no more: + If not, esteem yourself as lost,—Nay, stay there. + + [SHUTS THE DOOR, AND EXIT WITH MOSCA.] + + CEL: O God, and his good angels! whither, whither, + Is shame fled human breasts? that with such ease, + Men dare put off your honours, and their own? + Is that, which ever was a cause of life, + Now placed beneath the basest circumstance, + And modesty an exile made, for money? + + VOLP: Ay, in Corvino, and such earth-fed minds, + [LEAPING FROM HIS COUCH.] + That never tasted the true heaven of love. + Assure thee, Celia, he that would sell thee, + Only for hope of gain, and that uncertain, + He would have sold his part of Paradise + For ready money, had he met a cope-man. + Why art thou mazed to see me thus revived? + Rather applaud thy beauty's miracle; + 'Tis thy great work: that hath, not now alone, + But sundry times raised me, in several shapes, + And, but this morning, like a mountebank; + To see thee at thy window: ay, before + I would have left my practice, for thy love, + In varying figures, I would have contended + With the blue Proteus, or the horned flood. + Now art thou welcome. + + CEL: Sir! + + VOLP: Nay, fly me not. + Nor let thy false imagination + That I was bed-rid, make thee think I am so: + Thou shalt not find it. I am, now, as fresh, + As hot, as high, and in as jovial plight, + As when, in that so celebrated scene, + At recitation of our comedy, + For entertainment of the great Valois, + I acted young Antinous; and attracted + The eyes and ears of all the ladies present, + To admire each graceful gesture, note, and footing. + [SINGS.] + Come, my Celia, let us prove, + While we can, the sports of love, + Time will not be ours for ever, + He, at length, our good will sever; + Spend not then his gifts in vain; + Suns, that set, may rise again: + But if once we loose this light, + 'Tis with us perpetual night. + Why should we defer our joys? + Fame and rumour are but toys. + Cannot we delude the eyes + Of a few poor household spies? + Or his easier ears beguile, + Thus remooved by our wile?— + 'Tis no sin love's fruits to steal: + But the sweet thefts to reveal; + To be taken, to be seen, + These have crimes accounted been. + + CEL: Some serene blast me, or dire lightning strike + This my offending face! + + VOLP: Why droops my Celia? + Thou hast, in place of a base husband, found + A worthy lover: use thy fortune well, + With secrecy and pleasure. See, behold, + What thou art queen of; not in expectation, + As I feed others: but possess'd, and crown'd. + See, here, a rope of pearl; and each, more orient + Than that the brave Egyptian queen caroused: + Dissolve and drink them. See, a carbuncle, + May put out both the eyes of our St Mark; + A diamond, would have bought Lollia Paulina, + When she came in like star-light, hid with jewels, + That were the spoils of provinces; take these, + And wear, and lose them: yet remains an ear-ring + To purchase them again, and this whole state. + A gem but worth a private patrimony, + Is nothing: we will eat such at a meal. + The heads of parrots, tongues of nightingales, + The brains of peacocks, and of estriches, + Shall be our food: and, could we get the phoenix, + Though nature lost her kind, she were our dish. + + CEL: Good sir, these things might move a mind affected + With such delights; but I, whose innocence + Is all I can think wealthy, or worth th' enjoying, + And which, once lost, I have nought to lose beyond it, + Cannot be taken with these sensual baits: + If you have conscience— + + VOLP: 'Tis the beggar's virtue, + If thou hast wisdom, hear me, Celia. + Thy baths shall be the juice of July-flowers, + Spirit of roses, and of violets, + The milk of unicorns, and panthers' breath + Gather'd in bags, and mixt with Cretan wines. + Our drink shall be prepared gold and amber; + Which we will take, until my roof whirl round + With the vertigo: and my dwarf shall dance, + My eunuch sing, my fool make up the antic. + Whilst we, in changed shapes, act Ovid's tales, + Thou, like Europa now, and I like Jove, + Then I like Mars, and thou like Erycine: + So, of the rest, till we have quite run through, + And wearied all the fables of the gods. + Then will I have thee in more modern forms, + Attired like some sprightly dame of France, + Brave Tuscan lady, or proud Spanish beauty; + Sometimes, unto the Persian sophy's wife; + Or the grand signior's mistress; and, for change, + To one of our most artful courtezans, + Or some quick Negro, or cold Russian; + And I will meet thee in as many shapes: + Where we may so transfuse our wandering souls, + Out at our lips, and score up sums of pleasures, + [SINGS.] + That the curious shall not know + How to tell them as they flow; + And the envious, when they find + What there number is, be pined. + + CEL: If you have ears that will be pierc'd—or eyes + That can be open'd—a heart that may be touch'd— + Or any part that yet sounds man about you— + If you have touch of holy saints—or heaven— + Do me the grace to let me 'scape—if not, + Be bountiful and kill me. You do know, + I am a creature, hither ill betray'd, + By one, whose shame I would forget it were: + If you will deign me neither of these graces, + Yet feed your wrath, sir, rather than your lust, + (It is a vice comes nearer manliness,) + And punish that unhappy crime of nature, + Which you miscall my beauty; flay my face, + Or poison it with ointments, for seducing + Your blood to this rebellion. Rub these hands, + With what may cause an eating leprosy, + E'en to my bones and marrow: any thing, + That may disfavour me, save in my honour— + And I will kneel to you, pray for you, pay down + A thousand hourly vows, sir, for your health; + Report, and think you virtuous— + + VOLP: Think me cold, + Frosen and impotent, and so report me? + That I had Nestor's hernia, thou wouldst think. + I do degenerate, and abuse my nation, + To play with opportunity thus long; + I should have done the act, and then have parley'd. + Yield, or I'll force thee. + + [SEIZES HER.] + + CEL: O! just God! + + VOLP: In vain— + + BON [RUSHING IN]: Forbear, foul ravisher, libidinous swine! + Free the forced lady, or thou diest, impostor. + But that I'm loth to snatch thy punishment + Out of the hand of justice, thou shouldst, yet, + Be made the timely sacrifice of vengeance, + Before this altar, and this dross, thy idol.— + Lady, let's quit the place, it is the den + Of villany; fear nought, you have a guard: + And he, ere long, shall meet his just reward. + + [EXEUNT BON. AND CEL.] + + VOLP: Fall on me, roof, and bury me in ruin! + Become my grave, that wert my shelter! O! + I am unmask'd, unspirited, undone, + Betray'd to beggary, to infamy— + + [ENTER MOSCA, WOUNDED AND BLEEDING.] + + MOS: Where shall I run, most wretched shame of men, + To beat out my unlucky brains? + + VOLP: Here, here. + What! dost thou bleed? + + MOS: O that his well-driv'n sword + Had been so courteous to have cleft me down + Unto the navel; ere I lived to see + My life, my hopes, my spirits, my patron, all + Thus desperately engaged, by my error! + + VOLP: Woe on thy fortune! + + MOS: And my follies, sir. + + VOLP: Thou hast made me miserable. + + MOS: And myself, sir. + Who would have thought he would have harken'd, so? + + VOLP: What shall we do? + + MOS: I know not; if my heart + Could expiate the mischance, I'd pluck it out. + Will you be pleased to hang me? or cut my throat? + And I'll requite you, sir. Let us die like Romans, + Since we have lived like Grecians. + + [KNOCKING WITHIN.] + + VOLP: Hark! who's there? + I hear some footing; officers, the saffi, + Come to apprehend us! I do feel the brand + Hissing already at my forehead; now, + Mine ears are boring. + + MOS: To your couch, sir, you, + Make that place good, however. + [VOLPONE LIES DOWN, AS BEFORE.] + —Guilty men + Suspect what they deserve still. + [ENTER CORBACCIO.] + Signior Corbaccio! + + CORB: Why, how now, Mosca? + + MOS: O, undone, amazed, sir. + Your son, I know not by what accident, + Acquainted with your purpose to my patron, + Touching your Will, and making him your heir, + Enter'd our house with violence, his sword drawn + Sought for you, call'd you wretch, unnatural, + Vow'd he would kill you. + + CORB: Me! + + MOS: Yes, and my patron. + + CORB: This act shall disinherit him indeed; + Here is the Will. + + MOS: 'Tis well, sir. + + CORB: Right and well: + Be you as careful now for me. + + [ENTER VOLTORE, BEHIND.] + + MOS: My life, sir, + Is not more tender'd; I am only yours. + + CORB: How does he? will he die shortly, think'st thou? + + MOS: I fear + He'll outlast May. + + CORB: To-day? + + MOS: No, last out May, sir. + + CORB: Could'st thou not give him a dram? + + MOS: O, by no means, sir. + + CORB: Nay, I'll not bid you. + + VOLT [COMING FORWARD.]: This is a knave, I see. + + MOS [SEEING VOLTORE.]: How! signior Voltore! + [ASIDE.] did he hear me? + + VOLT: Parasite! + + MOS: Who's that?—O, sir, most timely welcome— + + VOLT: Scarce, + To the discovery of your tricks, I fear. + You are his, ONLY? and mine, also? are you not? + + MOS: Who? I, sir? + + VOLT: You, sir. What device is this + About a Will? + + MOS: A plot for you, sir. + + VOLT: Come, + Put not your foists upon me; I shall scent them. + + MOS: Did you not hear it? + + VOLT: Yes, I hear Corbaccio + Hath made your patron there his heir. + + MOS: 'Tis true, + By my device, drawn to it by my plot, + With hope— + + VOLT: Your patron should reciprocate? + And you have promised? + + MOS: For your good, I did, sir. + Nay, more, I told his son, brought, hid him here, + Where he might hear his father pass the deed: + Being persuaded to it by this thought, sir, + That the unnaturalness, first, of the act, + And then his father's oft disclaiming in him, + (Which I did mean t'help on,) would sure enrage him + To do some violence upon his parent, + On which the law should take sufficient hold, + And you be stated in a double hope: + Truth be my comfort, and my conscience, + My only aim was to dig you a fortune + Out of these two old rotten sepulchres— + + VOLT: I cry thee mercy, Mosca. + + MOS: Worth your patience, + And your great merit, sir. And see the change! + + VOLT: Why, what success? + + MOS: Most happless! you must help, sir. + Whilst we expected the old raven, in comes + Corvino's wife, sent hither by her husband— + + VOLT: What, with a present? + + MOS: No, sir, on visitation; + (I'll tell you how anon;) and staying long, + The youth he grows impatient, rushes forth, + Seizeth the lady, wounds me, makes her swear + (Or he would murder her, that was his vow) + To affirm my patron to have done her rape: + Which how unlike it is, you see! and hence, + With that pretext he's gone, to accuse his father, + Defame my patron, defeat you— + + VOLT: Where is her husband? + Let him be sent for straight. + + MOS: Sir, I'll go fetch him. + + VOLT: Bring him to the Scrutineo. + + MOS: Sir, I will. + + VOLT: This must be stopt. + + MOS: O you do nobly, sir. + Alas, 'twas labor'd all, sir, for your good; + Nor was there want of counsel in the plot: + But fortune can, at any time, o'erthrow + The projects of a hundred learned clerks, sir. + + CORB [LISTENING]: What's that? + + VOLT: Will't please you, sir, to go along? + + [EXIT CORBACCIO, FOLLOWED BY VOLTORE.] + + MOS: Patron, go in, and pray for our success. + + VOLP [RISING FROM HIS COUCH.]: Need makes devotion: + heaven your labour bless! + + [EXEUNT.] +</pre> + <p> + <a name="link2H_4_0009" id="link2H_4_0009"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT 4. SCENE 4.1. + </h2> +<pre xml:space="preserve"> + A STREET. + + [ENTER SIR POLITICK WOULD-BE AND PEREGRINE.] + + SIR P: I told you, sir, it was a plot: you see + What observation is! You mention'd me, + For some instructions: I will tell you, sir, + (Since we are met here in this height of Venice,) + Some few perticulars I have set down, + Only for this meridian, fit to be known + Of your crude traveller, and they are these. + I will not touch, sir, at your phrase, or clothes, + For they are old. + + PER: Sir, I have better. + + SIR P: Pardon, + I meant, as they are themes. + + PER: O, sir, proceed: + I'll slander you no more of wit, good sir. + + SIR P: First, for your garb, it must be grave and serious, + Very reserv'd, and lock'd; not tell a secret + On any terms, not to your father; scarce + A fable, but with caution; make sure choice + Both of your company, and discourse; beware + You never speak a truth— + + PER: How! + + SIR P: Not to strangers, + For those be they you must converse with, most; + Others I would not know, sir, but at distance, + So as I still might be a saver in them: + You shall have tricks else past upon you hourly. + And then, for your religion, profess none, + But wonder at the diversity, of all: + And, for your part, protest, were there no other + But simply the laws o' the land, you could content you, + Nic. Machiavel, and Monsieur Bodin, both + Were of this mind. Then must you learn the use + And handling of your silver fork at meals; + The metal of your glass; (these are main matters + With your Italian;) and to know the hour + When you must eat your melons, and your figs. + + PER: Is that a point of state too? + + SIR P: Here it is, + For your Venetian, if he see a man + Preposterous in the least, he has him straight; + He has; he strips him. I'll acquaint you, sir, + I now have lived here, 'tis some fourteen months + Within the first week of my landing here, + All took me for a citizen of Venice: + I knew the forms, so well— + + PER [ASIDE.]: And nothing else. + + SIR P: I had read Contarene, took me a house, + Dealt with my Jews to furnish it with moveables— + Well, if I could but find one man, one man + To mine own heart, whom I durst trust, I would— + + PER: What, what, sir? + + SIR P: Make him rich; make him a fortune: + He should not think again. I would command it. + + PER: As how? + + SIR P: With certain projects that I have; + Which I may not discover. + + PER [ASIDE.]: If I had + But one to wager with, I would lay odds now, + He tells me instantly. + + SIR P: One is, and that + I care not greatly who knows, to serve the state + Of Venice with red herrings for three years, + And at a certain rate, from Rotterdam, + Where I have correspendence. There's a letter, + Sent me from one of the states, and to that purpose: + He cannot write his name, but that's his mark. + + PER: He's a chandler? + + SIR P: No, a cheesemonger. + There are some others too with whom I treat + About the same negociation; + And I will undertake it: for, 'tis thus. + I'll do't with ease, I have cast it all: Your hoy + Carries but three men in her, and a boy; + And she shall make me three returns a year: + So, if there come but one of three, I save, + If two, I can defalk:—but this is now, + If my main project fail. + + PER: Then you have others? + + SIR P: I should be loth to draw the subtle air + Of such a place, without my thousand aims. + I'll not dissemble, sir: where'er I come, + I love to be considerative; and 'tis true, + I have at my free hours thought upon + Some certain goods unto the state of Venice, + Which I do call "my Cautions;" and, sir, which + I mean, in hope of pension, to propound + To the Great Council, then unto the Forty, + So to the Ten. My means are made already— + + PER: By whom? + + SIR P: Sir, one that, though his place be obscure, + Yet he can sway, and they will hear him. He's + A commandador. + + PER: What! a common serjeant? + + SIR P: Sir, such as they are, put it in their mouths, + What they should say, sometimes; as well as greater: + I think I have my notes to shew you— + [SEARCHING HIS POCKETS.] + + PER: Good sir. + + SIR P: But you shall swear unto me, on your gentry, + Not to anticipate— + + PER: I, sir! + + SIR P: Nor reveal + A circumstance—My paper is not with me. + + PER: O, but you can remember, sir. + + SIR P: My first is + Concerning tinder-boxes. You must know, + No family is here, without its box. + Now, sir, it being so portable a thing, + Put case, that you or I were ill affected + Unto the state, sir; with it in our pockets, + Might not I go into the Arsenal, + Or you, come out again, and none the wiser? + + PER: Except yourself, sir. + + SIR P: Go to, then. I therefore + Advertise to the state, how fit it were, + That none but such as were known patriots, + Sound lovers of their country, should be suffer'd + To enjoy them in their houses; and even those + Seal'd at some office, and at such a bigness + As might not lurk in pockets. + + PER: Admirable! + + SIR P: My next is, how to enquire, and be resolv'd, + By present demonstration, whether a ship, + Newly arrived from Soria, or from + Any suspected part of all the Levant, + Be guilty of the plague: and where they use + To lie out forty, fifty days, sometimes, + About the Lazaretto, for their trial; + I'll save that charge and loss unto the merchant, + And in an hour clear the doubt. + + PER: Indeed, sir! + + SIR P: Or—I will lose my labour. + + PER: 'My faith, that's much. + + SIR P: Nay, sir, conceive me. It will cost me in onions, + Some thirty livres— + + PER: Which is one pound sterling. + + SIR P: Beside my water-works: for this I do, sir. + First, I bring in your ship 'twixt two brick walls; + But those the state shall venture: On the one + I strain me a fair tarpauling, and in that + I stick my onions, cut in halves: the other + Is full of loop-holes, out at which I thrust + The noses of my bellows; and those bellows + I keep, with water-works, in perpetual motion, + Which is the easiest matter of a hundred. + Now, sir, your onion, which doth naturally + Attract the infection, and your bellows blowing + The air upon him, will show, instantly, + By his changed colour, if there be contagion; + Or else remain as fair as at the first. + —Now it is known, 'tis nothing. + + PER: You are right, sir. + + SIR P: I would I had my note. + + PER: 'Faith, so would I: + But you have done well for once, sir. + + SIR P: Were I false, + Or would be made so, I could shew you reasons + How I could sell this state now, to the Turk; + Spite of their galleys, or their— + [EXAMINING HIS PAPERS.] + + PER: Pray you, sir Pol. + + SIR P: I have them not about me. + + PER: That I fear'd. + They are there, sir. + + SIR P: No. This is my diary, + Wherein I note my actions of the day. + + PER: Pray you let's see, sir. What is here? + [READS.] + "Notandum, + A rat had gnawn my spur-leathers; notwithstanding, + I put on new, and did go forth: but first + I threw three beans over the threshold. Item, + I went and bought two tooth-picks, whereof one + I burst immediatly, in a discourse + With a Dutch merchant, 'bout ragion del stato. + From him I went and paid a moccinigo, + For piecing my silk stockings; by the way + I cheapen'd sprats; and at St. Mark's I urined." + 'Faith, these are politic notes! + + SIR P: Sir, I do slip + No action of my life, but thus I quote it. + + PER: Believe me, it is wise! + + SIR P: Nay, sir, read forth. + + [ENTER, AT A DISTANCE, LADY POLITICK-WOULD BE, NANO, + AND TWO WAITING-WOMEN.] + + LADY P: Where should this loose knight be, trow? + sure he's housed. + + NAN: Why, then he's fast. + + LADY P: Ay, he plays both with me. + I pray you, stay. This heat will do more harm + To my complexion, than his heart is worth; + (I do not care to hinder, but to take him.) + [RUBBING HER CHEEKS.] + How it comes off! + + 1 WOM: My master's yonder. + + LADY P: Where? + + 1 WOM: With a young gentleman. + + LADY P: That same's the party; + In man's apparel! 'Pray you, sir, jog my knight: + I'll be tender to his reputation, + However he demerit. + + SIR P [SEEING HER]: My lady! + + PER: Where? + + SIR P: 'Tis she indeed, sir; you shall know her. She is, + Were she not mine, a lady of that merit, + For fashion and behaviour; and, for beauty + I durst compare— + + PER: It seems you are not jealous, + That dare commend her. + + SIR P: Nay, and for discourse— + + PER: Being your wife, she cannot miss that. + + SIR P [INTRODUCING PER.]: Madam, + Here is a gentleman, pray you, use him fairly; + He seems a youth, but he is— + + LADY P: None. + + SIR P: Yes, one + Has put his face as soon into the world— + + LADY P: You mean, as early? but to-day? + + SIR P: How's this? + + LADY P: Why, in this habit, sir; you apprehend me:— + Well, master Would-be, this doth not become you; + I had thought the odour, sir, of your good name, + Had been more precious to you; that you would not + Have done this dire massacre on your honour; + One of your gravity and rank besides! + But knights, I see, care little for the oath + They make to ladies; chiefly, their own ladies. + + SIR P: Now by my spurs, the symbol of my knighthood,— + + PER [ASIDE.]: Lord, how his brain is humbled for an oath! + + SIR P: I reach you not. + + LADY P: Right, sir, your policy + May bear it through, thus. + [TO PER.] + sir, a word with you. + I would be loth to contest publicly + With any gentlewoman, or to seem + Froward, or violent, as the courtier says; + It comes too near rusticity in a lady, + Which I would shun by all means: and however + I may deserve from master Would-be, yet + T'have one fair gentlewoman thus be made + The unkind instrument to wrong another, + And one she knows not, ay, and to persever; + In my poor judgment, is not warranted + From being a solecism in our sex, + If not in manners. + + PER: How is this! + + SIR P: Sweet madam, + Come nearer to your aim. + + LADY P: Marry, and will, sir. + Since you provoke me with your impudence, + And laughter of your light land-syren here, + Your Sporus, your hermaphrodite— + + PER: What's here? + Poetic fury, and historic storms? + + SIR P: The gentleman, believe it, is of worth, + And of our nation. + + LADY P: Ay, your White-friars nation. + Come, I blush for you, master Would-be, I; + And am asham'd you should have no more forehead, + Than thus to be the patron, or St. George, + To a lewd harlot, a base fricatrice, + A female devil, in a male outside. + + SIR P: Nay, + And you be such a one, I must bid adieu + To your delights. The case appears too liquid. + + [EXIT.] + + LADY P: Ay, you may carry't clear, with your state-face!— + But for your carnival concupiscence, + Who here is fled for liberty of conscience, + From furious persecution of the marshal, + Her will I dis'ple. + + PER: This is fine, i'faith! + And do you use this often? Is this part + Of your wit's exercise, 'gainst you have occasion? + Madam— + + LADY P: Go to, sir. + + PER: Do you hear me, lady? + Why, if your knight have set you to beg shirts, + Or to invite me home, you might have done it + A nearer way, by far: + + LADY P: This cannot work you + Out of my snare. + + PER: Why, am I in it, then? + Indeed your husband told me you were fair, + And so you are; only your nose inclines, + That side that's next the sun, to the queen-apple. + + LADY P: This cannot be endur'd by any patience. + + [ENTER MOSCA.] + + MOS: What is the matter, madam? + + LADY P: If the Senate + Right not my quest in this; I'll protest them + To all the world, no aristocracy. + + MOS: What is the injury, lady? + + LADY P: Why, the callet + You told me of, here I have ta'en disguised. + + MOS: Who? this! what means your ladyship? the creature + I mention'd to you is apprehended now, + Before the senate; you shall see her— + + LADY P: Where? + + MOS: I'll bring you to her. This young gentleman, + I saw him land this morning at the port. + + LADY P: Is't possible! how has my judgment wander'd? + Sir, I must, blushing, say to you, I have err'd; + And plead your pardon. + + PER: What, more changes yet! + + LADY P: I hope you have not the malice to remember + A gentlewoman's passion. If you stay + In Venice here, please you to use me, sir— + + MOS: Will you go, madam? + + LADY P: 'Pray you, sir, use me. In faith, + The more you see me, the more I shall conceive + You have forgot our quarrel. + + [EXEUNT LADY WOULD-BE, MOSCA, NANO, AND WAITING-WOMEN.] + + PER: This is rare! + Sir Politick Would-be? no; sir Politick Bawd. + To bring me thus acquainted with his wife! + Well, wise sir Pol, since you have practised thus + Upon my freshman-ship, I'll try your salt-head, + What proof it is against a counter-plot. + + [EXIT.] + + SCENE 4.2. + + THE SCRUTINEO, OR SENATE-HOUSE. + + ENTER VOLTORE, CORBACCIO, CORVINO, AND MOSCA. + + VOLT: Well, now you know the carriage of the business, + Your constancy is all that is required + Unto the safety of it. + + MOS: Is the lie + Safely convey'd amongst us? is that sure? + Knows every man his burden? + + CORV: Yes. + + MOS: Then shrink not. + + CORV: But knows the advocate the truth? + + MOS: O, sir, + By no means; I devised a formal tale, + That salv'd your reputation. But be valiant, sir. + + CORV: I fear no one but him, that this his pleading + Should make him stand for a co-heir— + + MOS: Co-halter! + Hang him; we will but use his tongue, his noise, + As we do croakers here. + + CORV: Ay, what shall he do? + + MOS: When we have done, you mean? + + CORV: Yes. + + MOS: Why, we'll think: + Sell him for mummia; he's half dust already. + [TO VOLTORE.] + Do not you smile, to see this buffalo, + How he does sport it with his head? + [ASIDE.] + —I should, + If all were well and past. + [TO CORBACCIO.] + —Sir, only you + Are he that shall enjoy the crop of all, + And these not know for whom they toil. + + CORB: Ay, peace. + + MOS [TURNING TO CORVINO.]: But you shall eat it. + Much! [ASIDE.] + [TO VOLTORE.] + —Worshipful sir, + Mercury sit upon your thundering tongue, + Or the French Hercules, and make your language + As conquering as his club, to beat along, + As with a tempest, flat, our adversaries; + But much more yours, sir. + + VOLT: Here they come, have done. + + MOS: I have another witness, if you need, sir, + I can produce. + + VOLT: Who is it? + + MOS: Sir, I have her. + + [ENTER AVOCATORI AND TAKE THEIR SEATS, + BONARIO, CELIA, NOTARIO, COMMANDADORI, SAFFI, + AND OTHER OFFICERS OF JUSTICE.] + + 1 AVOC: The like of this the senate never heard of. + + 2 AVOC: 'Twill come most strange to them when we report it. + + 4 AVOC: The gentlewoman has been ever held + Of unreproved name. + + 3 AVOC: So has the youth. + + 4 AVOC: The more unnatural part that of his father. + + 2 AVOC: More of the husband. + + 1 AVOC: I not know to give + His act a name, it is so monstrous! + + 4 AVOC: But the impostor, he's a thing created + To exceed example! + + 1 AVOC: And all after-times! + + 2 AVOC: I never heard a true voluptuary + Discribed, but him. + + 3 AVOC: Appear yet those were cited? + + NOT: All, but the old magnifico, Volpone. + + 1 AVOC: Why is not he here? + + MOS: Please your fatherhoods, + Here is his advocate: himself's so weak, + So feeble— + + 4 AVOC: What are you? + + BON: His parasite, + His knave, his pandar—I beseech the court, + He may be forced to come, that your grave eyes + May bear strong witness of his strange impostures. + + VOLT: Upon my faith and credit with your virtues, + He is not able to endure the air. + + 2 AVOC: Bring him, however. + + 3 AVOC: We will see him. + + 4 AVOC: Fetch him. + + VOLT: Your fatherhoods fit pleasures be obey'd; + [EXEUNT OFFICERS.] + But sure, the sight will rather move your pities, + Than indignation. May it please the court, + In the mean time, he may be heard in me; + I know this place most void of prejudice, + And therefore crave it, since we have no reason + To fear our truth should hurt our cause. + + 3 AVOC: Speak free. + + VOLT: Then know, most honour'd fathers, I must now + Discover to your strangely abused ears, + The most prodigious and most frontless piece + Of solid impudence, and treachery, + That ever vicious nature yet brought forth + To shame the state of Venice. This lewd woman, + That wants no artificial looks or tears + To help the vizor she has now put on, + Hath long been known a close adulteress, + To that lascivious youth there; not suspected, + I say, but known, and taken in the act + With him; and by this man, the easy husband, + Pardon'd: whose timeless bounty makes him now + Stand here, the most unhappy, innocent person, + That ever man's own goodness made accused. + For these not knowing how to owe a gift + Of that dear grace, but with their shame; being placed + So above all powers of their gratitude, + Began to hate the benefit; and, in place + Of thanks, devise to extirpe the memory + Of such an act: wherein I pray your fatherhoods + To observe the malice, yea, the rage of creatures + Discover'd in their evils; and what heart + Such take, even from their crimes:—but that anon + Will more appear.—This gentleman, the father, + Hearing of this foul fact, with many others, + Which daily struck at his too tender ears, + And grieved in nothing more than that he could not + Preserve himself a parent, (his son's ills + Growing to that strange flood,) at last decreed + To disinherit him. + + 1 AVOC: These be strange turns! + + 2 AVOC: The young man's fame was ever fair and honest. + + VOLT: So much more full of danger is his vice, + That can beguile so under shade of virtue. + But, as I said, my honour'd sires, his father + Having this settled purpose, by what means + To him betray'd, we know not, and this day + Appointed for the deed; that parricide, + I cannot style him better, by confederacy + Preparing this his paramour to be there, + Enter'd Volpone's house, (who was the man, + Your fatherhoods must understand, design'd + For the inheritance,) there sought his father:— + But with what purpose sought he him, my lords? + I tremble to pronounce it, that a son + Unto a father, and to such a father, + Should have so foul, felonious intent! + It was to murder him: when being prevented + By his more happy absence, what then did he? + Not check his wicked thoughts; no, now new deeds, + (Mischief doth ever end where it begins) + An act of horror, fathers! he dragg'd forth + The aged gentleman that had there lain bed-rid + Three years and more, out of his innocent couch, + Naked upon the floor, there left him; wounded + His servant in the face: and, with this strumpet + The stale to his forged practice, who was glad + To be so active,—(I shall here desire + Your fatherhoods to note but my collections, + As most remarkable,—) thought at once to stop + His father's ends; discredit his free choice + In the old gentleman, redeem themselves, + By laying infamy upon this man, + To whom, with blushing, they should owe their lives. + + 1 AVOC: What proofs have you of this? + + BON: Most honoured fathers, + I humbly crave there be no credit given + To this man's mercenary tongue. + + 2 AVOC: Forbear. + + BON: His soul moves in his fee. + + 3 AVOC: O, sir. + + BON: This fellow, + For six sols more, would plead against his Maker. + + 1 AVOC: You do forget yourself. + + VOLT: Nay, nay, grave fathers, + Let him have scope: can any man imagine + That he will spare his accuser, that would not + Have spared his parent? + + 1 AVOC: Well, produce your proofs. + + CEL: I would I could forget I were a creature. + + VOLT: Signior Corbaccio. + + [CORBACCIO COMES FORWARD.] + + 1 AVOC: What is he? + + VOLT: The father. + + 2 AVOC: Has he had an oath? + + NOT: Yes. + + CORB: What must I do now? + + NOT: Your testimony's craved. + + CORB: Speak to the knave? + I'll have my mouth first stopt with earth; my heart + Abhors his knowledge: I disclaim in him. + + 1 AVOC: But for what cause? + + CORB: The mere portent of nature! + He is an utter stranger to my loins. + + BON: Have they made you to this? + + CORB: I will not hear thee, + Monster of men, swine, goat, wolf, parricide! + Speak not, thou viper. + + BON: Sir, I will sit down, + And rather wish my innocence should suffer, + Then I resist the authority of a father. + + VOLT: Signior Corvino! + + [CORVINO COMES FORWARD.] + + 2 AVOC: This is strange. + + 1 AVOC: Who's this? + + NOT: The husband. + + 4 AVOC: Is he sworn? + + NOT: He is. + + 3 AVOC: Speak, then. + + CORV: This woman, please your fatherhoods, is a whore, + Of most hot exercise, more than a partrich, + Upon record— + + 1 AVOC: No more. + + CORV: Neighs like a jennet. + + NOT: Preserve the honour of the court. + + CORV: I shall, + And modesty of your most reverend ears. + And yet I hope that I may say, these eyes + Have seen her glued unto that piece of cedar, + That fine well-timber'd gallant; and that here + The letters may be read, through the horn, + That make the story perfect. + + MOS: Excellent! sir. + + CORV [ASIDE TO MOSCA.]: There's no shame in this now, is there? + + MOS: None. + + CORV: Or if I said, I hoped that she were onward + To her damnation, if there be a hell + Greater than whore and woman; a good catholic + May make the doubt. + + 3 AVOC: His grief hath made him frantic. + + 1 AVOC: Remove him hence. + + 2 AVOC: Look to the woman. + + [CELIA SWOONS.] + + CORV: Rare! + Prettily feign'd, again! + + 4 AVOC: Stand from about her. + + 1 AVOC: Give her the air. + + 3 AVOC [TO MOSCA.]: What can you say? + + MOS: My wound, + May it please your wisdoms, speaks for me, received + In aid of my good patron, when he mist + His sought-for father, when that well-taught dame + Had her cue given her, to cry out, A rape! + + BON: O most laid impudence! Fathers— + + 3 AVOC: Sir, be silent; + You had your hearing free, so must they theirs. + + 2 AVOC: I do begin to doubt the imposture here. + + 4 AVOC: This woman has too many moods. + + VOLT: Grave fathers, + She is a creature of a most profest + And prostituted lewdness. + + CORV: Most impetuous, + Unsatisfied, grave fathers! + + VOLT: May her feignings + Not take your wisdoms: but this day she baited + A stranger, a grave knight, with her loose eyes, + And more lascivious kisses. This man saw them + Together on the water in a gondola. + + MOS: Here is the lady herself, that saw them too; + Without; who then had in the open streets + Pursued them, but for saving her knight's honour. + + 1 AVOC: Produce that lady. + + 2 AVOC: Let her come. + + [EXIT MOSCA.] + + 4 AVOC: These things, + They strike with wonder! + + 3 AVOC: I am turn'd a stone. + + [RE-ENTER MOSCA WITH LADY WOULD-BE.] + + MOS: Be resolute, madam. + + LADY P: Ay, this same is she. + [POINTING TO CELIA.] + Out, thou chameleon harlot! now thine eyes + Vie tears with the hyaena. Dar'st thou look + Upon my wronged face?—I cry your pardons, + I fear I have forgettingly transgrest + Against the dignity of the court— + + 2 AVOC: No, madam. + + LADY P: And been exorbitant— + + 2 AVOC: You have not, lady. + + 4 AVOC: These proofs are strong. + + LADY P: Surely, I had no purpose + To scandalise your honours, or my sex's. + + 3 AVOC: We do believe it. + + LADY P: Surely, you may believe it. + + 2 AVOC: Madam, we do. + + LADY P: Indeed, you may; my breeding + Is not so coarse— + + 1 AVOC: We know it. + + LADY P: To offend + With pertinacy— + + 3 AVOC: Lady— + + LADY P: Such a presence! + No surely. + + 1 AVOC: We well think it. + + LADY P: You may think it. + + 1 AVOC: Let her o'ercome. What witnesses have you + To make good your report? + + BON: Our consciences. + + CEL: And heaven, that never fails the innocent. + + 4 AVOC: These are no testimonies. + + BON: Not in your courts, + Where multitude, and clamour overcomes. + + 1 AVOC: Nay, then you do wax insolent. + + [RE-ENTER OFFICERS, BEARING VOLPONE ON A COUCH.] + + VOLT: Here, here, + The testimony comes, that will convince, + And put to utter dumbness their bold tongues: + See here, grave fathers, here's the ravisher, + The rider on men's wives, the great impostor, + The grand voluptuary! Do you not think + These limbs should affect venery? or these eyes + Covet a concubine? pray you mark these hands; + Are they not fit to stroke a lady's breasts?— + Perhaps he doth dissemble! + + BON: So he does. + + VOLT: Would you have him tortured? + + BON: I would have him proved. + + VOLT: Best try him then with goads, or burning irons; + Put him to the strappado: I have heard + The rack hath cured the gout; 'faith, give it him, + And help him of a malady; be courteous. + I'll undertake, before these honour'd fathers, + He shall have yet as many left diseases, + As she has known adulterers, or thou strumpets.— + O, my most equal hearers, if these deeds, + Acts of this bold and most exorbitant strain, + May pass with sufferance; what one citizen + But owes the forfeit of his life, yea, fame, + To him that dares traduce him? which of you + Are safe, my honour'd fathers? I would ask, + With leave of your grave fatherhoods, if their plot + Have any face or colour like to truth? + Or if, unto the dullest nostril here, + It smell not rank, and most abhorred slander? + I crave your care of this good gentleman, + Whose life is much endanger'd by their fable; + And as for them, I will conclude with this, + That vicious persons, when they're hot and flesh'd + In impious acts, their constancy abounds: + Damn'd deeds are done with greatest confidence. + + 1 AVOC: Take them to custody, and sever them. + + 2 AVOC: 'Tis pity two such prodigies should live. + + 1 AVOC: Let the old gentleman be return'd with care; + [EXEUNT OFFICERS WITH VOLPONE.] + I'm sorry our credulity hath wrong'd him. + + 4 AVOC: These are two creatures! + + 3 AVOC: I've an earthquake in me. + + 2 AVOC: Their shame, even in their cradles, fled their faces. + + 4 AVOC [TO VOLT.]: You have done a worthy service to the state, sir, + In their discovery. + + 1 AVOC: You shall hear, ere night, + What punishment the court decrees upon them. + + [EXEUNT AVOCAT., NOT., AND OFFICERS WITH BONARIO AND CELIA.] + + VOLT: We thank your fatherhoods.—How like you it? + + MOS: Rare. + I'd have your tongue, sir, tipt with gold for this; + I'd have you be the heir to the whole city; + The earth I'd have want men, ere you want living: + They're bound to erect your statue in St. Mark's. + Signior Corvino, I would have you go + And shew yourself, that you have conquer'd. + + CORV: Yes. + + MOS: It was much better that you should profess + Yourself a cuckold thus, than that the other + Should have been prov'd. + + CORV: Nay, I consider'd that: + Now it is her fault: + + MOS: Then it had been yours. + + CORV: True; I do doubt this advocate still. + + MOS: I'faith, + You need not, I dare ease you of that care. + + CORV: I trust thee, Mosca. + + [EXIT.] + + MOS: As your own soul, sir. + + CORB: Mosca! + + MOS: Now for your business, sir. + + CORB: How! have you business? + + MOS: Yes, your's, sir. + + CORB: O, none else? + + MOS: None else, not I. + + CORB: Be careful, then. + + MOS: Rest you with both your eyes, sir. + + CORB: Dispatch it. + + MOS: Instantly. + + CORB: And look that all, + Whatever, be put in, jewels, plate, moneys, + Household stuff, bedding, curtains. + + MOS: Curtain-rings, sir. + Only the advocate's fee must be deducted. + + CORB: I'll pay him now; you'll be too prodigal. + + MOS: Sir, I must tender it. + + CORB: Two chequines is well? + + MOS: No, six, sir. + + CORB: 'Tis too much. + + MOS: He talk'd a great while; + You must consider that, sir. + + CORB: Well, there's three— + + MOS: I'll give it him. + + CORB: Do so, and there's for thee. + + [EXIT.] + + MOS [ASIDE.]: Bountiful bones! What horrid strange offence + Did he commit 'gainst nature, in his youth, + Worthy this age? + [TO VOLT.]—You see, sir, how I work + Unto your ends; take you no notice. + + VOLT: No, + I'll leave you. + + [EXIT.] + + MOS: All is yours, the devil and all: + Good advocate!—Madam, I'll bring you home. + + LADY P: No, I'll go see your patron. + + MOS: That you shall not: + I'll tell you why. My purpose is to urge + My patron to reform his Will; and for + The zeal you have shewn to-day, whereas before + You were but third or fourth, you shall be now + Put in the first; which would appear as begg'd, + If you were present. Therefore— + + LADY P: You shall sway me. + + [EXEUNT.] +</pre> + <p> + <a name="link2H_4_0010" id="link2H_4_0010"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT 5. SCENE 5.1 + </h2> +<pre xml:space="preserve"> + A ROOM IN VOLPONE'S HOUSE. + + ENTER VOLPONE. + + VOLP: Well, I am here, and all this brunt is past. + I ne'er was in dislike with my disguise + Till this fled moment; here 'twas good, in private; + But in your public,—cave whilst I breathe. + 'Fore God, my left leg began to have the cramp, + And I apprehended straight some power had struck me + With a dead palsy: Well! I must be merry, + And shake it off. A many of these fears + Would put me into some villanous disease, + Should they come thick upon me: I'll prevent 'em. + Give me a bowl of lusty wine, to fright + This humour from my heart. + [DRINKS.] + Hum, hum, hum! + 'Tis almost gone already; I shall conquer. + Any device, now, of rare ingenious knavery, + That would possess me with a violent laughter, + Would make me up again. + [DRINKS AGAIN.] + So, so, so, so! + This heat is life; 'tis blood by this time:—Mosca! + + [ENTER MOSCA.] + + MOS: How now, sir? does the day look clear again? + Are we recover'd, and wrought out of error, + Into our way, to see our path before us? + Is our trade free once more? + + VOLP: Exquisite Mosca! + + MOS: Was it not carried learnedly? + + VOLP: And stoutly: + Good wits are greatest in extremities. + + MOS: It were a folly beyond thought, to trust + Any grand act unto a cowardly spirit: + You are not taken with it enough, methinks? + + VOLP: O, more than if I had enjoy'd the wench: + The pleasure of all woman-kind's not like it. + + MOS: Why now you speak, sir. We must here be fix'd; + Here we must rest; this is our master-piece; + We cannot think to go beyond this. + + VOLP: True. + Thou hast play'd thy prize, my precious Mosca. + + MOS: Nay, sir, + To gull the court— + + VOLP: And quite divert the torrent + Upon the innocent. + + MOS: Yes, and to make + So rare a music out of discords— + + VOLP: Right. + That yet to me's the strangest, how thou hast borne it! + That these, being so divided 'mongst themselves, + Should not scent somewhat, or in me or thee, + Or doubt their own side. + + MOS: True, they will not see't. + Too much light blinds them, I think. Each of them + Is so possest and stuft with his own hopes, + That any thing unto the contrary, + Never so true, or never so apparent, + Never so palpable, they will resist it— + + VOLP: Like a temptation of the devil. + + MOS: Right, sir. + Merchants may talk of trade, and your great signiors + Of land that yields well; but if Italy + Have any glebe more fruitful than these fellows, + I am deceiv'd. Did not your advocate rare? + + VOLP: O—"My most honour'd fathers, my grave fathers, + Under correction of your fatherhoods, + What face of truth is here? If these strange deeds + May pass, most honour'd fathers"—I had much ado + To forbear laughing. + + MOS: It seem'd to me, you sweat, sir. + + VOLP: In troth, I did a little. + + MOS: But confess, sir, + Were you not daunted? + + VOLP: In good faith, I was + A little in a mist, but not dejected; + Never, but still my self. + + MOS: I think it, sir. + Now, so truth help me, I must needs say this, sir, + And out of conscience for your advocate: + He has taken pains, in faith, sir, and deserv'd, + In my poor judgment, I speak it under favour, + Not to contrary you, sir, very richly— + Well—to be cozen'd. + + VOLP: Troth, and I think so too, + By that I heard him, in the latter end. + + MOS: O, but before, sir: had you heard him first + Draw it to certain heads, then aggravate, + Then use his vehement figures—I look'd still + When he would shift a shirt: and, doing this + Out of pure love, no hope of gain— + + VOLP: 'Tis right. + I cannot answer him, Mosca, as I would, + Not yet; but for thy sake, at thy entreaty, + I will begin, even now—to vex them all, + This very instant. + + MOS: Good sir. + + VOLP: Call the dwarf + And eunuch forth. + + MOS: Castrone, Nano! + + [ENTER CASTRONE AND NANO.] + + NANO: Here. + + VOLP: Shall we have a jig now? + + MOS: What you please, sir. + + VOLP: Go, + Straight give out about the streets, you two, + That I am dead; do it with constancy, + Sadly, do you hear? impute it to the grief + Of this late slander. + + [EXEUNT CAST. AND NANO.] + + MOS: What do you mean, sir? + + VOLP: O, + I shall have instantly my Vulture, Crow, + Raven, come flying hither, on the news, + To peck for carrion, my she-wolfe, and all, + Greedy, and full of expectation— + + MOS: And then to have it ravish'd from their mouths! + + VOLP: 'Tis true. I will have thee put on a gown, + And take upon thee, as thou wert mine heir: + Shew them a will; Open that chest, and reach + Forth one of those that has the blanks; I'll straight + Put in thy name. + + MOS [GIVES HIM A PAPER.]: It will be rare, sir. + + VOLP: Ay, + When they ev'n gape, and find themselves deluded— + + MOS: Yes. + + VOLP: And thou use them scurvily! + Dispatch, get on thy gown. + + MOS [PUTTING ON A GOWN.]: But, what, sir, if they ask + After the body? + + VOLP: Say, it was corrupted. + + MOS: I'll say it stunk, sir; and was fain to have it + Coffin'd up instantly, and sent away. + + VOLP: Any thing; what thou wilt. Hold, here's my will. + Get thee a cap, a count-book, pen and ink, + Papers afore thee; sit as thou wert taking + An inventory of parcels: I'll get up + Behind the curtain, on a stool, and hearken; + Sometime peep over, see how they do look, + With what degrees their blood doth leave their faces, + O, 'twill afford me a rare meal of laughter! + + MOS [PUTTING ON A CAP, AND SETTING OUT THE TABLE, ETC.]: + Your advocate will turn stark dull upon it. + + VOLP: It will take off his oratory's edge. + + MOS: But your clarissimo, old round-back, he + Will crump you like a hog-louse, with the touch. + + VOLP: And what Corvino? + + MOS: O, sir, look for him, + To-morrow morning, with a rope and dagger, + To visit all the streets; he must run mad. + My lady too, that came into the court, + To bear false witness for your worship— + + VOLP: Yes, + And kist me 'fore the fathers; when my face + Flow'd all with oils. + + MOS: And sweat, sir. Why, your gold + Is such another med'cine, it dries up + All those offensive savours: it transforms + The most deformed, and restores them lovely, + As 'twere the strange poetical girdle. Jove + Could not invent t' himself a shroud more subtle + To pass Acrisius' guards. It is the thing + Makes all the world her grace, her youth, her beauty. + + VOLP: I think she loves me. + + MOS: Who? the lady, sir? + She's jealous of you. + + VOLP: Dost thou say so? + + [KNOCKING WITHIN.] + + MOS: Hark, + There's some already. + + VOLP: Look. + + MOS: It is the Vulture: + He has the quickest scent. + + VOLP: I'll to my place, + Thou to thy posture. + + [GOES BEHIND THE CURTAIN.] + + MOS: I am set. + + VOLP: But, Mosca, + Play the artificer now, torture them rarely. + + [ENTER VOLTORE.] + + VOLT: How now, my Mosca? + + MOS [WRITING.]: "Turkey carpets, nine"— + + VOLT: Taking an inventory! that is well. + + MOS: "Two suits of bedding, tissue"— + + VOLT: Where's the Will? + Let me read that the while. + + [ENTER SERVANTS, WITH CORBACCIO IN A CHAIR.] + + CORB: So, set me down: + And get you home. + + [EXEUNT SERVANTS.] + + VOLT: Is he come now, to trouble us! + + MOS: "Of cloth of gold, two more"— + + CORB: Is it done, Mosca? + + MOS: "Of several velvets, eight"— + + VOLT: I like his care. + + CORB: Dost thou not hear? + + [ENTER CORVINO.] + + CORB: Ha! is the hour come, Mosca? + + VOLP [PEEPING OVER THE CURTAIN.]: Ay, now, they muster. + + CORV: What does the advocate here, + Or this Corbaccio? + + CORB: What do these here? + + [ENTER LADY POL. WOULD-BE.] + + LADY P: Mosca! + Is his thread spun? + + MOS: "Eight chests of linen"— + + VOLP: O, + My fine dame Would-be, too! + + CORV: Mosca, the Will, + That I may shew it these, and rid them hence. + + MOS: "Six chests of diaper, four of damask."—There. + + [GIVES THEM THE WILL CARELESSLY, OVER HIS SHOULDER.] + + CORB: Is that the will? + + MOS: "Down-beds, and bolsters"— + + VOLP: Rare! + Be busy still. Now they begin to flutter: + They never think of me. Look, see, see, see! + How their swift eyes run over the long deed, + Unto the name, and to the legacies, + What is bequeath'd them there— + + MOS: "Ten suits of hangings"— + + VOLP: Ay, in their garters, Mosca. Now their hopes + Are at the gasp. + + VOLT: Mosca the heir? + + CORB: What's that? + + VOLP: My advocate is dumb; look to my merchant, + He has heard of some strange storm, a ship is lost, + He faints; my lady will swoon. Old glazen eyes, + He hath not reach'd his despair yet. + + CORB [TAKES THE WILL.]: All these + Are out of hope: I am sure, the man. + + CORV: But, Mosca— + + MOS: "Two cabinets." + + CORV: Is this in earnest? + + MOS: "One + Of ebony"— + + CORV: Or do you but delude me? + + MOS: The other, mother of pearl—I am very busy. + Good faith, it is a fortune thrown upon me— + "Item, one salt of agate"—not my seeking. + + LADY P: Do you hear, sir? + + MOS: "A perfum'd box"—'Pray you forbear, + You see I'm troubled—"made of an onyx"— + + LADY P: How! + + MOS: To-morrow or next day, I shall be at leisure + To talk with you all. + + CORV: Is this my large hope's issue? + + LADY P: Sir, I must have a fairer answer. + + MOS: Madam! + Marry, and shall: 'pray you, fairly quit my house. + Nay, raise no tempest with your looks; but hark you, + Remember what your ladyship offer'd me, + To put you in an heir; go to, think on it: + And what you said e'en your best madams did + For maintenance, and why not you? Enough. + Go home, and use the poor sir Pol, your knight, well, + For fear I tell some riddles; go, be melancholy. + + [EXIT LADY WOULD-BE.] + + VOLP: O, my fine devil! + + CORV: Mosca, 'pray you a word. + + MOS: Lord! will you not take your dispatch hence yet? + Methinks, of all, you should have been the example. + Why should you stay here? with what thought? what promise? + Hear you; do not you know, I know you an ass, + And that you would most fain have been a wittol, + If fortune would have let you? that you are + A declared cuckold, on good terms? This pearl, + You'll say, was yours? right: this diamond? + I'll not deny't, but thank you. Much here else? + It may be so. Why, think that these good works + May help to hide your bad. I'll not betray you; + Although you be but extraordinary, + And have it only in title, it sufficeth: + Go home, be melancholy too, or mad. + + [EXIT CORVINO.] + + VOLP: Rare Mosca! how his villany becomes him! + + VOLT: Certain he doth delude all these for me. + + CORB: Mosca the heir! + + VOLP: O, his four eyes have found it. + + CORB: I am cozen'd, cheated, by a parasite slave; + Harlot, thou hast gull'd me. + + MOS: Yes, sir. Stop your mouth, + Or I shall draw the only tooth is left. + Are not you he, that filthy covetous wretch, + With the three legs, that, here, in hope of prey, + Have, any time this three years, snuff'd about, + With your most grovelling nose; and would have hired + Me to the poisoning of my patron, sir? + Are not you he that have to-day in court + Profess'd the disinheriting of your son? + Perjured yourself? Go home, and die, and stink. + If you but croak a syllable, all comes out: + Away, and call your porters! + [exit corbaccio.] + Go, go, stink. + + VOLP: Excellent varlet! + + VOLT: Now, my faithful Mosca, + I find thy constancy. + + MOS: Sir! + + VOLT: Sincere. + + MOS [WRITING.]: "A table + Of porphyry"—I marle, you'll be thus troublesome. + + VOLP: Nay, leave off now, they are gone. + + MOS: Why? who are you? + What! who did send for you? O, cry you mercy, + Reverend sir! Good faith, I am grieved for you, + That any chance of mine should thus defeat + Your (I must needs say) most deserving travails: + But I protest, sir, it was cast upon me, + And I could almost wish to be without it, + But that the will o' the dead must be observ'd, + Marry, my joy is that you need it not, + You have a gift, sir, (thank your education,) + Will never let you want, while there are men, + And malice, to breed causes. Would I had + But half the like, for all my fortune, sir! + If I have any suits, as I do hope, + Things being so easy and direct, I shall not, + I will make bold with your obstreperous aid, + Conceive me,—for your fee, sir. In mean time, + You that have so much law, I know have the conscience, + Not to be covetous of what is mine. + Good sir, I thank you for my plate; 'twill help + To set up a young man. Good faith, you look + As you were costive; best go home and purge, sir. + + [EXIT VOLTORE.] + + VOLP [COMES FROM BEHIND THE CURTAIN.]: + Bid him eat lettuce well. + My witty mischief, + Let me embrace thee. O that I could now + Transform thee to a Venus!—Mosca, go, + Straight take my habit of clarissimo, + And walk the streets; be seen, torment them more: + We must pursue, as well as plot. Who would + Have lost this feast? + + MOS: I doubt it will lose them. + + VOLP: O, my recovery shall recover all. + That I could now but think on some disguise + To meet them in, and ask them questions: + How I would vex them still at every turn! + + MOS: Sir, I can fit you. + + VOLP: Canst thou? + + MOS: Yes, I know + One o' the commandadori, sir, so like you; + Him will I straight make drunk, and bring you his habit. + + VOLP: A rare disguise, and answering thy brain! + O, I will be a sharp disease unto them. + + MOS: Sir, you must look for curses— + + VOLP: Till they burst; + The Fox fares ever best when he is curst. + + [EXEUNT.] + + SCENE 5.2. + + A HALL IN SIR POLITICK'S HOUSE. + + ENTER PEREGRINE DISGUISED, AND THREE MERCHANTS. + + PER: Am I enough disguised? + + 1 MER: I warrant you. + + PER: All my ambition is to fright him only. + + 2 MER: If you could ship him away, 'twere excellent. + + 3 MER: To Zant, or to Aleppo? + + PER: Yes, and have his + Adventures put i' the Book of Voyages. + And his gull'd story register'd for truth. + Well, gentlemen, when I am in a while, + And that you think us warm in our discourse, + Know your approaches. + + 1 MER: Trust it to our care. + + [EXEUNT MERCHANTS.] + + [ENTER WAITING-WOMAN.] + + PER: Save you, fair lady! Is sir Pol within? + + WOM: I do not know, sir. + + PER: Pray you say unto him, + Here is a merchant, upon earnest business, + Desires to speak with him. + + WOM: I will see, sir. + [EXIT.] + + PER: Pray you.— + I see the family is all female here. + + [RE-ENTER WAITING-WOMAN.] + + WOM: He says, sir, he has weighty affairs of state, + That now require him whole; some other time + You may possess him. + + PER: Pray you say again, + If those require him whole, these will exact him, + Whereof I bring him tidings. + [EXIT WOMAN.] + —What might be + His grave affair of state now! how to make + Bolognian sausages here in Venice, sparing + One o' the ingredients? + + [RE-ENTER WAITING-WOMAN.] + + WOM: Sir, he says, he knows + By your word "tidings," that you are no statesman, + And therefore wills you stay. + + PER: Sweet, pray you return him; + I have not read so many proclamations, + And studied them for words, as he has done— + But—here he deigns to come. + + [EXIT WOMAN.] + + [ENTER SIR POLITICK.] + + SIR P: Sir, I must crave + Your courteous pardon. There hath chanced to-day, + Unkind disaster 'twixt my lady and me; + And I was penning my apology, + To give her satisfaction, as you came now. + + PER: Sir, I am grieved I bring you worse disaster: + The gentleman you met at the port to-day, + That told you, he was newly arrived— + + SIR P: Ay, was + A fugitive punk? + + PER: No, sir, a spy set on you; + And he has made relation to the senate, + That you profest to him to have a plot + To sell the State of Venice to the Turk. + + SIR P: O me! + + PER: For which, warrants are sign'd by this time, + To apprehend you, and to search your study + For papers— + + SIR P: Alas, sir, I have none, but notes + Drawn out of play-books— + + PER: All the better, sir. + + SIR P: And some essays. What shall I do? + + PER: Sir, best + Convey yourself into a sugar-chest; + Or, if you could lie round, a frail were rare: + And I could send you aboard. + + SIR P: Sir, I but talk'd so, + For discourse sake merely. + + [KNOCKING WITHIN.] + + PER: Hark! they are there. + + SIR P: I am a wretch, a wretch! + + PER: What will you do, sir? + Have you ne'er a currant-butt to leap into? + They'll put you to the rack, you must be sudden. + + SIR P: Sir, I have an ingine— + + 3 MER [WITHIN.]: Sir Politick Would-be? + + 2 MER [WITHIN.]: Where is he? + + SIR P: That I have thought upon before time. + + PER: What is it? + + SIR P: I shall ne'er endure the torture. + Marry, it is, sir, of a tortoise-shell, + Fitted for these extremities: pray you, sir, help me. + Here I've a place, sir, to put back my legs, + Please you to lay it on, sir, + [LIES DOWN WHILE PEREGRINE PLACES THE SHELL UPON HIM.] + —with this cap, + And my black gloves. I'll lie, sir, like a tortoise, + 'Till they are gone. + + PER: And call you this an ingine? + + SIR P: Mine own device—Good sir, bid my wife's women + To burn my papers. + + [EXIT PEREGRINE.] + + [THE THREE MERCHANTS RUSH IN.] + + 1 MER: Where is he hid? + + 3 MER: We must, + And will sure find him. + + 2 MER: Which is his study? + + [RE-ENTER PEREGRINE.] + + 1 MER: What + Are you, sir? + + PER: I am a merchant, that came here + To look upon this tortoise. + + 3 MER: How! + + 1 MER: St. Mark! + What beast is this! + + PER: It is a fish. + + 2 MER: Come out here! + + PER: Nay, you may strike him, sir, and tread upon him; + He'll bear a cart. + + 1 MER: What, to run over him? + + PER: Yes, sir. + + 3 MER: Let's jump upon him. + + 2 MER: Can he not go? + + PER: He creeps, sir. + + 1 MER: Let's see him creep. + + PER: No, good sir, you will hurt him. + + 2 MER: Heart, I will see him creep, or prick his guts. + + 3 MER: Come out here! + + PER: Pray you, sir! + [ASIDE TO SIR POLITICK.] + —Creep a little. + + 1 MER: Forth. + + 2 MER: Yet farther. + + PER: Good sir!—Creep. + + 2 MER: We'll see his legs. + [THEY PULL OFF THE SHELL AND DISCOVER HIM.] + + 3 MER: Ods so, he has garters! + + 1 MER: Ay, and gloves! + + 2 MER: Is this + Your fearful tortoise? + + PER [DISCOVERING HIMSELF.]: Now, sir Pol, we are even; + For your next project I shall be prepared: + I am sorry for the funeral of your notes, sir. + + 1 MER: 'Twere a rare motion to be seen in Fleet-street. + + 2 MER: Ay, in the Term. + + 1 MER: Or Smithfield, in the fair. + + 3 MER: Methinks 'tis but a melancholy sight. + + PER: Farewell, most politic tortoise! + + [EXEUNT PER. AND MERCHANTS.] + + [RE-ENTER WAITING-WOMAN.] + + SIR P: Where's my lady? + Knows she of this? + + WOM: I know not, sir. + + SIR P: Enquire.— + O, I shall be the fable of all feasts, + The freight of the gazetti; ship-boy's tale; + And, which is worst, even talk for ordinaries. + + WOM: My lady's come most melancholy home, + And says, sir, she will straight to sea, for physic. + + SIR P: And I to shun this place and clime for ever; + Creeping with house on back: and think it well, + To shrink my poor head in my politic shell. + + [EXEUNT.] +</pre> +<pre xml:space="preserve"> + SCENE 5.3. + + A ROOM IN VOLPONE'S HOUSE. + + ENTER MOSCA IN THE HABIT OF A CLARISSIMO; + AND VOLPONE IN THAT OF A COMMANDADORE. + + VOLP: Am I then like him? + + MOS: O, sir, you are he; + No man can sever you. + + VOLP: Good. + + MOS: But what am I? + + VOLP: 'Fore heaven, a brave clarissimo, thou becom'st it! + Pity thou wert not born one. + + MOS [ASIDE.]: If I hold + My made one, 'twill be well. + + VOLP: I'll go and see + What news first at the court. + + [EXIT.] + + MOS: Do so. My Fox + Is out of his hole, and ere he shall re-enter, + I'll make him languish in his borrow'd case, + Except he come to composition with me.— + Androgyno, Castrone, Nano! + + [ENTER ANDROGYNO, CASTRONE AND NANO.] + + ALL: Here. + + MOS: Go, recreate yourselves abroad; go sport.— + [EXEUNT.] + So, now I have the keys, and am possest. + Since he will needs be dead afore his time, + I'll bury him, or gain by him: I am his heir, + And so will keep me, till he share at least. + To cozen him of all, were but a cheat + Well placed; no man would construe it a sin: + Let his sport pay for it, this is call'd the Fox-trap. + + [EXIT.] +</pre> +<pre xml:space="preserve"> + SCENE 5.4 + + A STREET. + + ENTER CORBACCIO AND CORVINO. + + CORB: They say, the court is set. + + CORV: We must maintain + Our first tale good, for both our reputations. + + CORB: Why, mine's no tale: my son would there have kill'd me. + + CORV: That's true, I had forgot:— + [ASIDE.]—mine is, I am sure. + But for your Will, sir. + + CORB: Ay, I'll come upon him + For that hereafter; now his patron's dead. + + [ENTER VOLPONE.] + + VOLP: Signior Corvino! and Corbaccio! sir, + Much joy unto you. + + CORV: Of what? + + VOLP: The sudden good, + Dropt down upon you— + + CORB: Where? + + VOLP: And, none knows how, + From old Volpone, sir. + + CORB: Out, arrant knave! + + VOLP: Let not your too much wealth, sir, make you furious. + + CORB: Away, thou varlet! + + VOLP: Why, sir? + + CORB: Dost thou mock me? + + VOLP: You mock the world, sir; did you not change Wills? + + CORB: Out, harlot! + + VOLP: O! belike you are the man, + Signior Corvino? 'faith, you carry it well; + You grow not mad withal: I love your spirit: + You are not over-leaven'd with your fortune. + You should have some would swell now, like a wine-fat, + With such an autumn—Did he give you all, sir? + + CORB: Avoid, you rascal! + + VOLP: Troth, your wife has shewn + Herself a very woman; but you are well, + You need not care, you have a good estate, + To bear it out sir, better by this chance: + Except Corbaccio have a share. + + CORV: Hence, varlet. + + VOLP: You will not be acknown, sir; why, 'tis wise. + Thus do all gamesters, at all games, dissemble: + No man will seem to win. + [exeunt corvino and corbaccio.] + —Here comes my vulture, + Heaving his beak up in the air, and snuffing. + + [ENTER VOLTORE.] + + VOLT: Outstript thus, by a parasite! a slave, + Would run on errands, and make legs for crumbs? + Well, what I'll do— + + VOLP: The court stays for your worship. + I e'en rejoice, sir, at your worship's happiness, + And that it fell into so learned hands, + That understand the fingering— + + VOLT: What do you mean? + + VOLP: I mean to be a suitor to your worship, + For the small tenement, out of reparations, + That, to the end of your long row of houses, + By the Piscaria: it was, in Volpone's time, + Your predecessor, ere he grew diseased, + A handsome, pretty, custom'd bawdy-house, + As any was in Venice, none dispraised; + But fell with him; his body and that house + Decay'd, together. + + VOLT: Come sir, leave your prating. + + VOLP: Why, if your worship give me but your hand, + That I may have the refusal, I have done. + 'Tis a mere toy to you, sir; candle-rents; + As your learn'd worship knows— + + VOLT: What do I know? + + VOLP: Marry, no end of your wealth, sir, God decrease it! + + VOLT: Mistaking knave! what, mockst thou my misfortune? + + [EXIT.] + + VOLP: His blessing on your heart, sir; would 'twere more!— + Now to my first again, at the next corner. + + [EXIT.] +</pre> +<pre xml:space="preserve"> + SCENE 5.5. + + ANOTHER PART OF THE STREET. + + ENTER CORBACCIO AND CORVINO;— + MOSCA PASSES OVER THE STAGE, BEFORE THEM. + + CORB: See, in our habit! see the impudent varlet! + + CORV: That I could shoot mine eyes at him like gun-stones. + + [ENTER VOLPONE.] + + VOLP: But is this true, sir, of the parasite? + + CORB: Again, to afflict us! monster! + + VOLP: In good faith, sir, + I'm heartily grieved, a beard of your grave length + Should be so over-reach'd. I never brook'd + That parasite's hair; methought his nose should cozen: + There still was somewhat in his look, did promise + The bane of a clarissimo. + + CORB: Knave— + + VOLP: Methinks + Yet you, that are so traded in the world, + A witty merchant, the fine bird, Corvino, + That have such moral emblems on your name, + Should not have sung your shame; and dropt your cheese, + To let the Fox laugh at your emptiness. + + CORV: Sirrah, you think the privilege of the place, + And your red saucy cap, that seems to me + Nail'd to your jolt-head with those two chequines, + Can warrant your abuses; come you hither: + You shall perceive, sir, I dare beat you; approach. + + VOLP: No haste, sir, I do know your valour well, + Since you durst publish what you are, sir. + + CORV: Tarry, + I'd speak with you. + + VOLP: Sir, sir, another time— + + CORV: Nay, now. + + VOLP: O lord, sir! I were a wise man, + Would stand the fury of a distracted cuckold. + + [AS HE IS RUNNING OFF, RE-ENTER MOSCA.] + + CORB: What, come again! + + VOLP: Upon 'em, Mosca; save me. + + CORB: The air's infected where he breathes. + + CORV: Let's fly him. + + [EXEUNT CORV. AND CORB.] + + VOLP: Excellent basilisk! turn upon the vulture. + + [ENTER VOLTORE.] + + VOLT: Well, flesh-fly, it is summer with you now; + Your winter will come on. + + MOS: Good advocate, + Prithee not rail, nor threaten out of place thus; + Thou'lt make a solecism, as madam says. + Get you a biggin more, your brain breaks loose. + + [EXIT.] + + VOLT: Well, sir. + + VOLP: Would you have me beat the insolent slave, + Throw dirt upon his first good clothes? + + VOLT: This same + Is doubtless some familiar. + + VOLP: Sir, the court, + In troth, stays for you. I am mad, a mule + That never read Justinian, should get up, + And ride an advocate. Had you no quirk + To avoid gullage, sir, by such a creature? + I hope you do but jest; he has not done it: + 'Tis but confederacy, to blind the rest. + You are the heir. + + VOLT: A strange, officious, + Troublesome knave! thou dost torment me. + + VOLP: I know— + It cannot be, sir, that you should be cozen'd; + 'Tis not within the wit of man to do it; + You are so wise, so prudent; and 'tis fit + That wealth and wisdom still should go together. + + [EXEUNT.] +</pre> +<pre xml:space="preserve"> + SCENE 5.6. + + THE SCRUTINEO OR SENATE-HOUSE. + + ENTER AVOCATORI, NOTARIO, BONARIO, CELIA, + CORBACCIO, CORVINO, COMMANDADORI, SAFFI, ETC. + + 1 AVOC: Are all the parties here? + + NOT: All but the advocate. + + 2 AVOC: And here he comes. + + [ENTER VOLTORE AND VOLPONE.] + + 1 AVOC: Then bring them forth to sentence. + + VOLT: O, my most honour'd fathers, let your mercy + Once win upon your justice, to forgive— + I am distracted— + + VOLP [ASIDE.]: What will he do now? + + VOLT: O, + I know not which to address myself to first; + Whether your fatherhoods, or these innocents— + + CORV [ASIDE.]: Will he betray himself? + + VOLT: Whom equally + I have abused, out of most covetous ends— + + CORV: The man is mad! + + CORB: What's that? + + CORV: He is possest. + + VOLT: For which, now struck in conscience, here, I prostate + Myself at your offended feet, for pardon. + + 1, 2 AVOC: Arise. + + CEL: O heaven, how just thou art! + + VOLP [ASIDE.]: I am caught + In mine own noose— + + CORV [TO CORBACCIO.]: Be constant, sir: nought now + Can help, but impudence. + + 1 AVOC: Speak forward. + + COM: Silence! + + VOLT: It is not passion in me, reverend fathers, + But only conscience, conscience, my good sires, + That makes me now tell trueth. That parasite, + That knave, hath been the instrument of all. + + 1 AVOC: Where is that knave? fetch him. + + VOLP: I go. + + [EXIT.] + + CORV: Grave fathers, + This man's distracted; he confest it now: + For, hoping to be old Volpone's heir, + Who now is dead— + + 3 AVOC: How? + + 2 AVOC: Is Volpone dead? + + CORV: Dead since, grave fathers— + + BON: O sure vengeance! + + 1 AVOC: Stay, + Then he was no deceiver? + + VOLT: O no, none: + The parasite, grave fathers. + + CORV: He does speak + Out of mere envy, 'cause the servant's made + The thing he gaped for: please your fatherhoods, + This is the truth, though I'll not justify + The other, but he may be some-deal faulty. + + VOLT: Ay, to your hopes, as well as mine, Corvino: + But I'll use modesty. Pleaseth your wisdoms, + To view these certain notes, and but confer them; + As I hope favour, they shall speak clear truth. + + CORV: The devil has enter'd him! + + BON: Or bides in you. + + 4 AVOC: We have done ill, by a public officer, + To send for him, if he be heir. + + 2 AVOC: For whom? + + 4 AVOC: Him that they call the parasite. + + 3 AVOC: 'Tis true, + He is a man of great estate, now left. + + 4 AVOC: Go you, and learn his name, and say, the court + Entreats his presence here, but to the clearing + Of some few doubts. + + [EXIT NOTARY.] + + 2 AVOC: This same's a labyrinth! + + 1 AVOC: Stand you unto your first report? + + CORV: My state, + My life, my fame— + + BON: Where is it? + + CORV: Are at the stake + + 1 AVOC: Is yours so too? + + CORB: The advocate's a knave, + And has a forked tongue— + + 2 AVOC: Speak to the point. + + CORB: So is the parasite too. + + 1 AVOC: This is confusion. + + VOLT: I do beseech your fatherhoods, read but those— + [GIVING THEM THE PAPERS.] + + CORV: And credit nothing the false spirit hath writ: + It cannot be, but he's possest grave fathers. + + [THE SCENE CLOSES.] +</pre> +<pre xml:space="preserve"> + SCENE 5.7. + + A STREET. + + ENTER VOLPONE. + + VOLP: To make a snare for mine own neck! and run + My head into it, wilfully! with laughter! + When I had newly 'scaped, was free, and clear, + Out of mere wantonness! O, the dull devil + Was in this brain of mine, when I devised it, + And Mosca gave it second; he must now + Help to sear up this vein, or we bleed dead.— + [ENTER NANO, ANDROGYNO, AND CASTRONE.] + How now! who let you loose? whither go you now? + What, to buy gingerbread? or to drown kitlings? + + NAN: Sir, master Mosca call'd us out of doors, + And bid us all go play, and took the keys. + + AND: Yes. + + VOLP: Did master Mosca take the keys? why so! + I'm farther in. These are my fine conceits! + I must be merry, with a mischief to me! + What a vile wretch was I, that could not bear + My fortune soberly? I must have my crotchets, + And my conundrums! Well, go you, and seek him: + His meaning may be truer than my fear. + Bid him, he straight come to me to the court; + Thither will I, and, if't be possible, + Unscrew my advocate, upon new hopes: + When I provoked him, then I lost myself. + + [EXEUNT.] +</pre> +<pre xml:space="preserve"> + SCENE 5.8. + + THE SCRUTINEO, OR SENATE-HOUSE. + + AVOCATORI, BONARIO, CELIA, CORBACCIO, CORVINO, + COMMANDADORI, SAFFI, ETC., AS BEFORE. + + 1 AVOC: These things can ne'er be reconciled. He, here, + [SHEWING THE PAPERS.] + Professeth, that the gentleman was wrong'd, + And that the gentlewoman was brought thither, + Forced by her husband, and there left. + + VOLT: Most true. + + CEL: How ready is heaven to those that pray! + + 1 AVOC: But that + Volpone would have ravish'd her, he holds + Utterly false; knowing his impotence. + + CORV: Grave fathers, he's possest; again, I say, + Possest: nay, if there be possession, and + Obsession, he has both. + + 3 AVOC: Here comes our officer. + + [ENTER VOLPONE.] + + VOLP: The parasite will straight be here, grave fathers. + + 4 AVOC: You might invent some other name, sir varlet. + + 3 AVOC: Did not the notary meet him? + + VOLP: Not that I know. + + 4 AVOC: His coming will clear all. + + 2 AVOC: Yet, it is misty. + + VOLT: May't please your fatherhoods— + + VOLP [whispers volt.]: Sir, the parasite + Will'd me to tell you, that his master lives; + That you are still the man; your hopes the same; + And this was only a jest— + + VOLT: How? + + VOLP: Sir, to try + If you were firm, and how you stood affected. + + VOLT: Art sure he lives? + + VOLP: Do I live, sir? + + VOLT: O me! + I was too violent. + + VOLP: Sir, you may redeem it, + They said, you were possest; fall down, and seem so: + I'll help to make it good. + [voltore falls.] + —God bless the man!— + Stop your wind hard, and swell: See, see, see, see! + He vomits crooked pins! his eyes are set, + Like a dead hare's hung in a poulter's shop! + His mouth's running away! Do you see, signior? + Now it is in his belly! + + CORV: Ay, the devil! + + VOLP: Now in his throat. + + CORV: Ay, I perceive it plain. + + VOLP: 'Twill out, 'twill out! stand clear. + See, where it flies, + In shape of a blue toad, with a bat's wings! + Do you not see it, sir? + + CORB: What? I think I do. + + CORV: 'Tis too manifest. + + VOLP: Look! he comes to himself! + + VOLT: Where am I? + + VOLP: Take good heart, the worst is past, sir. + You are dispossest. + + 1 AVOC: What accident is this! + + 2 AVOC: Sudden, and full of wonder! + + 3 AVOC: If he were + Possest, as it appears, all this is nothing. + + CORV: He has been often subject to these fits. + + 1 AVOC: Shew him that writing:—do you know it, sir? + + VOLP [WHISPERS VOLT.]: Deny it, sir, forswear it; know it not. + + VOLT: Yes, I do know it well, it is my hand; + But all that it contains is false. + + BON: O practice! + + 2 AVOC: What maze is this! + + 1 AVOC: Is he not guilty then, + Whom you there name the parasite? + + VOLT: Grave fathers, + No more than his good patron, old Volpone. + + 4 AVOC: Why, he is dead. + + VOLT: O no, my honour'd fathers, + He lives— + + 1 AVOC: How! lives? + + VOLT: Lives. + + 2 AVOC: This is subtler yet! + + 3 AVOC: You said he was dead. + + VOLT: Never. + + 3 AVOC: You said so. + + CORV: I heard so. + + 4 AVOC: Here comes the gentleman; make him way. + + [ENTER MOSCA.] + + 3 AVOC: A stool. + + 4 AVOC [ASIDE.]: A proper man; and, were Volpone dead, + A fit match for my daughter. + + 3 AVOC: Give him way. + + VOLP [ASIDE TO MOSCA.]: Mosca, I was almost lost, the advocate + Had betrayed all; but now it is recovered; + All's on the hinge again—Say, I am living. + + MOS: What busy knave is this!—Most reverend fathers, + I sooner had attended your grave pleasures, + But that my order for the funeral + Of my dear patron, did require me— + + VOLP [ASIDE.]: Mosca! + + MOS: Whom I intend to bury like a gentleman. + + VOLP [ASIDE.]: Ay, quick, and cozen me of all. + + 2 AVOC: Still stranger! + More intricate! + + 1 AVOC: And come about again! + + 4 AVOC [ASIDE.]: It is a match, my daughter is bestow'd. + + MOS [ASIDE TO VOLP.]: Will you give me half? + + VOLP: First, I'll be hang'd. + + MOS: I know, + Your voice is good, cry not so loud. + + 1 AVOC: Demand + The advocate.—Sir, did not you affirm, + Volpone was alive? + + VOLP: Yes, and he is; + This gentleman told me so. + [ASIDE TO VOLP.] + —Thou shalt have half.— + + MOS: Whose drunkard is this same? speak, some that know him: + I never saw his face. + [ASIDE TO VOLP.] + —I cannot now + Afford it you so cheap. + + VOLP: No! + + 1 AVOC: What say you? + + VOLT: The officer told me. + + VOLP: I did, grave fathers, + And will maintain he lives, with mine own life. + And that this creature [POINTS TO MOSCA.] told me. + [ASIDE.] + —I was born, + With all good stars my enemies. + + MOS: Most grave fathers, + If such an insolence as this must pass + Upon me, I am silent: 'twas not this + For which you sent, I hope. + + 2 AVOC: Take him away. + + VOLP: Mosca! + + 3 AVOC: Let him be whipt. + + VOLP: Wilt thou betray me? + Cozen me? + + 3 AVOC: And taught to bear himself + Toward a person of his rank. + + 4 AVOC: Away. + + [THE OFFICERS SEIZE VOLPONE.] + + MOS: I humbly thank your fatherhoods. + + VOLP [ASIDE.]: Soft, soft: Whipt! + And lose all that I have! If I confess, + It cannot be much more. + + 4 AVOC: Sir, are you married? + + VOLP: They will be allied anon; I must be resolute: + The Fox shall here uncase. + [THROWS OFF HIS DISGUISE.] + + MOS: Patron! + + VOLP: Nay, now, + My ruins shall not come alone; your match + I'll hinder sure: my substance shall not glue you, + Nor screw you into a family. + + MOS: Why, patron! + + VOLP: I am Volpone, and this is my knave; + [POINTING TO MOSCA.] + This [TO VOLT.], his own knave; This [TO CORB.], avarice's fool; + This [TO CORV.], a chimera of wittol, fool, and knave: + And, reverend fathers, since we all can hope + Nought but a sentence, let's not now dispair it. + You hear me brief. + + CORV: May it please your fatherhoods— + + COM: Silence. + + 1 AVOC: The knot is now undone by miracle. + + 2 AVOC: Nothing can be more clear. + + 3 AVOC: Or can more prove + These innocent. + + 1 AVOC: Give them their liberty. + + BON: Heaven could not long let such gross crimes be hid. + + 2 AVOC: If this be held the high-way to get riches, + May I be poor! + + 3 AVOC: This is not the gain, but torment. + + 1 AVOC: These possess wealth, as sick men possess fevers, + Which trulier may be said to possess them. + + 2 AVOC: Disrobe that parasite. + + CORV, MOS: Most honour'd fathers!— + + 1 AVOC: Can you plead aught to stay the course of justice? + If you can, speak. + + CORV, VOLT: We beg favour, + + CEL: And mercy. + + 1 AVOC: You hurt your innocence, suing for the guilty. + Stand forth; and first the parasite: You appear + T'have been the chiefest minister, if not plotter, + In all these lewd impostures; and now, lastly, + Have with your impudence abused the court, + And habit of a gentleman of Venice, + Being a fellow of no birth or blood: + For which our sentence is, first, thou be whipt; + Then live perpetual prisoner in our gallies. + + VOLT: I thank you for him. + + MOS: Bane to thy wolvish nature! + + 1 AVOC: Deliver him to the saffi. + [MOSCA IS CARRIED OUT.] + —Thou, Volpone, + By blood and rank a gentleman, canst not fall + Under like censure; but our judgment on thee + Is, that thy substance all be straight confiscate + To the hospital of the Incurabili: + And, since the most was gotten by imposture, + By feigning lame, gout, palsy, and such diseases, + Thou art to lie in prison, cramp'd with irons, + Till thou be'st sick, and lame indeed.—Remove him. + + [HE IS TAKEN FROM THE BAR.] + + VOLP: This is call'd mortifying of a Fox. + + 1 AVOC: Thou, Voltore, to take away the scandal + Thou hast given all worthy men of thy profession, + Art banish'd from their fellowship, and our state. + Corbaccio!—bring him near—We here possess + Thy son of all thy state, and confine thee + To the monastery of San Spirito; + Where, since thou knewest not how to live well here, + Thou shalt be learn'd to die well. + + CORB: Ah! what said he? + + AND: You shall know anon, sir. + + 1 AVOC: Thou, Corvino, shalt + Be straight embark'd from thine own house, and row'd + Round about Venice, through the grand canale, + Wearing a cap, with fair long asses' ears, + Instead of horns; and so to mount, a paper + Pinn'd on thy breast, to the Berlina— + + CORV: Yes, + And have mine eyes beat out with stinking fish, + Bruised fruit and rotten eggs—'Tis well. I am glad + I shall not see my shame yet. + + 1 AVOC: And to expiate + Thy wrongs done to thy wife, thou art to send her + Home to her father, with her dowry trebled: + And these are all your judgments. + + ALL: Honour'd fathers.— + + 1 AVOC: Which may not be revoked. Now you begin, + When crimes are done, and past, and to be punish'd, + To think what your crimes are: away with them. + Let all that see these vices thus rewarded, + Take heart and love to study 'em! Mischiefs feed + Like beasts, till they be fat, and then they bleed. + + [EXEUNT.] + + [VOLPONE COMES FORWARD.] + + VOLPONE: The seasoning of a play, is the applause. + Now, though the Fox be punish'd by the laws, + He yet doth hope, there is no suffering due, + For any fact which he hath done 'gainst you; + If there be, censure him; here he doubtful stands: + If not, fare jovially, and clap your hands. +</pre> +<pre xml:space="preserve"> + [EXIT.] +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_GLOS" id="link2H_GLOS"> + <!-- H2 anchor --> </a> + </p> + <h2> + GLOSSARY + </h2> + <p> + ABATE, cast down, subdue. + </p> + <p> + ABHORRING, repugnant (to), at variance. + </p> + <p> + ABJECT, base, degraded thing, outcast. + </p> + <p> + ABRASE, smooth, blank. + </p> + <p> + ABSOLUTE(LY), faultless(ly). + </p> + <p> + ABSTRACTED, abstract, abstruse. + </p> + <p> + ABUSE, deceive, insult, dishonour, make ill use of. + </p> + <p> + ACATER, caterer. + </p> + <p> + ACATES, cates. + </p> + <p> + ACCEPTIVE, willing, ready to accept, receive. + </p> + <p> + ACCOMMODATE, fit, befitting. (The word was a fashionable one and used on + all occasions. See "Henry IV.," pt. 2, iii. 4). + </p> + <p> + ACCOST, draw near, approach. + </p> + <p> + ACKNOWN, confessedly acquainted with. + </p> + <p> + ACME, full maturity. + </p> + <p> + ADALANTADO, lord deputy or governor of a Spanish province. + </p> + <p> + ADJECTION, addition. + </p> + <p> + ADMIRATION, astonishment. + </p> + <p> + ADMIRE, wonder, wonder at. + </p> + <p> + ADROP, philosopher's stone, or substance from which obtained. + </p> + <p> + ADSCRIVE, subscribe. + </p> + <p> + ADULTERATE, spurious, counterfeit. + </p> + <p> + ADVANCE, lift. + </p> + <p> + ADVERTISE, inform, give intelligence. + </p> + <p> + ADVERTISED, "be—," be it known to you. + </p> + <p> + ADVERTISEMENT, intelligence. + </p> + <p> + ADVISE, consider, bethink oneself, deliberate. + </p> + <p> + ADVISED, informed, aware; "are you—?" have you found that out? + </p> + <p> + AFFECT, love, like; aim at; move. + </p> + <p> + AFFECTED, disposed; beloved. + </p> + <p> + AFFECTIONATE, obstinate; prejudiced. + </p> + <p> + AFFECTS, affections. + </p> + <p> + AFFRONT, "give the—," face. + </p> + <p> + AFFY, have confidence in; betroth. + </p> + <p> + AFTER, after the manner of. + </p> + <p> + AGAIN, AGAINST, in anticipation of. + </p> + <p> + AGGRAVATE, increase, magnify, enlarge upon. + </p> + <p> + AGNOMINATION. See Paranomasie. + </p> + <p> + AIERY, nest, brood. + </p> + <p> + AIM, guess. + </p> + <p> + ALL HID, children's cry at hide-and-seek. + </p> + <p> + ALL-TO, completely, entirely ("all-to-be-laden"). + </p> + <p> + ALLOWANCE, approbation, recognition. + </p> + <p> + ALMA-CANTARAS (astronomy), parallels of altitude. + </p> + <p> + ALMAIN, name of a dance. + </p> + <p> + ALMUTEN, planet of chief influence in the horoscope. + </p> + <p> + ALONE, unequalled, without peer. + </p> + <p> + ALUDELS, subliming pots. + </p> + <p> + AMAZED, confused, perplexed. + </p> + <p> + AMBER, AMBRE, ambergris. + </p> + <p> + AMBREE, MARY, a woman noted for her valour at the siege of Ghent, 1458. + </p> + <p> + AMES-ACE, lowest throw at dice. + </p> + <p> + AMPHIBOLIES, ambiguities. + </p> + <p> + AMUSED, bewildered, amazed. + </p> + <p> + AN, if. + </p> + <p> + ANATOMY, skeleton, or dissected body. + </p> + <p> + ANDIRONS, fire-dogs. + </p> + <p> + ANGEL, gold coin worth 10 shillings, stamped with the figure of the + archangel Michael. + </p> + <p> + ANNESH CLEARE, spring known as Agnes le Clare. + </p> + <p> + ANSWER, return hit in fencing. + </p> + <p> + ANTIC, ANTIQUE, clown, buffoon. + </p> + <p> + ANTIC, like a buffoon. + </p> + <p> + ANTIPERISTASIS, an opposition which enhances the quality it opposes. + </p> + <p> + APOZEM, decoction. + </p> + <p> + APPERIL, peril. + </p> + <p> + APPLE-JOHN, APPLE-SQUIRE, pimp, pander. + </p> + <p> + APPLY, attach. + </p> + <p> + APPREHEND, take into custody. + </p> + <p> + APPREHENSIVE, quick of perception; able to perceive and appreciate. + </p> + <p> + APPROVE, prove, confirm. + </p> + <p> + APT, suit, adapt; train, prepare; dispose, incline. + </p> + <p> + APT(LY), suitable(y), opportune(ly). + </p> + <p> + APTITUDE, suitableness. + </p> + <p> + ARBOR, "make the—," cut up the game (Gifford). + </p> + <p> + ARCHES, Court of Arches. + </p> + <p> + ARCHIE, Archibald Armstrong, jester to James I. and Charles I. + </p> + <p> + ARGAILE, argol, crust or sediment in wine casks. + </p> + <p> + ARGENT-VIVE, quicksilver. + </p> + <p> + ARGUMENT, plot of a drama; theme, subject; matter in question; token, + proof. + </p> + <p> + ARRIDE, please. + </p> + <p> + ARSEDINE, mixture of copper and zinc, used as an imitation of gold-leaf. + </p> + <p> + ARTHUR, PRINCE, reference to an archery show by a society who assumed + arms, etc., of Arthur's knights. + </p> + <p> + ARTICLE, item. + </p> + <p> + ARTIFICIALLY, artfully. + </p> + <p> + ASCENSION, evaporation, distillation. + </p> + <p> + ASPIRE, try to reach, obtain, long for. + </p> + <p> + ASSALTO (Italian), assault. + </p> + <p> + ASSAY, draw a knife along the belly of the deer, a ceremony of the + hunting-field. + </p> + <p> + ASSOIL, solve. + </p> + <p> + ASSURE, secure possession or reversion of. + </p> + <p> + ATHANOR, a digesting furnace, calculated to keep up a constant heat. + </p> + <p> + ATONE, reconcile. + </p> + <p> + ATTACH, attack, seize. + </p> + <p> + AUDACIOUS, having spirit and confidence. + </p> + <p> + AUTHENTIC(AL), of authority, authorised, trustworthy, genuine. + </p> + <p> + AVISEMENT, reflection, consideration. + </p> + <p> + AVOID, begone! get rid of. + </p> + <p> + AWAY WITH, endure. + </p> + <p> + AZOCH, Mercurius Philosophorum. + </p> + <p> + BABION, baboon. + </p> + <p> + BABY, doll. + </p> + <p> + BACK-SIDE, back premises. + </p> + <p> + BAFFLE, treat with contempt. + </p> + <p> + BAGATINE, Italian coin, worth about the third of a farthing. + </p> + <p> + BAIARD, horse of magic powers known to old romance. + </p> + <p> + BALDRICK, belt worn across the breast to support bugle, etc. + </p> + <p> + BALE (of dice), pair. + </p> + <p> + BALK, overlook, pass by, avoid. + </p> + <p> + BALLACE, ballast. + </p> + <p> + BALLOO, game at ball. + </p> + <p> + BALNEUM (BAIN MARIE), a vessel for holding hot water in which other + vessels are stood for heating. + </p> + <p> + BANBURY, "brother of—," Puritan. + </p> + <p> + BANDOG, dog tied or chained up. + </p> + <p> + BANE, woe, ruin. + </p> + <p> + BANQUET, a light repast; dessert. + </p> + <p> + BARB, to clip gold. + </p> + <p> + BARBEL, fresh-water fish. + </p> + <p> + BARE, meer; bareheaded; it was "a particular mark of state and grandeur + for the coachman to be uncovered" (Gifford). + </p> + <p> + BARLEY-BREAK, game somewhat similar to base. + </p> + <p> + BASE, game of prisoner's base. + </p> + <p> + BASES, richly embroidered skirt reaching to the knees, or lower. + </p> + <p> + BASILISK, fabulous reptile, believed to slay with its eye. + </p> + <p> + BASKET, used for the broken provision collected for prisoners. + </p> + <p> + BASON, basons, etc., were beaten by the attendant mob when bad characters + were "carted." + </p> + <p> + BATE, be reduced; abate, reduce. + </p> + <p> + BATOON, baton, stick. + </p> + <p> + BATTEN, feed, grow fat. + </p> + <p> + BAWSON, badger. + </p> + <p> + BEADSMAN, prayer-man, one engaged to pray for another. + </p> + <p> + BEAGLE, small hound; fig. spy. + </p> + <p> + BEAR IN HAND, keep in suspense, deceive with false hopes. + </p> + <p> + BEARWARD, bear leader. + </p> + <p> + BEDPHERE. See Phere. + </p> + <p> + BEDSTAFF, (?) wooden pin in the side of the bedstead for supporting the + bedclothes (Johnson); one of the sticks or "laths"; a stick used in making + a bed. + </p> + <p> + BEETLE, heavy mallet. + </p> + <p> + BEG, "I'd—him," the custody of minors and idiots was begged for; + likewise property fallen forfeit to the Crown ("your house had been + begged"). + </p> + <p> + BELL-MAN, night watchman. + </p> + <p> + BENJAMIN, an aromatic gum. + </p> + <p> + BERLINA, pillory. + </p> + <p> + BESCUMBER, defile. + </p> + <p> + BESLAVE, beslabber. + </p> + <p> + BESOGNO, beggar. + </p> + <p> + BESPAWLE, bespatter. + </p> + <p> + BETHLEHEM GABOR, Transylvanian hero, proclaimed King of Hungary. + </p> + <p> + BEVER, drinking. + </p> + <p> + BEVIS, SIR, knight of romance whose horse was equally celebrated. + </p> + <p> + BEWRAY, reveal, make known. + </p> + <p> + BEZANT, heraldic term: small gold circle. + </p> + <p> + BEZOAR'S STONE, a remedy known by this name was a supposed antidote to + poison. + </p> + <p> + BID-STAND, highwayman. + </p> + <p> + BIGGIN, cap, similar to that worn by the Beguines; nightcap. + </p> + <p> + BILIVE (belive), with haste. + </p> + <p> + BILK, nothing, empty talk. + </p> + <p> + BILL, kind of pike. + </p> + <p> + BILLET, wood cut for fuel, stick. + </p> + <p> + BIRDING, thieving. + </p> + <p> + BLACK SANCTUS, burlesque hymn, any unholy riot. + </p> + <p> + BLANK, originally a small French coin. + </p> + <p> + BLANK, white. + </p> + <p> + BLANKET, toss in a blanket. + </p> + <p> + BLAZE, outburst of violence. + </p> + <p> + BLAZE, (her.) blazon; publish abroad. + </p> + <p> + BLAZON, armorial bearings; fig. all that pertains to good birth and + breeding. + </p> + <p> + BLIN, "withouten—," without ceasing. + </p> + <p> + BLOW, puff up. + </p> + <p> + BLUE, colour of servants' livery, hence "—order," "—waiters." + </p> + <p> + BLUSHET, blushing one. + </p> + <p> + BOB, jest, taunt. + </p> + <p> + BOB, beat, thump. + </p> + <p> + BODGE, measure. + </p> + <p> + BODKIN, dagger, or other short, pointed weapon; long pin with which the + women fastened up their hair. + </p> + <p> + BOLT, roll (of material). + </p> + <p> + BOLT, dislodge, rout out; sift (boulting-tub). + </p> + <p> + BOLT'S-HEAD, long, straight-necked vessel for distillation. + </p> + <p> + BOMBARD SLOPS, padded, puffed-out breeches. + </p> + <p> + BONA ROBA, "good, wholesome, plum-cheeked wench" (Johnson) —not + always used in compliment. + </p> + <p> + BONNY-CLABBER, sour butter-milk. + </p> + <p> + BOOKHOLDER, prompter. + </p> + <p> + BOOT, "to—," into the bargain; "no—," of no avail. + </p> + <p> + BORACHIO, bottle made of skin. + </p> + <p> + BORDELLO, brothel. + </p> + <p> + BORNE IT, conducted, carried it through. + </p> + <p> + BOTTLE (of hay), bundle, truss. + </p> + <p> + BOTTOM, skein or ball of thread; vessel. + </p> + <p> + BOURD, jest. + </p> + <p> + BOVOLI, snails or cockles dressed in the Italian manner (Gifford). + </p> + <p> + BOW-POT, flower vase or pot. + </p> + <p> + BOYS, "terrible—," "angry—," roystering young bucks. (See + Nares). + </p> + <p> + BRABBLES (BRABBLESH), brawls. + </p> + <p> + BRACH, bitch. + </p> + <p> + BRADAMANTE, a heroine in "Orlando Furioso." + </p> + <p> + BRADLEY, ARTHUR OF, a lively character commemorated in ballads. + </p> + <p> + BRAKE, frame for confining a horse's feet while being shod, or strong curb + or bridle; trap. + </p> + <p> + BRANCHED, with "detached sleeve ornaments, projecting from the shoulders + of the gown" (Gifford). + </p> + <p> + BRANDISH, flourish of weapon. + </p> + <p> + BRASH, brace. + </p> + <p> + BRAVE, bravado, braggart speech. + </p> + <p> + BRAVE (adv.), gaily, finely (apparelled). + </p> + <p> + BRAVERIES, gallants. + </p> + <p> + BRAVERY, extravagant gaiety of apparel. + </p> + <p> + BRAVO, bravado, swaggerer. + </p> + <p> + BRAZEN-HEAD, speaking head made by Roger Bacon. + </p> + <p> + BREATHE, pause for relaxation; exercise. + </p> + <p> + BREATH UPON, speak dispraisingly of. + </p> + <p> + BREND, burn. + </p> + <p> + BRIDE-ALE, wedding feast. + </p> + <p> + BRIEF, abstract; (mus.) breve. + </p> + <p> + BRISK, smartly dressed. + </p> + <p> + BRIZE, breese, gadfly. + </p> + <p> + BROAD-SEAL, state seal. + </p> + <p> + BROCK, badger (term of contempt). + </p> + <p> + BROKE, transact business as a broker. + </p> + <p> + BROOK, endure, put up with. + </p> + <p> + BROUGHTON, HUGH, an English divine and Hebrew scholar. + </p> + <p> + BRUIT, rumour. + </p> + <p> + BUCK, wash. + </p> + <p> + BUCKLE, bend. + </p> + <p> + BUFF, leather made of buffalo skin, used for military and serjeants' + coats, etc. + </p> + <p> + BUFO, black tincture. + </p> + <p> + BUGLE, long-shaped bead. + </p> + <p> + BULLED, (?) bolled, swelled. + </p> + <p> + BULLIONS, trunk hose. + </p> + <p> + BULLY, term of familiar endearment. + </p> + <p> + BUNGY, Friar Bungay, who had a familiar in the shape of a dog. + </p> + <p> + BURDEN, refrain, chorus. + </p> + <p> + BURGONET, closely-fitting helmet with visor. + </p> + <p> + BURGULLION, braggadocio. + </p> + <p> + BURN, mark wooden measures ("—ing of cans"). + </p> + <p> + BURROUGH, pledge, security. + </p> + <p> + BUSKIN, half-boot, foot gear reaching high up the leg. + </p> + <p> + BUTT-SHAFT, barbless arrow for shooting at butts. + </p> + <p> + BUTTER, NATHANIEL ("Staple of News"), a compiler of general news. (See + Cunningham). + </p> + <p> + BUTTERY-HATCH, half-door shutting off the buttery, where provisions and + liquors were stored. + </p> + <p> + BUY, "he bought me," formerly the guardianship of wards could be bought. + </p> + <p> + BUZ, exclamation to enjoin silence. + </p> + <p> + BUZZARD, simpleton. + </p> + <p> + BY AND BY, at once. + </p> + <p> + BY(E), "on the __," incidentally, as of minor or secondary importance; at + the side. + </p> + <p> + BY-CHOP, by-blow, bastard. + </p> + <p> + CADUCEUS, Mercury's wand. + </p> + <p> + CALIVER, light kind of musket. + </p> + <p> + CALLET, woman of ill repute. + </p> + <p> + CALLOT, coif worn on the wigs of our judges or serjeants-at-law (Gifford). + </p> + <p> + CALVERED, crimped, or sliced and pickled. (See Nares). + </p> + <p> + CAMOUCCIO, wretch, knave. + </p> + <p> + CAMUSED, flat. + </p> + <p> + CAN, knows. + </p> + <p> + CANDLE-RENT, rent from house property. + </p> + <p> + CANDLE-WASTER, one who studies late. + </p> + <p> + CANTER, sturdy beggar. + </p> + <p> + CAP OF MAINTENCE, an insignia of dignity, a cap of state borne before + kings at their coronation; also an heraldic term. + </p> + <p> + CAPABLE, able to comprehend, fit to receive instruction, impression. + </p> + <p> + CAPANEUS, one of the "Seven against Thebes." + </p> + <p> + CARACT, carat, unit of weight for precious stones, etc.; value, worth. + </p> + <p> + CARANZA, Spanish author of a book on duelling. + </p> + <p> + CARCANET, jewelled ornament for the neck. + </p> + <p> + CARE, take care; object. + </p> + <p> + CAROSH, coach, carriage. + </p> + <p> + CARPET, table-cover. + </p> + <p> + CARRIAGE, bearing, behaviour. + </p> + <p> + CARWHITCHET, quip, pun. + </p> + <p> + CASAMATE, casemate, fortress. + </p> + <p> + CASE, a pair. + </p> + <p> + CASE, "in—," in condition. + </p> + <p> + CASSOCK, soldier's loose overcoat. + </p> + <p> + CAST, flight of hawks, couple. + </p> + <p> + CAST, throw dice; vomit; forecast, calculate. + </p> + <p> + CAST, cashiered. + </p> + <p> + CASTING-GLASS, bottle for sprinkling perfume. + </p> + <p> + CASTRIL, kestrel, falcon. + </p> + <p> + CAT, structure used in sieges. + </p> + <p> + CATAMITE, old form of "ganymede." + </p> + <p> + CATASTROPHE, conclusion. + </p> + <p> + CATCHPOLE, sheriff's officer. + </p> + <p> + CATES, dainties, provisions. + </p> + <p> + CATSO, rogue, cheat. + </p> + <p> + CAUTELOUS, crafty, artful. + </p> + <p> + CENSURE, criticism; sentence. + </p> + <p> + CENSURE, criticise; pass sentence, doom. + </p> + <p> + CERUSE, cosmetic containing white lead. + </p> + <p> + CESS, assess. + </p> + <p> + CHANGE, "hunt—," follow a fresh scent. + </p> + <p> + CHAPMAN, retail dealer. + </p> + <p> + CHARACTER, handwriting. + </p> + <p> + CHARGE, expense. + </p> + <p> + CHARM, subdue with magic, lay a spell on, silence. + </p> + <p> + CHARMING, exercising magic power. + </p> + <p> + CHARTEL, challenge. + </p> + <p> + CHEAP, bargain, market. + </p> + <p> + CHEAR, CHEER, comfort, encouragement; food, entertainment. + </p> + <p> + CHECK AT, aim reproof at. + </p> + <p> + CHEQUIN, gold Italian coin. + </p> + <p> + CHEVRIL, from kidskin, which is elastic and pliable. + </p> + <p> + CHIAUS, Turkish envoy; used for a cheat, swindler. + </p> + <p> + CHILDERMASS DAY, Innocents' Day. + </p> + <p> + CHOKE-BAIL, action which does not allow of bail. + </p> + <p> + CHRYSOPOEIA, alchemy. + </p> + <p> + CHRYSOSPERM, ways of producing gold. + </p> + <p> + CIBATION, adding fresh substances to supply the waste of evaporation. + </p> + <p> + CIMICI, bugs. + </p> + <p> + CINOPER, cinnabar. + </p> + <p> + CIOPPINI, chopine, lady's high shoe. + </p> + <p> + CIRCLING BOY, "a species of roarer; one who in some way drew a man into a + snare, to cheat or rob him" (Nares). + </p> + <p> + CIRCUMSTANCE, circumlocution, beating about the bush; ceremony, everything + pertaining to a certain condition; detail, particular. + </p> + <p> + CITRONISE, turn citron colour. + </p> + <p> + CITTERN, kind of guitar. + </p> + <p> + CITY-WIRES, woman of fashion, who made use of wires for hair and dress. + </p> + <p> + CIVIL, legal. + </p> + <p> + CLAP, clack, chatter. + </p> + <p> + CLAPPER-DUDGEON, downright beggar. + </p> + <p> + CLAPS HIS DISH, a clap, or clack, dish (dish with a movable lid) was + carried by beggars and lepers to show that the vessel was empty, and to + give sound of their approach. + </p> + <p> + CLARIDIANA, heroine of an old romance. + </p> + <p> + CLARISSIMO, Venetian noble. + </p> + <p> + CLEM, starve. + </p> + <p> + CLICKET, latch. + </p> + <p> + CLIM O' THE CLOUGHS, etc., wordy heroes of romance. + </p> + <p> + CLIMATE, country. + </p> + <p> + CLOSE, secret, private; secretive. + </p> + <p> + CLOSENESS, secrecy. + </p> + <p> + CLOTH, arras, hangings. + </p> + <p> + CLOUT, mark shot at, bull's eye. + </p> + <p> + CLOWN, countryman, clodhopper. + </p> + <p> + COACH-LEAVES, folding blinds. + </p> + <p> + COALS, "bear no—," submit to no affront. + </p> + <p> + COAT-ARMOUR, coat of arms. + </p> + <p> + COAT-CARD, court-card. + </p> + <p> + COB-HERRING, HERRING-COB, a young herring. + </p> + <p> + COB-SWAN, male swan. + </p> + <p> + COCK-A-HOOP, denoting unstinted jollity; thought to be derived from + turning on the tap that all might drink to the full of the flowing liquor. + </p> + <p> + COCKATRICE, reptile supposed to be produced from a cock's egg and to kill + by its eye—used as a term of reproach for a woman. + </p> + <p> + COCK-BRAINED, giddy, wild. + </p> + <p> + COCKER, pamper. + </p> + <p> + COCKSCOMB, fool's cap. + </p> + <p> + COCKSTONE, stone said to be found in a cock's gizzard, and to possess + particular virtues. + </p> + <p> + CODLING, softening by boiling. + </p> + <p> + COFFIN, raised crust of a pie. + </p> + <p> + COG, cheat, wheedle. + </p> + <p> + COIL, turmoil, confusion, ado. + </p> + <p> + COKELY, master of a puppet-show (Whalley). + </p> + <p> + COKES, fool, gull. + </p> + <p> + COLD-CONCEITED, having cold opinion of, coldly affected towards. + </p> + <p> + COLE-HARBOUR, a retreat for people of all sorts. + </p> + <p> + COLLECTION, composure; deduction. + </p> + <p> + COLLOP, small slice, piece of flesh. + </p> + <p> + COLLY, blacken. + </p> + <p> + COLOUR, pretext. + </p> + <p> + COLOURS, "fear no—," no enemy (quibble). + </p> + <p> + COLSTAFF, cowlstaff, pole for carrying a cowl=tub. + </p> + <p> + COME ABOUT, charge, turn round. + </p> + <p> + COMFORTABLE BREAD, spiced gingerbread. + </p> + <p> + COMING, forward, ready to respond, complaisant. + </p> + <p> + COMMENT, commentary; "sometime it is taken for a lie or fayned tale" + (Bullokar, 1616). + </p> + <p> + COMMODITY, "current for—," allusion to practice of money-lenders, + who forced the borrower to take part of the loan in the shape of worthless + goods on which the latter had to make money if he could. + </p> + <p> + COMMUNICATE, share. + </p> + <p> + COMPASS, "in—," within the range, sphere. + </p> + <p> + COMPLEMENT, completion, completement; anything required for the perfecting + or carrying out of a person or affair; accomplishment. + </p> + <p> + COMPLEXION, natural disposition, constitution. + </p> + <p> + COMPLIMENT, See Complement. + </p> + <p> + COMPLIMENTARIES, masters of accomplishments. + </p> + <p> + COMPOSITION, constitution; agreement, contract. + </p> + <p> + COMPOSURE, composition. + </p> + <p> + COMPTER, COUNTER, debtors' prison. + </p> + <p> + CONCEALMENT, a certain amount of church property had been retained at the + dissolution of the monasteries; Elizabeth sent commissioners to search it + out, and the courtiers begged for it. + </p> + <p> + CONCEIT, idea, fancy, witty invention, conception, opinion. + </p> + <p> + CONCEIT, apprehend. + </p> + <p> + CONCEITED, fancifully, ingeniously devised or conceived; possessed of + intelligence, witty, ingenious (hence well conceited, etc.); disposed to + joke; of opinion, possessed of an idea. + </p> + <p> + CONCEIVE, understand. + </p> + <p> + CONCENT, harmony, agreement. + </p> + <p> + CONCLUDE, infer, prove. + </p> + <p> + CONCOCT, assimilate, digest. + </p> + <p> + CONDEN'T, probably conducted. + </p> + <p> + CONDUCT, escort, conductor. + </p> + <p> + CONEY-CATCH, cheat. + </p> + <p> + CONFECT, sweetmeat. + </p> + <p> + CONFER, compare. + </p> + <p> + CONGIES, bows. + </p> + <p> + CONNIVE, give a look, wink, of secret intelligence. + </p> + <p> + CONSORT, company, concert. + </p> + <p> + CONSTANCY, fidelity, ardour, persistence. + </p> + <p> + CONSTANT, confirmed, persistent, faithful. + </p> + <p> + CONSTANTLY, firmly, persistently. + </p> + <p> + CONTEND, strive. + </p> + <p> + CONTINENT, holding together. + </p> + <p> + CONTROL (the point), bear or beat down. + </p> + <p> + CONVENT, assembly, meeting. + </p> + <p> + CONVERT, turn (oneself). + </p> + <p> + CONVEY, transmit from one to another. + </p> + <p> + CONVINCE, evince, prove; overcome, overpower; convict. + </p> + <p> + COP, head, top; tuft on head of birds; "a cop" may have reference to one + or other meaning; Gifford and others interpret as "conical, terminating in + a point." + </p> + <p> + COPE-MAN, chapman. + </p> + <p> + COPESMATE, companion. + </p> + <p> + COPY (Lat. copia), abundance, copiousness. + </p> + <p> + CORN ("powder—"), grain. + </p> + <p> + COROLLARY, finishing part or touch. + </p> + <p> + CORSIVE, corrosive. + </p> + <p> + CORTINE, curtain, (arch.) wall between two towers, etc. + </p> + <p> + CORYAT, famous for his travels, published as "Coryat's Crudities." + </p> + <p> + COSSET, pet lamb, pet. + </p> + <p> + COSTARD, head. + </p> + <p> + COSTARD-MONGER, apple-seller, coster-monger. + </p> + <p> + COSTS, ribs. + </p> + <p> + COTE, hut. + </p> + <p> + COTHURNAL, from "cothurnus," a particular boot worn by actors in Greek + tragedy. + </p> + <p> + COTQUEAN, hussy. + </p> + <p> + COUNSEL, secret. + </p> + <p> + COUNTENANCE, means necessary for support; credit, standing. + </p> + <p> + COUNTER. See Compter. + </p> + <p> + COUNTER, pieces of metal or ivory for calculating at play. + </p> + <p> + COUNTER, "hunt—," follow scent in reverse direction. + </p> + <p> + COUNTERFEIT, false coin. + </p> + <p> + COUNTERPANE, one part or counterpart of a deed or indenture. + </p> + <p> + COUNTERPOINT, opposite, contrary point. + </p> + <p> + COURT-DISH, a kind of drinking-cup (Halliwell); N.E.D. quotes from Bp. + Goodman's "Court of James I.": "The king... caused his carver to cut him + out a court-dish, that is, something of every dish, which he sent him as + part of his reversion," but this does not sound like short allowance or + small receptacle. + </p> + <p> + COURT-DOR, fool. + </p> + <p> + COURTEAU, curtal, small horse with docked tail. + </p> + <p> + COURTSHIP, courtliness. + </p> + <p> + COVETISE, avarice. + </p> + <p> + COWSHARD, cow dung. + </p> + <p> + COXCOMB, fool's cap, fool. + </p> + <p> + COY, shrink; disdain. + </p> + <p> + COYSTREL, low varlet. + </p> + <p> + COZEN, cheat. + </p> + <p> + CRACK, lively young rogue, wag. + </p> + <p> + CRACK, crack up, boast; come to grief. + </p> + <p> + CRAMBE, game of crambo, in which the players find rhymes for a given word. + </p> + <p> + CRANCH, craunch. + </p> + <p> + CRANION, spider-like; also fairy appellation for a fly (Gifford, who + refers to lines in Drayton's "Nimphidia"). + </p> + <p> + CRIMP, game at cards. + </p> + <p> + CRINCLE, draw back, turn aside. + </p> + <p> + CRISPED, with curled or waved hair. + </p> + <p> + CROP, gather, reap. + </p> + <p> + CROPSHIRE, a kind of herring. (See N.E.D.) + </p> + <p> + CROSS, any piece of money, many coins being stamped with a cross. + </p> + <p> + CROSS AND PILE, heads and tails. + </p> + <p> + CROSSLET, crucible. + </p> + <p> + CROWD, fiddle. + </p> + <p> + CRUDITIES, undigested matter. + </p> + <p> + CRUMP, curl up. + </p> + <p> + CRUSADO, Portuguese gold coin, marked with a cross. + </p> + <p> + CRY ("he that cried Italian"), "speak in a musical cadence," intone, or + declaim (?); cry up. + </p> + <p> + CUCKING-STOOL, used for the ducking of scolds, etc. + </p> + <p> + CUCURBITE, a gourd-shaped vessel used for distillation. + </p> + <p> + CUERPO, "in—," in undress. + </p> + <p> + CULLICE, broth. + </p> + <p> + CULLION, base fellow, coward. + </p> + <p> + CULLISEN, badge worn on their arm by servants. + </p> + <p> + CULVERIN, kind of cannon. + </p> + <p> + CUNNING, skill. + </p> + <p> + CUNNING, skilful. + </p> + <p> + CUNNING-MAN, fortune-teller. + </p> + <p> + CURE, care for. + </p> + <p> + CURIOUS(LY), scrupulous, particular; elaborate, elegant(ly), dainty(ly) + (hence "in curious"). + </p> + <p> + CURST, shrewish, mischievous. + </p> + <p> + CURTAL, dog with docked tail, of inferior sort. + </p> + <p> + CUSTARD, "quaking—," "—politic," reference to a large custard + which formed part of a city feast and afforded huge entertainment, for the + fool jumped into it, and other like tricks were played. (See "All's Well, + etc." ii. 5, 40.) + </p> + <p> + CUTWORK, embroidery, open-work. + </p> + <p> + CYPRES (CYPRUS) (quibble), cypress (or cyprus) being a transparent + material, and when black used for mourning. + </p> + <p> + DAGGER ("—frumety"), name of tavern. + </p> + <p> + DARGISON, apparently some person known in ballad or tale. + </p> + <p> + DAUPHIN MY BOY, refrain of old comic song. + </p> + <p> + DAW, daunt. + </p> + <p> + DEAD LIFT, desperate emergency. + </p> + <p> + DEAR, applied to that which in any way touches us nearly. + </p> + <p> + DECLINE, turn off from; turn away, aside. + </p> + <p> + DEFALK, deduct, abate. + </p> + <p> + DEFEND, forbid. + </p> + <p> + DEGENEROUS, degenerate. + </p> + <p> + DEGREES, steps. + </p> + <p> + DELATE, accuse. + </p> + <p> + DEMI-CULVERIN, cannon carrying a ball of about ten pounds. + </p> + <p> + DENIER, the smallest possible coin, being the twelfth part of a sou. + </p> + <p> + DEPART, part with. + </p> + <p> + DEPENDANCE, ground of quarrel in duello language. + </p> + <p> + DESERT, reward. + </p> + <p> + DESIGNMENT, design. + </p> + <p> + DESPERATE, rash, reckless. + </p> + <p> + DETECT, allow to be detected, betray, inform against. + </p> + <p> + DETERMINE, terminate. + </p> + <p> + DETRACT, draw back, refuse. + </p> + <p> + DEVICE, masque, show; a thing moved by wires, etc., puppet. + </p> + <p> + DEVISE, exact in every particular. + </p> + <p> + DEVISED, invented. + </p> + <p> + DIAPASM, powdered aromatic herbs, made into balls of perfumed paste. (See + Pomander.) + </p> + <p> + DIBBLE, (?) moustache (N.E.D.); (?) dagger (Cunningham). + </p> + <p> + DIFFUSED, disordered, scattered, irregular. + </p> + <p> + DIGHT, dressed. + </p> + <p> + DILDO, refrain of popular songs; vague term of low meaning. + </p> + <p> + DIMBLE, dingle, ravine. + </p> + <p> + DIMENSUM, stated allowance. + </p> + <p> + DISBASE, debase. + </p> + <p> + DISCERN, distinguish, show a difference between. + </p> + <p> + DISCHARGE, settle for. + </p> + <p> + DISCIPLINE, reformation; ecclesiastical system. + </p> + <p> + DISCLAIM, renounce all part in. + </p> + <p> + DISCOURSE, process of reasoning, reasoning faculty. + </p> + <p> + DISCOURTSHIP, discourtesy. + </p> + <p> + DISCOVER, betray, reveal; display. + </p> + <p> + DISFAVOUR, disfigure. + </p> + <p> + DISPARAGEMENT, legal term applied to the unfitness in any way of a + marriage arranged for in the case of wards. + </p> + <p> + DISPENSE WITH, grant dispensation for. + </p> + <p> + DISPLAY, extend. + </p> + <p> + DIS'PLE, discipline, teach by the whip. + </p> + <p> + DISPOSED, inclined to merriment. + </p> + <p> + DISPOSURE, disposal. + </p> + <p> + DISPRISE, depreciate. + </p> + <p> + DISPUNCT, not punctilious. + </p> + <p> + DISQUISITION, search. + </p> + <p> + DISSOLVED, enervated by grief. + </p> + <p> + DISTANCE, (?) proper measure. + </p> + <p> + DISTASTE, offence, cause of offence. + </p> + <p> + DISTASTE, render distasteful. + </p> + <p> + DISTEMPERED, upset, out of humour. + </p> + <p> + DIVISION (mus.), variation, modulation. + </p> + <p> + DOG-BOLT, term of contempt. + </p> + <p> + DOLE, given in dole, charity. + </p> + <p> + DOLE OF FACES, distribution of grimaces. + </p> + <p> + DOOM, verdict, sentence. + </p> + <p> + DOP, dip, low bow. + </p> + <p> + DOR, beetle, buzzing insect, drone, idler. + </p> + <p> + DOR, (?) buzz; "give the—," make a fool of. + </p> + <p> + DOSSER, pannier, basket. + </p> + <p> + DOTES, endowments, qualities. + </p> + <p> + DOTTEREL, plover; gull, fool. + </p> + <p> + DOUBLE, behave deceitfully. + </p> + <p> + DOXY, wench, mistress. + </p> + <p> + DRACHM, Greek silver coin. + </p> + <p> + DRESS, groom, curry. + </p> + <p> + DRESSING, coiffure. + </p> + <p> + DRIFT, intention. + </p> + <p> + DRYFOOT, track by mere scent of foot. + </p> + <p> + DUCKING, punishment for minor offences. + </p> + <p> + DUILL, grieve. + </p> + <p> + DUMPS, melancholy, originally a mournful melody. + </p> + <p> + DURINDANA, Orlando's sword. + </p> + <p> + DWINDLE, shrink away, be overawed. + </p> + <p> + EAN, yean, bring forth young. + </p> + <p> + EASINESS, readiness. + </p> + <p> + EBOLITION, ebullition. + </p> + <p> + EDGE, sword. + </p> + <p> + EECH, eke. + </p> + <p> + EGREGIOUS, eminently excellent. + </p> + <p> + EKE, also, moreover. + </p> + <p> + E-LA, highest note in the scale. + </p> + <p> + EGGS ON THE SPIT, important business on hand. + </p> + <p> + ELF-LOCK, tangled hair, supposed to be the work of elves. + </p> + <p> + EMMET, ant. + </p> + <p> + ENGAGE, involve. + </p> + <p> + ENGHLE. See Ingle. + </p> + <p> + ENGHLE, cajole; fondle. + </p> + <p> + ENGIN(E), device, contrivance; agent; ingenuity, wit. + </p> + <p> + ENGINER, engineer, deviser, plotter. + </p> + <p> + ENGINOUS, crafty, full of devices; witty, ingenious. + </p> + <p> + ENGROSS, monopolise. + </p> + <p> + ENS, an existing thing, a substance. + </p> + <p> + ENSIGNS, tokens, wounds. + </p> + <p> + ENSURE, assure. + </p> + <p> + ENTERTAIN, take into service. + </p> + <p> + ENTREAT, plead. + </p> + <p> + ENTREATY, entertainment. + </p> + <p> + ENTRY, place where a deer has lately passed. + </p> + <p> + ENVOY, denouement, conclusion. + </p> + <p> + ENVY, spite, calumny, dislike, odium. + </p> + <p> + EPHEMERIDES, calendars. + </p> + <p> + EQUAL, just, impartial. + </p> + <p> + ERECTION, elevation in esteem. + </p> + <p> + ERINGO, candied root of the sea-holly, formerly used as a sweetmeat and + aphrodisiac. + </p> + <p> + ERRANT, arrant. + </p> + <p> + ESSENTIATE, become assimilated. + </p> + <p> + ESTIMATION, esteem. + </p> + <p> + ESTRICH, ostrich. + </p> + <p> + ETHNIC, heathen. + </p> + <p> + EURIPUS, flux and reflux. + </p> + <p> + EVEN, just equable. + </p> + <p> + EVENT, fate, issue. + </p> + <p> + EVENT(ED), issue(d). + </p> + <p> + EVERT, overturn. + </p> + <p> + EXACUATE, sharpen. + </p> + <p> + EXAMPLESS, without example or parallel. + </p> + <p> + EXCALIBUR, King Arthur's sword. + </p> + <p> + EXEMPLIFY, make an example of. + </p> + <p> + EXEMPT, separate, exclude. + </p> + <p> + EXEQUIES, obsequies. + </p> + <p> + EXHALE, drag out. + </p> + <p> + EXHIBITION, allowance for keep, pocket-money. + </p> + <p> + EXORBITANT, exceeding limits of propriety or law, inordinate. + </p> + <p> + EXORNATION, ornament. + </p> + <p> + EXPECT, wait. + </p> + <p> + EXPIATE, terminate. + </p> + <p> + EXPLICATE, explain, unfold. + </p> + <p> + EXTEMPORAL, extempore, unpremeditated. + </p> + <p> + EXTRACTION, essence. + </p> + <p> + EXTRAORDINARY, employed for a special or temporary purpose. + </p> + <p> + EXTRUDE, expel. + </p> + <p> + EYE, "in—," in view. + </p> + <p> + EYEBRIGHT, (?) a malt liquor in which the herb of this name was infused, + or a person who sold the same (Gifford). + </p> + <p> + EYE-TINGE, least shade or gleam. + </p> + <p> + FACE, appearance. + </p> + <p> + FACES ABOUT, military word of command. + </p> + <p> + FACINOROUS, extremely wicked. + </p> + <p> + FACKINGS, faith. + </p> + <p> + FACT, deed, act, crime. + </p> + <p> + FACTIOUS, seditious, belonging to a party, given to party feeling. + </p> + <p> + FAECES, dregs. + </p> + <p> + FAGIOLI, French beans. + </p> + <p> + FAIN, forced, necessitated. + </p> + <p> + FAITHFUL, believing. + </p> + <p> + FALL, ruff or band turned back on the shoulders; or, veil. + </p> + <p> + FALSIFY, feign (fencing term). + </p> + <p> + FAME, report. + </p> + <p> + FAMILIAR, attendant spirit. + </p> + <p> + FANTASTICAL, capricious, whimsical. + </p> + <p> + FARCE, stuff. + </p> + <p> + FAR-FET. See Fet. + </p> + <p> + FARTHINGAL, hooped petticoat. + </p> + <p> + FAUCET, tapster. + </p> + <p> + FAULT, lack; loss, break in line of scent; "for—," in default of. + </p> + <p> + FAUTOR, partisan. + </p> + <p> + FAYLES, old table game similar to backgammon. + </p> + <p> + FEAR(ED), affright(ed). + </p> + <p> + FEAT, activity, operation; deed, action. + </p> + <p> + FEAT, elegant, trim. + </p> + <p> + FEE, "in—" by feudal obligation. + </p> + <p> + FEIZE, beat, belabour. + </p> + <p> + FELLOW, term of contempt. + </p> + <p> + FENNEL, emblem of flattery. + </p> + <p> + FERE, companion, fellow. + </p> + <p> + FERN-SEED, supposed to have power of rendering invisible. + </p> + <p> + FET, fetched. + </p> + <p> + FETCH, trick. + </p> + <p> + FEUTERER (Fr. vautrier), dog-keeper. + </p> + <p> + FEWMETS, dung. + </p> + <p> + FICO, fig. + </p> + <p> + FIGGUM, (?) jugglery. + </p> + <p> + FIGMENT, fiction, invention. + </p> + <p> + FIRK, frisk, move suddenly, or in jerks; "—up," stir up, rouse; + "firks mad," suddenly behaves like a madman. + </p> + <p> + FIT, pay one out, punish. + </p> + <p> + FITNESS, readiness. + </p> + <p> + FITTON (FITTEN), lie, invention. + </p> + <p> + FIVE-AND-FIFTY, "highest number to stand on at primero" (Gifford). + </p> + <p> + FLAG, to fly low and waveringly. + </p> + <p> + FLAGON CHAIN, for hanging a smelling-bottle (Fr. flacon) round the neck + (?). (See N.E.D.). + </p> + <p> + FLAP-DRAGON, game similar to snap-dragon. + </p> + <p> + FLASKET, some kind of basket. + </p> + <p> + FLAW, sudden gust or squall of wind. + </p> + <p> + FLAWN, custard. + </p> + <p> + FLEA, catch fleas. + </p> + <p> + FLEER, sneer, laugh derisively. + </p> + <p> + FLESH, feed a hawk or dog with flesh to incite it to the chase; initiate + in blood-shed; satiate. + </p> + <p> + FLICKER-MOUSE, bat. + </p> + <p> + FLIGHT, light arrow. + </p> + <p> + FLITTER-MOUSE, bat. + </p> + <p> + FLOUT, mock, speak and act contemptuously. + </p> + <p> + FLOWERS, pulverised substance. + </p> + <p> + FLY, familiar spirit. + </p> + <p> + FOIL, weapon used in fencing; that which sets anything off to advantage. + </p> + <p> + FOIST, cut-purse, sharper. + </p> + <p> + FOND(LY), foolish(ly). + </p> + <p> + FOOT-CLOTH, housings of ornamental cloth which hung down on either side a + horse to the ground. + </p> + <p> + FOOTING, foothold; footstep; dancing. + </p> + <p> + FOPPERY, foolery. + </p> + <p> + FOR, "—failing," for fear of failing. + </p> + <p> + FORBEAR, bear with; abstain from. + </p> + <p> + FORCE, "hunt at—," run the game down with dogs. + </p> + <p> + FOREHEAD, modesty; face, assurance, effrontery. + </p> + <p> + FORESLOW, delay. + </p> + <p> + FORESPEAK, bewitch; foretell. + </p> + <p> + FORETOP, front lock of hair which fashion required to be worn upright. + </p> + <p> + FORGED, fabricated. + </p> + <p> + FORM, state formally. + </p> + <p> + FORMAL, shapely; normal; conventional. + </p> + <p> + FORTHCOMING, produced when required. + </p> + <p> + FOUNDER, disable with over-riding. + </p> + <p> + FOURM, form, lair. + </p> + <p> + FOX, sword. + </p> + <p> + FRAIL, rush basket in which figs or raisins were packed. + </p> + <p> + FRAMPULL, peevish, sour-tempered. + </p> + <p> + FRAPLER, blusterer, wrangler. + </p> + <p> + FRAYING, "a stag is said to fray his head when he rubs it against a tree + to... cause the outward coat of the new horns to fall off" (Gifford). + </p> + <p> + FREIGHT (of the gazetti), burden (of the newspapers). + </p> + <p> + FREQUENT, full. + </p> + <p> + FRICACE, rubbing. + </p> + <p> + FRICATRICE, woman of low character. + </p> + <p> + FRIPPERY, old clothes shop. + </p> + <p> + FROCK, smock-frock. + </p> + <p> + FROLICS, (?) humorous verses circulated at a feast (N.E.D.); couplets + wrapped round sweetmeats (Cunningham). + </p> + <p> + FRONTLESS, shameless. + </p> + <p> + FROTED, rubbed. + </p> + <p> + FRUMETY, hulled wheat boiled in milk and spiced. + </p> + <p> + FRUMP, flout, sneer. + </p> + <p> + FUCUS, dye. + </p> + <p> + FUGEAND, (?) figent: fidgety, restless (N.E.D.). + </p> + <p> + FULLAM, false dice. + </p> + <p> + FULMART, polecat. + </p> + <p> + FULSOME, foul, offensive. + </p> + <p> + FURIBUND, raging, furious. + </p> + <p> + GALLEY-FOIST, city-barge, used on Lord Mayor's Day, when he was sworn into + his office at Westminster (Whalley). + </p> + <p> + GALLIARD, lively dance in triple time. + </p> + <p> + GAPE, be eager after. + </p> + <p> + GARAGANTUA, Rabelais' giant. + </p> + <p> + GARB, sheaf (Fr. gerbe); manner, fashion, behaviour. + </p> + <p> + GARD, guard, trimming, gold or silver lace, or other ornament. + </p> + <p> + GARDED, faced or trimmed. + </p> + <p> + GARNISH, fee. + </p> + <p> + GAVEL-KIND, name of a land-tenure existing chiefly in Kent; from 16th + century often used to denote custom of dividing a deceased man's property + equally among his sons (N.E.D.). + </p> + <p> + GAZETTE, small Venetian coin worth about three-farthings. + </p> + <p> + GEANCE, jaunt, errand. + </p> + <p> + GEAR (GEER), stuff, matter, affair. + </p> + <p> + GELID, frozen. + </p> + <p> + GEMONIES, steps from which the bodies of criminals were thrown into the + river. + </p> + <p> + GENERAL, free, affable. + </p> + <p> + GENIUS, attendant spirit. + </p> + <p> + GENTRY, gentlemen; manners characteristic of gentry, good breeding. + </p> + <p> + GIB-CAT, tom-cat. + </p> + <p> + GIGANTOMACHIZE, start a giants' war. + </p> + <p> + GIGLOT, wanton. + </p> + <p> + GIMBLET, gimlet. + </p> + <p> + GING, gang. + </p> + <p> + GLASS ("taking in of shadows, etc."), crystal or beryl. + </p> + <p> + GLEEK, card game played by three; party of three, trio; side glance. + </p> + <p> + GLICK (GLEEK), jest, gibe. + </p> + <p> + GLIDDER, glaze. + </p> + <p> + GLORIOUSLY, of vain glory. + </p> + <p> + GODWIT, bird of the snipe family. + </p> + <p> + GOLD-END-MAN, a buyer of broken gold and silver. + </p> + <p> + GOLL, hand. + </p> + <p> + GONFALIONIER, standard-bearer, chief magistrate, etc. + </p> + <p> + GOOD, sound in credit. + </p> + <p> + GOOD-YEAR, good luck. + </p> + <p> + GOOSE-TURD, colour of. (See Turd). + </p> + <p> + GORCROW, carrion crow. + </p> + <p> + GORGET, neck armour. + </p> + <p> + GOSSIP, godfather. + </p> + <p> + GOWKED, from "gowk," to stand staring and gaping like a fool. + </p> + <p> + GRANNAM, grandam. + </p> + <p> + GRASS, (?) grease, fat. + </p> + <p> + GRATEFUL, agreeable, welcome. + </p> + <p> + GRATIFY, give thanks to. + </p> + <p> + GRATITUDE, gratuity. + </p> + <p> + GRATULATE, welcome, congratulate. + </p> + <p> + GRAVITY, dignity. + </p> + <p> + GRAY, badger. + </p> + <p> + GRICE, cub. + </p> + <p> + GRIEF, grievance. + </p> + <p> + GRIPE, vulture, griffin. + </p> + <p> + GRIPE'S EGG, vessel in shape of. + </p> + <p> + GROAT, fourpence. + </p> + <p> + GROGRAN, coarse stuff made of silk and mohair, or of coarse silk. + </p> + <p> + GROOM-PORTER, officer in the royal household. + </p> + <p> + GROPE, handle, probe. + </p> + <p> + GROUND, pit (hence "grounded judgments"). + </p> + <p> + GUARD, caution, heed. + </p> + <p> + GUARDANT, heraldic term: turning the head only. + </p> + <p> + GUILDER, Dutch coin worth about 4d. + </p> + <p> + GULES, gullet, throat; heraldic term for red. + </p> + <p> + GULL, simpleton, dupe. + </p> + <p> + GUST, taste. + </p> + <p> + HAB NAB, by, on, chance. + </p> + <p> + HABERGEON, coat of mail. + </p> + <p> + HAGGARD, wild female hawk; hence coy, wild. + </p> + <p> + HALBERD, combination of lance and battle-axe. + </p> + <p> + HALL, "a—!" a cry to clear the room for the dancers. + </p> + <p> + HANDSEL, first money taken. + </p> + <p> + HANGER, loop or strap on a sword-belt from which the sword was suspended. + </p> + <p> + HAP, fortune, luck. + </p> + <p> + HAPPILY, haply. + </p> + <p> + HAPPINESS, appropriateness, fitness. + </p> + <p> + HAPPY, rich. + </p> + <p> + HARBOUR, track, trace (an animal) to its shelter. + </p> + <p> + HARD-FAVOURED, harsh-featured. + </p> + <p> + HARPOCRATES, Horus the child, son of Osiris, figured with a finger + pointing to his mouth, indicative of silence. + </p> + <p> + HARRINGTON, a patent was granted to Lord H. for the coinage of tokens + (q.v.). + </p> + <p> + HARROT, herald. + </p> + <p> + HARRY NICHOLAS, founder of a community called the "Family of Love." + </p> + <p> + HAY, net for catching rabbits, etc. + </p> + <p> + HAY! (Ital. hai!), you have it (a fencing term). + </p> + <p> + HAY IN HIS HORN, ill-tempered person. + </p> + <p> + HAZARD, game at dice; that which is staked. + </p> + <p> + HEAD, "first—," young deer with antlers first sprouting; fig. a + newly-ennobled man. + </p> + <p> + HEADBOROUGH, constable. + </p> + <p> + HEARKEN AFTER, inquire; "hearken out," find, search out. + </p> + <p> + HEARTEN, encourage. + </p> + <p> + HEAVEN AND HELL ("Alchemist"), names of taverns. + </p> + <p> + HECTIC, fever. + </p> + <p> + HEDGE IN, include. + </p> + <p> + HELM, upper part of a retort. + </p> + <p> + HER'NSEW, hernshaw, heron. + </p> + <p> + HIERONIMO (JERONIMO), hero of Kyd's "Spanish Tragedy." + </p> + <p> + HOBBY, nag. + </p> + <p> + HOBBY-HORSE, imitation horse of some light material, fastened round the + waist of the morrice-dancer, who imitated the movements of a skittish + horse. + </p> + <p> + HODDY-DODDY, fool. + </p> + <p> + HOIDEN, hoyden, formerly applied to both sexes (ancient term for leveret? + Gifford). + </p> + <p> + HOLLAND, name of two famous chemists. + </p> + <p> + HONE AND HONERO, wailing expressions of lament or discontent. + </p> + <p> + HOOD-WINK'D, blindfolded. + </p> + <p> + HORARY, hourly. + </p> + <p> + HORN-MAD, stark mad (quibble). + </p> + <p> + HORN-THUMB, cut-purses were in the habit of wearing a horn shield on the + thumb. + </p> + <p> + HORSE-BREAD-EATING, horses were often fed on coarse bread. + </p> + <p> + HORSE-COURSER, horse-dealer. + </p> + <p> + HOSPITAL, Christ's Hospital. + </p> + <p> + HOWLEGLAS, Eulenspiegel, the hero of a popular German tale which relates + his buffooneries and knavish tricks. + </p> + <p> + HUFF, hectoring, arrogance. + </p> + <p> + HUFF IT, swagger. + </p> + <p> + HUISHER (Fr. huissier), usher. + </p> + <p> + HUM, beer and spirits mixed together. + </p> + <p> + HUMANITIAN, humanist, scholar. + </p> + <p> + HUMOROUS, capricious, moody, out of humour; moist. + </p> + <p> + HUMOUR, a word used in and out of season in the time of Shakespeare and + Ben Jonson, and ridiculed by both. + </p> + <p> + HUMOURS, manners. + </p> + <p> + HUMPHREY, DUKE, those who were dinnerless spent the dinner-hour in a part + of St. Paul's where stood a monument said to be that of the duke's; hence + "dine with Duke Humphrey," to go hungry. + </p> + <p> + HURTLESS, harmless. + </p> + <p> + IDLE, useless, unprofitable. + </p> + <p> + ILL-AFFECTED, ill-disposed. + </p> + <p> + ILL-HABITED, unhealthy. + </p> + <p> + ILLUSTRATE, illuminate. + </p> + <p> + IMBIBITION, saturation, steeping. + </p> + <p> + IMBROCATA, fencing term: a thrust in tierce. + </p> + <p> + IMPAIR, impairment. + </p> + <p> + IMPART, give money. + </p> + <p> + IMPARTER, any one ready to be cheated and to part with his money. + </p> + <p> + IMPEACH, damage. + </p> + <p> + IMPERTINENCIES, irrelevancies. + </p> + <p> + IMPERTINENT(LY), irrelevant(ly), without reason or purpose. + </p> + <p> + IMPOSITION, duty imposed by. + </p> + <p> + IMPOTENTLY, beyond power of control. + </p> + <p> + IMPRESS, money in advance. + </p> + <p> + IMPULSION, incitement. + </p> + <p> + IN AND IN, a game played by two or three persons with four dice. + </p> + <p> + INCENSE, incite, stir up. + </p> + <p> + INCERATION, act of covering with wax; or reducing a substance to softness + of wax. + </p> + <p> + INCH, "to their—es," according to their stature, capabilities. + </p> + <p> + INCH-PIN, sweet-bread. + </p> + <p> + INCONVENIENCE, inconsistency, absurdity. + </p> + <p> + INCONY, delicate, rare (used as a term of affection). + </p> + <p> + INCUBEE, incubus. + </p> + <p> + INCUBUS, evil spirit that oppresses us in sleep, nightmare. + </p> + <p> + INCURIOUS, unfastidious, uncritical. + </p> + <p> + INDENT, enter into engagement. + </p> + <p> + INDIFFERENT, tolerable, passable. + </p> + <p> + INDIGESTED, shapeless, chaotic. + </p> + <p> + INDUCE, introduce. + </p> + <p> + INDUE, supply. + </p> + <p> + INEXORABLE, relentless. + </p> + <p> + INFANTED, born, produced. + </p> + <p> + INFLAME, augment charge. + </p> + <p> + INGENIOUS, used indiscriminantly for ingenuous; intelligent, talented. + </p> + <p> + INGENUITY, ingenuousness. + </p> + <p> + INGENUOUS, generous. + </p> + <p> + INGINE. See Engin. + </p> + <p> + INGINER, engineer. (See Enginer). + </p> + <p> + INGLE, OR ENGHLE, bosom friend, intimate, minion. + </p> + <p> + INHABITABLE, uninhabitable. + </p> + <p> + INJURY, insult, affront. + </p> + <p> + IN-MATE, resident, indwelling. + </p> + <p> + INNATE, natural. + </p> + <p> + INNOCENT, simpleton. + </p> + <p> + INQUEST, jury, or other official body of inquiry. + </p> + <p> + INQUISITION, inquiry. + </p> + <p> + INSTANT, immediate. + </p> + <p> + INSTRUMENT, legal document. + </p> + <p> + INSURE, assure. + </p> + <p> + INTEGRATE, complete, perfect. + </p> + <p> + INTELLIGENCE, secret information, news. + </p> + <p> + INTEND, note carefully, attend, give ear to, be occupied with. + </p> + <p> + INTENDMENT, intention. + </p> + <p> + INTENT, intention, wish. + </p> + <p> + INTENTION, concentration of attention or gaze. + </p> + <p> + INTENTIVE, attentive. + </p> + <p> + INTERESSED, implicated. + </p> + <p> + INTRUDE, bring in forcibly or without leave. + </p> + <p> + INVINCIBLY, invisibly. + </p> + <p> + INWARD, intimate. + </p> + <p> + IRPE (uncertain), "a fantastic grimace, or contortion of the body: + (Gifford)." + </p> + <p> + JACK, Jack o' the clock, automaton figure that strikes the hour; + Jack-a-lent, puppet thrown at in Lent. + </p> + <p> + JACK, key of a virginal. + </p> + <p> + JACOB'S STAFF, an instrument for taking altitudes and distances. + </p> + <p> + JADE, befool. + </p> + <p> + JEALOUSY, JEALOUS, suspicion, suspicious. + </p> + <p> + JERKING, lashing. + </p> + <p> + JEW'S TRUMP, Jew's harp. + </p> + <p> + JIG, merry ballad or tune; a fanciful dialogue or light comic act + introduced at the end or during an interlude of a play. + </p> + <p> + JOINED (JOINT)-STOOL, folding stool. + </p> + <p> + JOLL, jowl. + </p> + <p> + JOLTHEAD, blockhead. + </p> + <p> + JUMP, agree, tally. + </p> + <p> + JUST YEAR, no one was capable of the consulship until he was forty-three. + </p> + <p> + KELL, cocoon. + </p> + <p> + KELLY, an alchemist. + </p> + <p> + KEMB, comb. + </p> + <p> + KEMIA, vessel for distillation. + </p> + <p> + KIBE, chap, sore. + </p> + <p> + KILDERKIN, small barrel. + </p> + <p> + KILL, kiln. + </p> + <p> + KIND, nature; species; "do one's—," act according to one's nature. + </p> + <p> + KIRTLE, woman's gown of jacket and petticoat. + </p> + <p> + KISS OR DRINK AFORE ME, "this is a familiar expression, employed when what + the speaker is just about to say is anticipated by another" (Gifford). + </p> + <p> + KIT, fiddle. + </p> + <p> + KNACK, snap, click. + </p> + <p> + KNIPPER-DOLING, a well-known Anabaptist. + </p> + <p> + KNITTING CUP, marriage cup. + </p> + <p> + KNOCKING, striking, weighty. + </p> + <p> + KNOT, company, band; a sandpiper or robin snipe (Tringa canutus); + flower-bed laid out in fanciful design. + </p> + <p> + KURSINED, KYRSIN, christened. + </p> + <p> + LABOURED, wrought with labour and care. + </p> + <p> + LADE, load(ed). + </p> + <p> + LADING, load. + </p> + <p> + LAID, plotted. + </p> + <p> + LANCE-KNIGHT (Lanzknecht), a German mercenary foot-soldier. + </p> + <p> + LAP, fold. + </p> + <p> + LAR, household god. + </p> + <p> + LARD, garnish. + </p> + <p> + LARGE, abundant. + </p> + <p> + LARUM, alarum, call to arms. + </p> + <p> + LATTICE, tavern windows were furnished with lattices of various colours. + </p> + <p> + LAUNDER, to wash gold in aqua regia, so as imperceptibly to extract some + of it. + </p> + <p> + LAVE, ladle, bale. + </p> + <p> + LAW, "give—," give a start (term of chase). + </p> + <p> + LAXATIVE, loose. + </p> + <p> + LAY ABOARD, run alongside generally with intent to board. + </p> + <p> + LEAGUER, siege, or camp of besieging army. + </p> + <p> + LEASING, lying. + </p> + <p> + LEAVE, leave off, desist. + </p> + <p> + LEER, leering or "empty, hence, perhaps, leer horse, a horse without a + rider; leer is an adjective meaning uncontrolled, hence 'leer drunkards'" + (Halliwell); according to Nares, a leer (empty) horse meant also a led + horse; leeward, left. + </p> + <p> + LEESE, lose. + </p> + <p> + LEGS, "make—," do obeisance. + </p> + <p> + LEIGER, resident representative. + </p> + <p> + LEIGERITY, legerdemain. + </p> + <p> + LEMMA, subject proposed, or title of the epigram. + </p> + <p> + LENTER, slower. + </p> + <p> + LET, hinder. + </p> + <p> + LET, hindrance. + </p> + <p> + LEVEL COIL, a rough game... in which one hunted another from his seat. + Hence used for any noisy riot (Halliwell). + </p> + <p> + LEWD, ignorant. + </p> + <p> + LEYSTALLS, receptacles of filth. + </p> + <p> + LIBERAL, ample. + </p> + <p> + LIEGER, ledger, register. + </p> + <p> + LIFT(ING), steal(ing); theft. + </p> + <p> + LIGHT, alight. + </p> + <p> + LIGHTLY, commonly, usually, often. + </p> + <p> + LIKE, please. + </p> + <p> + LIKELY, agreeable, pleasing. + </p> + <p> + LIME-HOUND, leash-, blood-hound. + </p> + <p> + LIMMER, vile, worthless. + </p> + <p> + LIN, leave off. + </p> + <p> + Line, "by—," by rule. + </p> + <p> + LINSTOCK, staff to stick in the ground, with forked head to hold a lighted + match for firing cannon. + </p> + <p> + LIQUID, clear. + </p> + <p> + LIST, listen, hark; like, please. + </p> + <p> + LIVERY, legal term, delivery of the possession, etc. + </p> + <p> + LOGGET, small log, stick. + </p> + <p> + LOOSE, solution; upshot, issue; release of an arrow. + </p> + <p> + LOSE, give over, desist from; waste. + </p> + <p> + LOUTING, bowing, cringing. + </p> + <p> + LUCULENT, bright of beauty. + </p> + <p> + LUDGATHIANS, dealers on Ludgate Hill. + </p> + <p> + LURCH, rob, cheat. + </p> + <p> + LUTE, to close a vessel with some kind of cement. + </p> + <p> + MACK, unmeaning expletive. + </p> + <p> + MADGE-HOWLET or OWL, barn-owl. + </p> + <p> + MAIM, hurt, injury. + </p> + <p> + MAIN, chief concern (used as a quibble on heraldic term for "hand"). + </p> + <p> + MAINPRISE, becoming surety for a prisoner so as to procure his release. + </p> + <p> + MAINTENANCE, giving aid, or abetting. + </p> + <p> + MAKE, mate. + </p> + <p> + MAKE, MADE, acquaint with business, prepare(d), instruct(ed). + </p> + <p> + MALLANDERS, disease of horses. + </p> + <p> + MALT HORSE, dray horse. + </p> + <p> + MAMMET, puppet. + </p> + <p> + MAMMOTHREPT, spoiled child. + </p> + <p> + MANAGE, control (term used for breaking-in horses); handling, + administration. + </p> + <p> + MANGO, slave-dealer. + </p> + <p> + MANGONISE, polish up for sale. + </p> + <p> + MANIPLES, bundles, handfuls. + </p> + <p> + MANKIND, masculine, like a virago. + </p> + <p> + MANKIND, humanity. + </p> + <p> + MAPLE FACE, spotted face (N.E.D.). + </p> + <p> + MARCHPANE, a confection of almonds, sugar, etc. + </p> + <p> + MARK, "fly to the—," "generally said of a goshawk when, having 'put + in' a covey of partridges, she takes stand, marking the spot where they + disappeared from view until the falconer arrives to put them out to her" + (Harting, Bibl. Accip. Gloss. 226). + </p> + <p> + MARLE, marvel. + </p> + <p> + MARROW-BONE MAN, one often on his knees for prayer. + </p> + <p> + MARRY! exclamation derived from the Virgin's name. + </p> + <p> + MARRY GIP, "probably originated from By Mary Gipcy" = St. Mary of Egypt, + (N.E.D.). + </p> + <p> + MARTAGAN, Turk's cap lily. + </p> + <p> + MARYHINCHCO, stringhalt. + </p> + <p> + MASORETH, Masora, correct form of the scriptural text according to Hebrew + tradition. + </p> + <p> + MASS, abb. for master. + </p> + <p> + MAUND, beg. + </p> + <p> + MAUTHER, girl, maid. + </p> + <p> + MEAN, moderation. + </p> + <p> + MEASURE, dance, more especially a stately one. + </p> + <p> + MEAT, "carry—in one's mouth," be a source of money or entertainment. + </p> + <p> + MEATH, metheglin. + </p> + <p> + MECHANICAL, belonging to mechanics, mean, vulgar. + </p> + <p> + MEDITERRANEO, middle aisle of St. Paul's, a general resort for business + and amusement. + </p> + <p> + MEET WITH, even with. + </p> + <p> + MELICOTTON, a late kind of peach. + </p> + <p> + MENSTRUE, solvent. + </p> + <p> + MERCAT, market. + </p> + <p> + MERD, excrement. + </p> + <p> + MERE, undiluted; absolute, unmitigated. + </p> + <p> + MESS, party of four. + </p> + <p> + METHEGLIN, fermented liquor, of which one ingredient was honey. + </p> + <p> + METOPOSCOPY, study of physiognomy. + </p> + <p> + MIDDLING GOSSIP, go-between. + </p> + <p> + MIGNIARD, dainty, delicate. + </p> + <p> + MILE-END, training-ground of the city. + </p> + <p> + MINE-MEN, sappers. + </p> + <p> + MINION, form of cannon. + </p> + <p> + MINSITIVE, (?) mincing, affected (N.E.D.). + </p> + <p> + MISCELLANY MADAM, "a female trader in miscellaneous articles; a dealer in + trinkets or ornaments of various kinds, such as kept shops in the New + Exchange" (Nares). + </p> + <p> + MISCELLINE, mixed grain; medley. + </p> + <p> + MISCONCEIT, misconception. + </p> + <p> + MISPRISE, MISPRISION, mistake, misunderstanding. + </p> + <p> + MISTAKE AWAY, carry away as if by mistake. + </p> + <p> + MITHRIDATE, an antidote against poison. + </p> + <p> + MOCCINIGO, small Venetian coin, worth about ninepence. + </p> + <p> + MODERN, in the mode; ordinary, commonplace. + </p> + <p> + MOMENT, force or influence of value. + </p> + <p> + MONTANTO, upward stroke. + </p> + <p> + MONTH'S MIND, violent desire. + </p> + <p> + MOORISH, like a moor or waste. + </p> + <p> + MORGLAY, sword of Bevis of Southampton. + </p> + <p> + MORRICE-DANCE, dance on May Day, etc., in which certain personages were + represented. + </p> + <p> + MORTALITY, death. + </p> + <p> + MORT-MAL, old sore, gangrene. + </p> + <p> + MOSCADINO, confection flavoured with musk. + </p> + <p> + MOTHER, Hysterica passio. + </p> + <p> + MOTION, proposal, request; puppet, puppet-show; "one of the small figures + on the face of a large clock which was moved by the vibration of the + pendulum" (Whalley). + </p> + <p> + MOTION, suggest, propose. + </p> + <p> + MOTLEY, parti-coloured dress of a fool; hence used to signify pertaining + to, or like, a fool. + </p> + <p> + MOTTE, motto. + </p> + <p> + MOURNIVAL, set of four aces or court cards in a hand; a quartette. + </p> + <p> + MOW, setord hay or sheaves of grain. + </p> + <p> + MUCH! expressive of irony and incredulity. + </p> + <p> + MUCKINDER, handkerchief. + </p> + <p> + MULE, "born to ride on—," judges or serjeants-at-law formerly rode + on mules when going in state to Westminster (Whally). + </p> + <p> + MULLETS, small pincers. + </p> + <p> + MUM-CHANCE, game of chance, played in silence. + </p> + <p> + MUN, must. + </p> + <p> + MUREY, dark crimson red. + </p> + <p> + MUSCOVY-GLASS, mica. + </p> + <p> + MUSE, wonder. + </p> + <p> + MUSICAL, in harmony. + </p> + <p> + MUSS, mouse; scramble. + </p> + <p> + MYROBOLANE, foreign conserve, "a dried plum, brought from the Indies." + </p> + <p> + MYSTERY, art, trade, profession. + </p> + <p> + NAIL, "to the—" (ad unguem), to perfection, to the very utmost. + </p> + <p> + NATIVE, natural. + </p> + <p> + NEAT, cattle. + </p> + <p> + NEAT, smartly apparelled; unmixed; dainty. + </p> + <p> + NEATLY, neatly finished. + </p> + <p> + NEATNESS, elegance. + </p> + <p> + NEIS, nose, scent. + </p> + <p> + NEUF (NEAF, NEIF), fist. + </p> + <p> + NEUFT, newt. + </p> + <p> + NIAISE, foolish, inexperienced person. + </p> + <p> + NICE, fastidious, trivial, finical, scrupulous. + </p> + <p> + NICENESS, fastidiousness. + </p> + <p> + NICK, exact amount; right moment; "set in the—," meaning uncertain. + </p> + <p> + NICE, suit, fit; hit, seize the right moment, etc., exactly hit on, hit + off. + </p> + <p> + NOBLE, gold coin worth 6s. 8d. + </p> + <p> + NOCENT, harmful. + </p> + <p> + NIL, not will. + </p> + <p> + NOISE, company of musicians. + </p> + <p> + NOMENTACK, an Indian chief from Virginia. + </p> + <p> + NONES, nonce. + </p> + <p> + NOTABLE, egregious. + </p> + <p> + NOTE, sign, token. + </p> + <p> + NOUGHT, "be—," go to the devil, be hanged, etc. + </p> + <p> + NOWT-HEAD, blockhead. + </p> + <p> + NUMBER, rhythm. + </p> + <p> + NUPSON, oaf, simpleton. + </p> + <p> + OADE, woad. + </p> + <p> + OBARNI, preparation of mead. + </p> + <p> + OBJECT, oppose; expose; interpose. + </p> + <p> + OBLATRANT, barking, railing. + </p> + <p> + OBNOXIOUS, liable, exposed; offensive. + </p> + <p> + OBSERVANCE, homage, devoted service. + </p> + <p> + OBSERVANT, attentive, obsequious. + </p> + <p> + OBSERVE, show deference, respect. + </p> + <p> + OBSERVER, one who shows deference, or waits upon another. + </p> + <p> + OBSTANCY, legal phrase, "juridical opposition." + </p> + <p> + OBSTREPEROUS, clamorous, vociferous. + </p> + <p> + OBSTUPEFACT, stupefied. + </p> + <p> + ODLING, (?) "must have some relation to tricking and cheating" (Nares). + </p> + <p> + OMINOUS, deadly, fatal. + </p> + <p> + ONCE, at once; for good and all; used also for additional emphasis. + </p> + <p> + ONLY, pre-eminent, special. + </p> + <p> + OPEN, make public; expound. + </p> + <p> + OPPILATION, obstruction. + </p> + <p> + OPPONE, oppose. + </p> + <p> + OPPOSITE, antagonist. + </p> + <p> + OPPRESS, suppress. + </p> + <p> + ORIGINOUS, native. + </p> + <p> + ORT, remnant, scrap. + </p> + <p> + OUT, "to be—," to have forgotten one's part; not at one with each + other. + </p> + <p> + OUTCRY, sale by auction. + </p> + <p> + OUTRECUIDANCE, arrogance, presumption. + </p> + <p> + OUTSPEAK, speak more than. + </p> + <p> + OVERPARTED, given too difficult a part to play. + </p> + <p> + OWLSPIEGEL. See Howleglass. + </p> + <p> + OYEZ! (O YES!), hear ye! call of the public crier when about to make a + proclamation. + </p> + <p> + PACKING PENNY, "give a—," dismiss, send packing. + </p> + <p> + PAD, highway. + </p> + <p> + PAD-HORSE, road-horse. + </p> + <p> + PAINED (PANED) SLOPS, full breeches made of strips of different colour and + material. + </p> + <p> + PAINFUL, diligent, painstaking. + </p> + <p> + PAINT, blush. + </p> + <p> + PALINODE, ode of recantation. + </p> + <p> + PALL, weaken, dim, make stale. + </p> + <p> + PALM, triumph. + </p> + <p> + PAN, skirt of dress or coat. + </p> + <p> + PANNEL, pad, or rough kind of saddle. + </p> + <p> + PANNIER-ALLY, inhabited by tripe-sellers. + </p> + <p> + PANNIER-MAN, hawker; a man employed about the inns of court to bring in + provisions, set the table, etc. + </p> + <p> + PANTOFLE, indoor shoe, slipper. + </p> + <p> + PARAMENTOS, fine trappings. + </p> + <p> + PARANOMASIE, a play upon words. + </p> + <p> + PARANTORY, (?) peremptory. + </p> + <p> + PARCEL, particle, fragment (used contemptuously); article. + </p> + <p> + PARCEL, part, partly. + </p> + <p> + PARCEL-POET, poetaster. + </p> + <p> + PARERGA, subordinate matters. + </p> + <p> + PARGET, to paint or plaster the face. + </p> + <p> + PARLE, parley. + </p> + <p> + PARLOUS, clever, shrewd. + </p> + <p> + PART, apportion. + </p> + <p> + PARTAKE, participate in. + </p> + <p> + PARTED, endowed, talented. + </p> + <p> + PARTICULAR, individual person. + </p> + <p> + PARTIZAN, kind of halberd. + </p> + <p> + PARTRICH, partridge. + </p> + <p> + PARTS, qualities, endowments. + </p> + <p> + PASH, dash, smash. + </p> + <p> + PASS, care, trouble oneself. + </p> + <p> + PASSADO, fencing term: a thrust. + </p> + <p> + PASSAGE, game at dice. + </p> + <p> + PASSINGLY, exceedingly. + </p> + <p> + PASSION, effect caused by external agency. + </p> + <p> + PASSION, "in—," in so melancholy a tone, so pathetically. + </p> + <p> + PATOUN, (?) Fr. Paton, pellet of dough; perhaps the "moulding of the + tobacco... for the pipe" (Gifford); (?) variant of Petun, South American + name of tobacco. + </p> + <p> + PATRICO, the recorder, priest, orator of strolling beggars or gipsies. + </p> + <p> + PATTEN, shoe with wooden sole; "go—," keep step with, accompany. + </p> + <p> + PAUCA VERBA, few words. + </p> + <p> + PAVIN, a stately dance. + </p> + <p> + PEACE, "with my master's—," by leave, favour. + </p> + <p> + PECULIAR, individual, single. + </p> + <p> + PEDANT, teacher of the languages. + </p> + <p> + PEEL, baker's shovel. + </p> + <p> + PEEP, speak in a small or shrill voice. + </p> + <p> + PEEVISH(LY), foolish(ly), capricious(ly); childish(ly). + </p> + <p> + PELICAN, a retort fitted with tube or tubes, for continuous distillation. + </p> + <p> + PENCIL, small tuft of hair. + </p> + <p> + PERDUE, soldier accustomed to hazardous service. + </p> + <p> + PEREMPTORY, resolute, bold; imperious; thorough, utter, absolute(ly). + </p> + <p> + PERIMETER, circumference of a figure. + </p> + <p> + PERIOD, limit, end. + </p> + <p> + PERK, perk up. + </p> + <p> + PERPETUANA, "this seems to be that glossy kind of stuff now called + everlasting, and anciently worn by serjeants and other city officers" + (Gifford). + </p> + <p> + PERSPECTIVE, a view, scene or scenery; an optical device which gave a + distortion to the picture unless seen from a particular point; a relief, + modelled to produce an optical illusion. + </p> + <p> + PERSPICIL, optic glass. + </p> + <p> + PERSTRINGE, criticise, censure. + </p> + <p> + PERSUADE, inculcate, commend. + </p> + <p> + PERSWAY, mitigate. + </p> + <p> + PERTINACY, pertinacity. + </p> + <p> + PESTLING, pounding, pulverising, like a pestle. + </p> + <p> + PETASUS, broad-brimmed hat or winged cap worn by Mercury. + </p> + <p> + PETITIONARY, supplicatory. + </p> + <p> + PETRONEL, a kind of carbine or light gun carried by horsemen. + </p> + <p> + PETULANT, pert, insolent. + </p> + <p> + PHERE. See Fere. + </p> + <p> + PHLEGMA, watery distilled liquor (old chem. "water"). + </p> + <p> + PHRENETIC, madman. + </p> + <p> + PICARDIL, stiff upright collar fastened on to the coat (Whalley). + </p> + <p> + PICT-HATCH, disreputable quarter of London. + </p> + <p> + PIECE, person, used for woman or girl; a gold coin worth in Jonson's time + 20s. or 22s. + </p> + <p> + PIECES OF EIGHT, Spanish coin: piastre equal to eight reals. + </p> + <p> + PIED, variegated. + </p> + <p> + PIE-POUDRES (Fr. pied-poudreux, dusty-foot), court held at fairs to + administer justice to itinerant vendors and buyers. + </p> + <p> + PILCHER, term of contempt; one who wore a buff or leather jerkin, as did + the serjeants of the counter; a pilferer. + </p> + <p> + PILED, pilled, peeled, bald. + </p> + <p> + PILL'D, polled, fleeced. + </p> + <p> + PIMLICO, "sometimes spoken of as a person—perhaps master of a house + famous for a particular ale" (Gifford). + </p> + <p> + PINE, afflict, distress. + </p> + <p> + PINK, stab with a weapon; pierce or cut in scallops for ornament. + </p> + <p> + PINNACE, a go-between in infamous sense. + </p> + <p> + PISMIRE, ant. + </p> + <p> + PISTOLET, gold coin, worth about 6s. + </p> + <p> + PITCH, height of a bird of prey's flight. + </p> + <p> + PLAGUE, punishment, torment. + </p> + <p> + PLAIN, lament. + </p> + <p> + PLAIN SONG, simple melody. + </p> + <p> + PLAISE, plaice. + </p> + <p> + PLANET, "struck with a—," planets were supposed to have powers of + blasting or exercising secret influences. + </p> + <p> + PLAUSIBLE, pleasing. + </p> + <p> + PLAUSIBLY, approvingly. + </p> + <p> + PLOT, plan. + </p> + <p> + PLY, apply oneself to. + </p> + <p> + POESIE, posy, motto inside a ring. + </p> + <p> + POINT IN HIS DEVICE, exact in every particular. + </p> + <p> + POINTS, tagged laces or cords for fastening the breeches to the doublet. + </p> + <p> + POINT-TRUSSER, one who trussed (tied) his master's points (q.v.). + </p> + <p> + POISE, weigh, balance. + </p> + <p> + POKING-STICK, stick used for setting the plaits of ruffs. + </p> + <p> + POLITIC, politician. + </p> + <p> + POLITIC, judicious, prudent, political. + </p> + <p> + POLITICIAN, plotter, intriguer. + </p> + <p> + POLL, strip, plunder, gain by extortion. + </p> + <p> + POMANDER, ball of perfume, worn or hung about the person to prevent + infection, or for foppery. + </p> + <p> + POMMADO, vaulting on a horse without the aid of stirrups. + </p> + <p> + PONTIC, sour. + </p> + <p> + POPULAR, vulgar, of the populace. + </p> + <p> + POPULOUS, numerous. + </p> + <p> + PORT, gate; print of a deer's foot. + </p> + <p> + PORT, transport. + </p> + <p> + PORTAGUE, Portuguese gold coin, worth over 3 or 4 pounds. + </p> + <p> + PORTCULLIS, "—of coin," some old coins have a portcullis stamped on + their reverse (Whalley). + </p> + <p> + PORTENT, marvel, prodigy; sinister omen. + </p> + <p> + PORTENTOUS, prophesying evil, threatening. + </p> + <p> + PORTER, references appear "to allude to Parsons, the king's porter, who + was... near seven feet high" (Whalley). + </p> + <p> + POSSESS, inform, acquaint. + </p> + <p> + POST AND PAIR, a game at cards. + </p> + <p> + POSY, motto. (See Poesie). + </p> + <p> + POTCH, poach. + </p> + <p> + POULT-FOOT, club-foot. + </p> + <p> + POUNCE, claw, talon. + </p> + <p> + PRACTICE, intrigue, concerted plot. + </p> + <p> + PRACTISE, plot, conspire. + </p> + <p> + PRAGMATIC, an expert, agent. + </p> + <p> + PRAGMATIC, officious, conceited, meddling. + </p> + <p> + PRECEDENT, record of proceedings. + </p> + <p> + PRECEPT, warrant, summons. + </p> + <p> + PRECISIAN(ISM), Puritan(ism), preciseness. + </p> + <p> + PREFER, recommend. + </p> + <p> + PRESENCE, presence chamber. + </p> + <p> + PRESENT(LY), immediate(ly), without delay; at the present time; actually. + </p> + <p> + PRESS, force into service. + </p> + <p> + PREST, ready. + </p> + <p> + PRETEND, assert, allege. + </p> + <p> + PREVENT, anticipate. + </p> + <p> + PRICE, worth, excellence. + </p> + <p> + PRICK, point, dot used in the writing of Hebrew and other languages. + </p> + <p> + PRICK, prick out, mark off, select; trace, track; "—away," make off + with speed. + </p> + <p> + PRIMERO, game of cards. + </p> + <p> + PRINCOX, pert boy. + </p> + <p> + PRINT, "in—," to the letter, exactly. + </p> + <p> + PRISTINATE, former. + </p> + <p> + PRIVATE, private interests. + </p> + <p> + PRIVATE, privy, intimate. + </p> + <p> + PROCLIVE, prone to. + </p> + <p> + PRODIGIOUS, monstrous, unnatural. + </p> + <p> + PRODIGY, monster. + </p> + <p> + PRODUCED, prolonged. + </p> + <p> + PROFESS, pretend. + </p> + <p> + PROJECTION, the throwing of the "powder of projection" into the crucible + to turn the melted metal into gold or silver. + </p> + <p> + PROLATE, pronounce drawlingly. + </p> + <p> + PROPER, of good appearance, handsome; own, particular. + </p> + <p> + PROPERTIES, stage necessaries. + </p> + <p> + PROPERTY, duty; tool. + </p> + <p> + PRORUMPED, burst out. + </p> + <p> + PROTEST, vow, proclaim (an affected word of that time); formally declare + non-payment, etc., of bill of exchange; fig. failure of personal credit, + etc. + </p> + <p> + PROVANT, soldier's allowance—hence, of common make. + </p> + <p> + PROVIDE, foresee. + </p> + <p> + PROVIDENCE, foresight, prudence. + </p> + <p> + PUBLICATION, making a thing public of common property (N.E.D.). + </p> + <p> + PUCKFIST, puff-ball; insipid, insignificant, boasting fellow. + </p> + <p> + PUFF-WING, shoulder puff. + </p> + <p> + PUISNE, judge of inferior rank, a junior. + </p> + <p> + PULCHRITUDE, beauty. + </p> + <p> + PUMP, shoe. + </p> + <p> + PUNGENT, piercing. + </p> + <p> + PUNTO, point, hit. + </p> + <p> + PURCEPT, precept, warrant. + </p> + <p> + PURE, fine, capital, excellent. + </p> + <p> + PURELY, perfectly, utterly. + </p> + <p> + PURL, pleat or fold of a ruff. + </p> + <p> + PURSE-NET, net of which the mouth is drawn together with a string. + </p> + <p> + PURSUIVANT, state messenger who summoned the persecuted seminaries; + warrant officer. + </p> + <p> + PURSY, PURSINESS, shortwinded(ness). + </p> + <p> + PUT, make a push, exert yourself (N.E.D.). + </p> + <p> + PUT OFF, excuse, shift. + </p> + <p> + PUT ON, incite, encourage; proceed with, take in hand, try. + </p> + <p> + QUACKSALVER, quack. + </p> + <p> + QUAINT, elegant, elaborated, ingenious, clever. + </p> + <p> + QUAR, quarry. + </p> + <p> + QUARRIED, seized, or fed upon, as prey. + </p> + <p> + QUEAN, hussy, jade. + </p> + <p> + QUEASY, hazardous, delicate. + </p> + <p> + QUELL, kill, destroy. + </p> + <p> + QUEST, request; inquiry. + </p> + <p> + QUESTION, decision by force of arms. + </p> + <p> + QUESTMAN, one appointed to make official inquiry. + </p> + <p> + QUIB, QUIBLIN, quibble, quip. + </p> + <p> + QUICK, the living. + </p> + <p> + QUIDDIT, quiddity, legal subtlety. + </p> + <p> + QUIRK, clever turn or trick. + </p> + <p> + QUIT, requite, repay; acquit, absolve; rid; forsake, leave. + </p> + <p> + QUITTER-BONE, disease of horses. + </p> + <p> + QUODLING, codling. + </p> + <p> + QUOIT, throw like a quoit, chuck. + </p> + <p> + QUOTE, take note, observe, write down. + </p> + <p> + RACK, neck of mutton or pork (Halliwell). + </p> + <p> + RAKE UP, cover over. + </p> + <p> + RAMP, rear, as a lion, etc. + </p> + <p> + RAPT, carry away. + </p> + <p> + RAPT, enraptured. + </p> + <p> + RASCAL, young or inferior deer. + </p> + <p> + RASH, strike with a glancing oblique blow, as a boar with its tusk. + </p> + <p> + RATSEY, GOMALIEL, a famous highwayman. + </p> + <p> + RAVEN, devour. + </p> + <p> + REACH, understand. + </p> + <p> + REAL, regal. + </p> + <p> + REBATU, ruff, turned-down collar. + </p> + <p> + RECTOR, RECTRESS, director, governor. + </p> + <p> + REDARGUE, confute. + </p> + <p> + REDUCE, bring back. + </p> + <p> + REED, rede, counsel, advice. + </p> + <p> + REEL, run riot. + </p> + <p> + REFEL, refute. + </p> + <p> + REFORMADOES, disgraced or disbanded soldiers. + </p> + <p> + REGIMENT, government. + </p> + <p> + REGRESSION, return. + </p> + <p> + REGULAR ("Tale of a Tub"), regular noun (quibble) (N.E.D.). + </p> + <p> + RELIGION, "make—of," make a point of, scruple of. + </p> + <p> + RELISH, savour. + </p> + <p> + REMNANT, scrap of quotation. + </p> + <p> + REMORA, species of fish. + </p> + <p> + RENDER, depict, exhibit, show. + </p> + <p> + REPAIR, reinstate. + </p> + <p> + REPETITION, recital, narration. + </p> + <p> + REREMOUSE, bat. + </p> + <p> + RESIANT, resident. + </p> + <p> + RESIDENCE, sediment. + </p> + <p> + RESOLUTION, judgment, decision. + </p> + <p> + RESOLVE, inform; assure; prepare, make up one's mind; dissolve; come to a + decision, be convinced; relax, set at ease. + </p> + <p> + RESPECTIVE, worthy of respect; regardful, discriminative. + </p> + <p> + RESPECTIVELY, with reverence. + </p> + <p> + RESPECTLESS, regardless. + </p> + <p> + RESPIRE, exhale; inhale. + </p> + <p> + RESPONSIBLE, correspondent. + </p> + <p> + REST, musket-rest. + </p> + <p> + REST, "set up one's—," venture one's all, one's last stake (from + game of primero). + </p> + <p> + REST, arrest. + </p> + <p> + RESTIVE, RESTY, dull, inactive. + </p> + <p> + RETCHLESS(NESS), reckless(ness). + </p> + <p> + RETIRE, cause to retire. + </p> + <p> + RETRICATO, fencing term. + </p> + <p> + RETRIEVE, rediscovery of game once sprung. + </p> + <p> + RETURNS, ventures sent abroad, for the safe return of which so much money + is received. + </p> + <p> + REVERBERATE, dissolve or blend by reflected heat. + </p> + <p> + REVERSE, REVERSO, back-handed thrust, etc., in fencing. + </p> + <p> + REVISE, reconsider a sentence. + </p> + <p> + RHEUM, spleen, caprice. + </p> + <p> + RIBIBE, abusive term for an old woman. + </p> + <p> + RID, destroy, do away with. + </p> + <p> + RIFLING, raffling, dicing. + </p> + <p> + RING, "cracked within the—," coins so cracked were unfit for + currency. + </p> + <p> + RISSE, risen, rose. + </p> + <p> + RIVELLED, wrinkled. + </p> + <p> + ROARER, swaggerer. + </p> + <p> + ROCHET, fish of the gurnet kind. + </p> + <p> + ROCK, distaff. + </p> + <p> + RODOMONTADO, braggadocio. + </p> + <p> + ROGUE, vagrant, vagabond. + </p> + <p> + RONDEL, "a round mark in the score of a public-house" (Nares); roundel. + </p> + <p> + ROOK, sharper; fool, dupe. + </p> + <p> + ROSAKER, similar to ratsbane. + </p> + <p> + ROSA-SOLIS, a spiced spirituous liquor. + </p> + <p> + ROSES, rosettes. + </p> + <p> + ROUND, "gentlemen of the—," officers of inferior rank. + </p> + <p> + ROUND TRUNKS, trunk hose, short loose breeches reaching almost or quite to + the knees. + </p> + <p> + ROUSE, carouse, bumper. + </p> + <p> + ROVER, arrow used for shooting at a random mark at uncertain distance. + </p> + <p> + ROWLY-POWLY, roly-poly. + </p> + <p> + RUDE, RUDENESS, unpolished, rough(ness), coarse(ness). + </p> + <p> + RUFFLE, flaunt, swagger. + </p> + <p> + RUG, coarse frieze. + </p> + <p> + RUG-GOWNS, gown made of rug. + </p> + <p> + RUSH, reference to rushes with which the floors were then strewn. + </p> + <p> + RUSHER, one who strewed the floor with rushes. + </p> + <p> + RUSSET, homespun cloth of neutral or reddish-brown colour. + </p> + <p> + SACK, loose, flowing gown. + </p> + <p> + SADLY, seriously, with gravity. + </p> + <p> + SAD(NESS), sober, serious(ness). + </p> + <p> + SAFFI, bailiffs. + </p> + <p> + ST. THOMAS A WATERINGS, place in Surrey where criminals were executed. + </p> + <p> + SAKER, small piece of ordnance. + </p> + <p> + SALT, leap. + </p> + <p> + SALT, lascivious. + </p> + <p> + SAMPSUCHINE, sweet marjoram. + </p> + <p> + SARABAND, a slow dance. + </p> + <p> + SATURNALS, began December 17. + </p> + <p> + SAUCINESS, presumption, insolence. + </p> + <p> + SAUCY, bold, impudent, wanton. + </p> + <p> + SAUNA (Lat.), a gesture of contempt. + </p> + <p> + SAVOUR, perceive; gratify, please; to partake of the nature. + </p> + <p> + SAY, sample. + </p> + <p> + SAY, assay, try. + </p> + <p> + SCALD, word of contempt, implying dirt and disease. + </p> + <p> + SCALLION, shalot, small onion. + </p> + <p> + SCANDERBAG, "name which the Turks (in allusion to Alexander the Great) + gave to the brave Castriot, chief of Albania, with whom they had continual + wars. His romantic life had just been translated" (Gifford). + </p> + <p> + SCAPE, escape. + </p> + <p> + SCARAB, beetle. + </p> + <p> + SCARTOCCIO, fold of paper, cover, cartouch, cartridge. + </p> + <p> + SCONCE, head. + </p> + <p> + SCOPE, aim. + </p> + <p> + SCOT AND LOT, tax, contribution (formerly a parish assessment). + </p> + <p> + SCOTOMY, dizziness in the head. + </p> + <p> + SCOUR, purge. + </p> + <p> + SCOURSE, deal, swap. + </p> + <p> + SCRATCHES, disease of horses. + </p> + <p> + SCROYLE, mean, rascally fellow. + </p> + <p> + SCRUPLE, doubt. + </p> + <p> + SEAL, put hand to the giving up of property or rights. + </p> + <p> + SEALED, stamped as genuine. + </p> + <p> + SEAM-RENT, ragged. + </p> + <p> + SEAMING LACES, insertion or edging. + </p> + <p> + SEAR UP, close by searing, burning. + </p> + <p> + SEARCED, sifted. + </p> + <p> + SECRETARY, able to keep a secret. + </p> + <p> + SECULAR, worldly, ordinary, commonplace. + </p> + <p> + SECURE, confident. + </p> + <p> + SEELIE, happy, blest. + </p> + <p> + SEISIN, legal term: possession. + </p> + <p> + SELLARY, lewd person. + </p> + <p> + SEMBLABLY, similarly. + </p> + <p> + SEMINARY, a Romish priest educated in a foreign seminary. + </p> + <p> + SENSELESS, insensible, without sense or feeling. + </p> + <p> + SENSIBLY, perceptibly. + </p> + <p> + SENSIVE, sensitive. + </p> + <p> + SENSUAL, pertaining to the physical or material. + </p> + <p> + SERENE, harmful dew of evening. + </p> + <p> + SERICON, red tincture. + </p> + <p> + SERVANT, lover. + </p> + <p> + SERVICES, doughty deeds of arms. + </p> + <p> + SESTERCE, Roman copper coin. + </p> + <p> + SET, stake, wager. + </p> + <p> + SET UP, drill. + </p> + <p> + SETS, deep plaits of the ruff. + </p> + <p> + SEWER, officer who served up the feast, and brought water for the hands of + the guests. + </p> + <p> + SHAPE, a suit by way of disguise. + </p> + <p> + SHIFT, fraud, dodge. + </p> + <p> + SHIFTER, cheat. + </p> + <p> + SHITTLE, shuttle; "shittle-cock," shuttlecock. + </p> + <p> + SHOT, tavern reckoning. + </p> + <p> + SHOT-CLOG, one only tolerated because he paid the shot (reckoning) for the + rest. + </p> + <p> + SHOT-FREE, scot-free, not having to pay. + </p> + <p> + SHOVE-GROAT, low kind of gambling amusement, perhaps somewhat of the + nature of pitch and toss. + </p> + <p> + SHOT-SHARKS, drawers. + </p> + <p> + SHREWD, mischievous, malicious, curst. + </p> + <p> + SHREWDLY, keenly, in a high degree. + </p> + <p> + SHRIVE, sheriff; posts were set up before his door for proclamations, or + to indicate his residence. + </p> + <p> + SHROVING, Shrovetide, season of merriment. + </p> + <p> + SIGILLA, seal, mark. + </p> + <p> + SILENCED BRETHERN, MINISTERS, those of the Church or Nonconformists who + had been silenced, deprived, etc. + </p> + <p> + SILLY, simple, harmless. + </p> + <p> + SIMPLE, silly, witless; plain, true. + </p> + <p> + SIMPLES, herbs. + </p> + <p> + SINGLE, term of chase, signifying when the hunted stag is separated from + the herd, or forced to break covert. + </p> + <p> + SINGLE, weak, silly. + </p> + <p> + SINGLE-MONEY, small change. + </p> + <p> + SINGULAR, unique, supreme. + </p> + <p> + SI-QUIS, bill, advertisement. + </p> + <p> + SKELDRING, getting money under false pretences; swindling. + </p> + <p> + SKILL, "it—s not," matters not. + </p> + <p> + SKINK(ER), pour, draw(er), tapster. + </p> + <p> + SKIRT, tail. + </p> + <p> + SLEEK, smooth. + </p> + <p> + SLICE, fire shovel or pan (dial.). + </p> + <p> + SLICK, sleek, smooth. + </p> + <p> + 'SLID, 'SLIGHT, 'SPRECIOUS, irreverent oaths. + </p> + <p> + SLIGHT, sleight, cunning, cleverness; trick. + </p> + <p> + SLIP, counterfeit coin, bastard. + </p> + <p> + SLIPPERY, polished and shining. + </p> + <p> + SLOPS, large loose breeches. + </p> + <p> + SLOT, print of a stag's foot. + </p> + <p> + SLUR, put a slur on; cheat (by sliding a die in some way). + </p> + <p> + SMELT, gull, simpleton. + </p> + <p> + SNORLE, "perhaps snarl, as Puppy is addressed" (Cunningham). + </p> + <p> + SNOTTERIE, filth. + </p> + <p> + SNUFF, anger, resentment; "take in—," take offence at. + </p> + <p> + SNUFFERS, small open silver dishes for holding snuff, or receptacle for + placing snuffers in (Halliwell). + </p> + <p> + SOCK, shoe worn by comic actors. + </p> + <p> + SOD, seethe. + </p> + <p> + SOGGY, soaked, sodden. + </p> + <p> + SOIL, "take—," said of a hunted stag when he takes to the water for + safety. + </p> + <p> + SOL, sou. + </p> + <p> + SOLDADOES, soldiers. + </p> + <p> + SOLICIT, rouse, excite to action. + </p> + <p> + SOOTH, flattery, cajolery. + </p> + <p> + SOOTHE, flatter, humour. + </p> + <p> + SOPHISTICATE, adulterate. + </p> + <p> + SORT, company, party; rank, degree. + </p> + <p> + SORT, suit, fit; select. + </p> + <p> + SOUSE, ear. + </p> + <p> + SOUSED ("Devil is an Ass"), fol. read "sou't," which Dyce interprets as "a + variety of the spelling of "shu'd": to "shu" is to scare a bird away." + (See his "Webster," page 350). + </p> + <p> + SOWTER, cobbler. + </p> + <p> + SPAGYRICA, chemistry according to the teachings of Paracelsus. + </p> + <p> + SPAR, bar. + </p> + <p> + SPEAK, make known, proclaim. + </p> + <p> + SPECULATION, power of sight. + </p> + <p> + SPED, to have fared well, prospered. + </p> + <p> + SPEECE, species. + </p> + <p> + SPIGHT, anger, rancour. + </p> + <p> + SPINNER, spider. + </p> + <p> + SPINSTRY, lewd person. + </p> + <p> + SPITTLE, hospital, lazar-house. + </p> + <p> + SPLEEN, considered the seat of the emotions. + </p> + <p> + SPLEEN, caprice, humour, mood. + </p> + <p> + SPRUNT, spruce. + </p> + <p> + SPURGE, foam. + </p> + <p> + SPUR-RYAL, gold coin worth 15s. + </p> + <p> + SQUIRE, square, measure; "by the—," exactly. + </p> + <p> + STAGGERING, wavering, hesitating. + </p> + <p> + STAIN, disparagement, disgrace. + </p> + <p> + STALE, decoy, or cover, stalking-horse. + </p> + <p> + STALE, make cheap, common. + </p> + <p> + STALK, approach stealthily or under cover. + </p> + <p> + STALL, forestall. + </p> + <p> + STANDARD, suit. + </p> + <p> + STAPLE, market, emporium. + </p> + <p> + STARK, downright. + </p> + <p> + STARTING-HOLES, loopholes of escape. + </p> + <p> + STATE, dignity; canopied chair of state; estate. + </p> + <p> + STATUMINATE, support vines by poles or stakes; used by Pliny (Gifford). + </p> + <p> + STAY, gag. + </p> + <p> + STAY, await; detain. + </p> + <p> + STICKLER, second or umpire. + </p> + <p> + STIGMATISE, mark, brand. + </p> + <p> + STILL, continual(ly), constant(ly). + </p> + <p> + STINKARD, stinking fellow. + </p> + <p> + STINT, stop. + </p> + <p> + STIPTIC, astringent. + </p> + <p> + STOCCATA, thrust in fencing. + </p> + <p> + STOCK-FISH, salted and dried fish. + </p> + <p> + STOMACH, pride, valour. + </p> + <p> + STOMACH, resent. + </p> + <p> + STOOP, swoop down as a hawk. + </p> + <p> + STOP, fill, stuff. + </p> + <p> + STOPPLE, stopper. + </p> + <p> + STOTE, stoat, weasel. + </p> + <p> + STOUP, stoop, swoop=bow. + </p> + <p> + STRAIGHT, straightway. + </p> + <p> + STRAMAZOUN (Ital. stramazzone), a down blow, as opposed to the thrust. + </p> + <p> + STRANGE, like a stranger, unfamiliar. + </p> + <p> + STRANGENESS, distance of behaviour. + </p> + <p> + STREIGHTS, OR BERMUDAS, labyrinth of alleys and courts in the Strand. + </p> + <p> + STRIGONIUM, Grau in Hungary, taken from the Turks in 1597. + </p> + <p> + STRIKE, balance (accounts). + </p> + <p> + STRINGHALT, disease of horses. + </p> + <p> + STROKER, smoother, flatterer. + </p> + <p> + STROOK, p.p. of "strike." + </p> + <p> + STRUMMEL-PATCHED, strummel is glossed in dialect dicts. as "a long, loose + and dishevelled head of hair." + </p> + <p> + STUDIES, studious efforts. + </p> + <p> + STYLE, title; pointed instrument used for writing on wax tablets. + </p> + <p> + SUBTLE, fine, delicate, thin; smooth, soft. + </p> + <p> + SUBTLETY (SUBTILITY), subtle device. + </p> + <p> + SUBURB, connected with loose living. + </p> + <p> + SUCCUBAE, demons in form of women. + </p> + <p> + SUCK, extract money from. + </p> + <p> + SUFFERANCE, suffering. + </p> + <p> + SUMMED, term of falconry: with full-grown plumage. + </p> + <p> + SUPER-NEGULUM, topers turned the cup bottom up when it was empty. + </p> + <p> + SUPERSTITIOUS, over-scrupulous. + </p> + <p> + SUPPLE, to make pliant. + </p> + <p> + SURBATE, make sore with walking. + </p> + <p> + SURCEASE, cease. + </p> + <p> + SUR-REVERENCE, save your reverence. + </p> + <p> + SURVISE, peruse. + </p> + <p> + SUSCITABILITY, excitability. + </p> + <p> + SUSPECT, suspicion. + </p> + <p> + SUSPEND, suspect. + </p> + <p> + SUSPENDED, held over for the present. + </p> + <p> + SUTLER, victualler. + </p> + <p> + SWAD, clown, boor. + </p> + <p> + SWATH BANDS, swaddling clothes. + </p> + <p> + SWINGE, beat. + </p> + <p> + TABERD, emblazoned mantle or tunic worn by knights and heralds. + </p> + <p> + TABLE(S), "pair of—," tablets, note-book. + </p> + <p> + TABOR, small drum. + </p> + <p> + TABRET, tabor. + </p> + <p> + TAFFETA, silk; "tuft-taffeta," a more costly silken fabric. + </p> + <p> + TAINT, "—a staff," break a lance at tilting in an unscientific or + dishonourable manner. + </p> + <p> + TAKE IN, capture, subdue. + </p> + <p> + TAKE ME WITH YOU, let me understand you. + </p> + <p> + TAKE UP, obtain on credit, borrow. + </p> + <p> + TALENT, sum or weight of Greek currency. + </p> + <p> + TALL, stout, brave. + </p> + <p> + TANKARD-BEARERS, men employed to fetch water from the conduits. + </p> + <p> + TARLETON, celebrated comedian and jester. + </p> + <p> + TARTAROUS, like a Tartar. + </p> + <p> + TAVERN-TOKEN, "to swallow a—," get drunk. + </p> + <p> + TELL, count. + </p> + <p> + TELL-TROTH, truth-teller. + </p> + <p> + TEMPER, modify, soften. + </p> + <p> + TENDER, show regard, care for, cherish; manifest. + </p> + <p> + TENT, "take—," take heed. + </p> + <p> + TERSE, swept and polished. + </p> + <p> + TERTIA, "that portion of an army levied out of one particular district or + division of a country" (Gifford). + </p> + <p> + TESTON, tester, coin worth 6d. + </p> + <p> + THIRDBOROUGH, constable. + </p> + <p> + THREAD, quality. + </p> + <p> + THREAVES, droves. + </p> + <p> + THREE-FARTHINGS, piece of silver current under Elizabeth. + </p> + <p> + THREE-PILED, of finest quality, exaggerated. + </p> + <p> + THRIFTILY, carefully. + </p> + <p> + THRUMS, ends of the weaver's warp; coarse yarn made from. + </p> + <p> + THUMB-RING, familiar spirits were supposed capable of being carried about + in various ornaments or parts of dress. + </p> + <p> + TIBICINE, player on the tibia, or pipe. + </p> + <p> + TICK-TACK, game similar to backgammon. + </p> + <p> + TIGHTLY, promptly. + </p> + <p> + TIM, (?) expressive of a climax of nonentity. + </p> + <p> + TIMELESS, untimely, unseasonable. + </p> + <p> + TINCTURE, an essential or spiritual principle supposed by alchemists to be + transfusible into material things; an imparted characteristic or tendency. + </p> + <p> + TINK, tinkle. + </p> + <p> + TIPPET, "turn—," change behaviour or way of life. + </p> + <p> + TIPSTAFF, staff tipped with metal. + </p> + <p> + TIRE, head-dress. + </p> + <p> + TIRE, feed ravenously, like a bird of prey. + </p> + <p> + TITILLATION, that which tickles the senses, as a perfume. + </p> + <p> + TOD, fox. + </p> + <p> + TOILED, worn out, harassed. + </p> + <p> + TOKEN, piece of base metal used in place of very small coin, when this was + scarce. + </p> + <p> + TONNELS, nostrils. + </p> + <p> + TOP, "parish—," large top kept in villages for amusement and + exercise in frosty weather when people were out of work. + </p> + <p> + TOTER, tooter, player on a wind instrument. + </p> + <p> + TOUSE, pull, rend. + </p> + <p> + TOWARD, docile, apt; on the way to; as regards; present, at hand. + </p> + <p> + TOY, whim; trick; term of contempt. + </p> + <p> + TRACT, attraction. + </p> + <p> + TRAIN, allure, entice. + </p> + <p> + TRANSITORY, transmittable. + </p> + <p> + TRANSLATE, transform. + </p> + <p> + TRAY-TRIP, game at dice (success depended on throwing a three) (Nares). + </p> + <p> + TREACHOUR (TRECHER), traitor. + </p> + <p> + TREEN, wooden. + </p> + <p> + TRENCHER, serving-man who carved or served food. + </p> + <p> + TRENDLE-TAIL, trundle-tail, curly-tailed. + </p> + <p> + TRICK (TRICKING), term of heraldry: to draw outline of coat of arms, etc., + without blazoning. + </p> + <p> + TRIG, a spruce, dandified man. + </p> + <p> + TRILL, trickle. + </p> + <p> + TRILLIBUB, tripe, any worthless, trifling thing. + </p> + <p> + TRIPOLY, "come from—," able to perform feats of agility, a "jest + nominal," depending on the first part of the word (Gifford). + </p> + <p> + TRITE, worn, shabby. + </p> + <p> + TRIVIA, three-faced goddess (Hecate). + </p> + <p> + TROJAN, familiar term for an equal or inferior; thief. + </p> + <p> + TROLL, sing loudly. + </p> + <p> + TROMP, trump, deceive. + </p> + <p> + TROPE, figure of speech. + </p> + <p> + TROW, think, believe, wonder. + </p> + <p> + TROWLE, troll. + </p> + <p> + TROWSES, breeches, drawers. + </p> + <p> + TRUCHMAN, interpreter. + </p> + <p> + TRUNDLE, JOHN, well-known printer. + </p> + <p> + TRUNDLE, roll, go rolling along. + </p> + <p> + TRUNDLING CHEATS, term among gipsies and beggars for carts or coaches + (Gifford). + </p> + <p> + TRUNK, speaking-tube. + </p> + <p> + TRUSS, tie the tagged laces that fastened the breeches to the doublet. + </p> + <p> + TUBICINE, trumpeter. + </p> + <p> + TUCKET (Ital. toccato), introductory flourish on the trumpet. + </p> + <p> + TUITION, guardianship. + </p> + <p> + TUMBLER, a particular kind of dog so called from the mode of his hunting. + </p> + <p> + TUMBREL-SLOP, loose, baggy breeches. + </p> + <p> + TURD, excrement. + </p> + <p> + TUSK, gnash the teeth (Century Dict.). + </p> + <p> + TWIRE, peep, twinkle. + </p> + <p> + TWOPENNY ROOM, gallery. + </p> + <p> + TYRING-HOUSE, attiring-room. + </p> + <p> + ULENSPIEGEL. See Howleglass. + </p> + <p> + UMBRATILE, like or pertaining to a shadow. + </p> + <p> + UMBRE, brown dye. + </p> + <p> + UNBATED, unabated. + </p> + <p> + UNBORED, (?) excessively bored. + </p> + <p> + UNCARNATE, not fleshly, or of flesh. + </p> + <p> + UNCOUTH, strange, unusual. + </p> + <p> + UNDERTAKER, "one who undertook by his influence in the House of Commons to + carry things agreeably to his Majesty's wishes" (Whalley); one who becomes + surety for. + </p> + <p> + UNEQUAL, unjust. + </p> + <p> + UNEXCEPTED, no objection taken at. + </p> + <p> + UNFEARED, unaffrighted. + </p> + <p> + UNHAPPILY, unfortunately. + </p> + <p> + UNICORN'S HORN, supposed antidote to poison. + </p> + <p> + UNKIND(LY), unnatural(ly). + </p> + <p> + UNMANNED, untamed (term in falconry). + </p> + <p> + UNQUIT, undischarged. + </p> + <p> + UNREADY, undressed. + </p> + <p> + UNRUDE, rude to an extreme. + </p> + <p> + UNSEASONED, unseasonable, unripe. + </p> + <p> + UNSEELED, a hawk's eyes were "seeled" by sewing the eyelids together with + fine thread. + </p> + <p> + UNTIMELY, unseasonably. + </p> + <p> + UNVALUABLE, invaluable. + </p> + <p> + UPBRAID, make a matter of reproach. + </p> + <p> + UPSEE, heavy kind of Dutch beer (Halliwell); "—Dutch," in the Dutch + fashion. + </p> + <p> + UPTAILS ALL, refrain of a popular song. + </p> + <p> + URGE, allege as accomplice, instigator. + </p> + <p> + URSHIN, URCHIN, hedgehog. + </p> + <p> + USE, interest on money; part of sermon dealing with the practical + application of doctrine. + </p> + <p> + USE, be in the habit of, accustomed to; put out to interest. + </p> + <p> + USQUEBAUGH, whisky. + </p> + <p> + USURE, usury. + </p> + <p> + UTTER, put in circulation, make to pass current; put forth for sale. + </p> + <p> + VAIL, bow, do homage. + </p> + <p> + VAILS, tips, gratuities. + </p> + <p> + VALL. See Vail. + </p> + <p> + VALLIES (Fr. valise), portmanteau, bag. + </p> + <p> + VAPOUR(S) (n. and v.), used affectedly, like "humour," in many senses, + often very vaguely and freely ridiculed by Jonson; humour, disposition, + whims, brag(ging), hector(ing), etc. + </p> + <p> + VARLET, bailiff, or serjeant-at-mace. + </p> + <p> + VAUT, vault. + </p> + <p> + VEER (naut.), pay out. + </p> + <p> + VEGETAL, vegetable; person full of life and vigour. + </p> + <p> + VELLUTE, velvet. + </p> + <p> + VELVET CUSTARD. Cf. "Taming of the Shrew," iv. 3, 82, "custard coffin," + coffin being the raised crust over a pie. + </p> + <p> + VENT, vend, sell; give outlet to; scent, snuff up. + </p> + <p> + VENUE, bout (fencing term). + </p> + <p> + VERDUGO (Span.), hangman, executioner. + </p> + <p> + VERGE, "in the—," within a certain distance of the court. + </p> + <p> + VEX, agitate, torment. + </p> + <p> + VICE, the buffoon of old moralities; some kind of machinery for moving a + puppet (Gifford). + </p> + <p> + VIE AND REVIE, to hazard a certain sum, and to cover it with a larger one. + </p> + <p> + VINCENT AGAINST YORK, two heralds-at-arms. + </p> + <p> + VINDICATE, avenge. + </p> + <p> + VIRGE, wand, rod. + </p> + <p> + VIRGINAL, old form of piano. + </p> + <p> + VIRTUE, valour. + </p> + <p> + VIVELY, in lifelike manner, livelily. + </p> + <p> + VIZARD, mask. + </p> + <p> + VOGUE, rumour, gossip. + </p> + <p> + VOICE, vote. + </p> + <p> + VOID, leave, quit. + </p> + <p> + VOLARY, cage, aviary. + </p> + <p> + VOLLEY, "at—," "o' the volee," at random (from a term of tennis). + </p> + <p> + VORLOFFE, furlough. + </p> + <p> + WADLOE, keeper of the Devil Tavern, where Jonson and his friends met in + the 'Apollo' room (Whalley). + </p> + <p> + WAIGHTS, waits, night musicians, "band of musical watchmen" (Webster), or + old form of "hautboys." + </p> + <p> + WANNION, "vengeance," "plague" (Nares). + </p> + <p> + WARD, a famous pirate. + </p> + <p> + WARD, guard in fencing. + </p> + <p> + WATCHET, pale, sky blue. + </p> + <p> + WEAL, welfare. + </p> + <p> + WEED, garment. + </p> + <p> + WEFT, waif. + </p> + <p> + WEIGHTS, "to the gold—," to every minute particular. + </p> + <p> + WELKIN, sky. + </p> + <p> + WELL-SPOKEN, of fair speech. + </p> + <p> + WELL-TORNED, turned and polished, as on a wheel. + </p> + <p> + WELT, hem, border of fur. + </p> + <p> + WHER, whether. + </p> + <p> + WHETSTONE, GEORGE, an author who lived 1544(?) to 1587(?). + </p> + <p> + WHIFF, a smoke, or drink; "taking the—," inhaling the tobacco smoke + or some such accomplishment. + </p> + <p> + WHIGH-HIES, neighings, whinnyings. + </p> + <p> + WHIMSY, whim, "humour." + </p> + <p> + WHINILING, (?) whining, weakly. + </p> + <p> + WHIT, (?) a mere jot. + </p> + <p> + WHITEMEAT, food made of milk or eggs. + </p> + <p> + WICKED, bad, clumsy. + </p> + <p> + WICKER, pliant, agile. + </p> + <p> + WILDING, esp. fruit of wild apple or crab tree (Webster). + </p> + <p> + WINE, "I have the—for you," Prov.: I have the perquisites (of the + office) which you are to share (Cunningham). + </p> + <p> + WINNY, "same as old word "wonne," to stay, etc." (Whalley). + </p> + <p> + WISE-WOMAN, fortune-teller. + </p> + <p> + WISH, recommend. + </p> + <p> + WISS (WUSSE), "I—," certainly, of a truth. + </p> + <p> + WITHOUT, beyond. + </p> + <p> + WITTY, cunning, ingenious, clever. + </p> + <p> + WOOD, collection, lot. + </p> + <p> + WOODCOCK, term of contempt. + </p> + <p> + WOOLSACK ("—pies"), name of tavern. + </p> + <p> + WORT, unfermented beer. + </p> + <p> + WOUNDY, great, extreme. + </p> + <p> + WREAK, revenge. + </p> + <p> + WROUGHT, wrought upon. + </p> + <p> + WUSSE, interjection. (See Wiss). + </p> + <p> + YEANLING, lamb, kid. + </p> + <p> + ZANY, an inferior clown, who attended upon the chief fool and mimicked his + tricks. + </p> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Volpone; Or, The Fox, by Ben Jonson + +*** END OF THIS PROJECT GUTENBERG EBOOK VOLPONE; OR, THE FOX *** + +***** This file should be named 4039-h.htm or 4039-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/4/0/3/4039/ + +Produced by Amy E Zelmer, Robert Prince, Sue Asscher, and David Widger + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> diff --git a/4039.txt b/4039.txt new file mode 100644 index 0000000..c9f354b --- /dev/null +++ b/4039.txt @@ -0,0 +1,11047 @@ +The Project Gutenberg EBook of Volpone; Or, The Fox, by Ben Jonson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Volpone; Or, The Fox + +Author: Ben Jonson + +Release Date: May, 2003 [Etext #4039] +Posting Date: February 16, 2010 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK VOLPONE; OR, THE FOX *** + + + + +Produced by Amy E Zelmer, Robert Prince, Sue Asscher + + + + + +VOLPONE; OR, THE FOX + + +By Ben Jonson + + + + +INTRODUCTION + + +The greatest of English dramatists except Shakespeare, the first +literary dictator and poet-laureate, a writer of verse, prose, satire, +and criticism who most potently of all the men of his time affected the +subsequent course of English letters: such was Ben Jonson, and as such +his strong personality assumes an interest to us almost unparalleled, at +least in his age. + +Ben Jonson came of the stock that was centuries after to give to the +world Thomas Carlyle; for Jonson's grandfather was of Annandale, over +the Solway, whence he migrated to England. Jonson's father lost his +estate under Queen Mary, "having been cast into prison and forfeited." +He entered the church, but died a month before his illustrious son was +born, leaving his widow and child in poverty. Jonson's birthplace was +Westminster, and the time of his birth early in 1573. He was thus nearly +ten years Shakespeare's junior, and less well off, if a trifle better +born. But Jonson did not profit even by this slight advantage. His +mother married beneath her, a wright or bricklayer, and Jonson was for a +time apprenticed to the trade. As a youth he attracted the attention of +the famous antiquary, William Camden, then usher at Westminster School, +and there the poet laid the solid foundations of his classical learning. +Jonson always held Camden in veneration, acknowledging that to him he +owed, + + "All that I am in arts, all that I know;" + +and dedicating his first dramatic success, "Every Man in His Humour," +to him. It is doubtful whether Jonson ever went to either university, +though Fuller says that he was "statutably admitted into St. John's +College, Cambridge." He tells us that he took no degree, but was later +"Master of Arts in both the universities, by their favour, not his +study." When a mere youth Jonson enlisted as a soldier, trailing his +pike in Flanders in the protracted wars of William the Silent against +the Spanish. Jonson was a large and raw-boned lad; he became by his +own account in time exceedingly bulky. In chat with his friend William +Drummond of Hawthornden, Jonson told how "in his service in the Low +Countries he had, in the face of both the camps, killed an enemy, and +taken opima spolia from him;" and how "since his coming to England, +being appealed to the fields, he had killed his adversary which had hurt +him in the arm and whose sword was ten inches longer than his." Jonson's +reach may have made up for the lack of his sword; certainly his prowess +lost nothing in the telling. Obviously Jonson was brave, combative, and +not averse to talking of himself and his doings. + +In 1592, Jonson returned from abroad penniless. Soon after he married, +almost as early and quite as imprudently as Shakespeare. He told +Drummond curtly that "his wife was a shrew, yet honest"; for some +years he lived apart from her in the household of Lord Albany. Yet two +touching epitaphs among Jonson's "Epigrams," "On my first daughter," and +"On my first son," attest the warmth of the poet's family affections. +The daughter died in infancy, the son of the plague; another son grew up +to manhood little credit to his father whom he survived. We know nothing +beyond this of Jonson's domestic life. + +How soon Jonson drifted into what we now call grandly "the theatrical +profession" we do not know. In 1593, Marlowe made his tragic exit from +life, and Greene, Shakespeare's other rival on the popular stage, +had preceded Marlowe in an equally miserable death the year before. +Shakespeare already had the running to himself. Jonson appears first in +the employment of Philip Henslowe, the exploiter of several troupes of +players, manager, and father-in-law of the famous actor, Edward Alleyn. +From entries in "Henslowe's Diary," a species of theatrical account book +which has been handed down to us, we know that Jonson was connected with +the Admiral's men; for he borrowed 4 pounds of Henslowe, July 28, 1597, +paying back 3s. 9d. on the same day on account of his "share" (in what +is not altogether clear); while later, on December 3, of the same year, +Henslowe advanced 20s. to him "upon a book which he showed the plot unto +the company which he promised to deliver unto the company at Christmas +next." In the next August Jonson was in collaboration with Chettle and +Porter in a play called "Hot Anger Soon Cold." All this points to an +association with Henslowe of some duration, as no mere tyro would be +thus paid in advance upon mere promise. From allusions in Dekker's play, +"Satiromastix," it appears that Jonson, like Shakespeare, began life as +an actor, and that he "ambled in a leather pitch by a play-wagon" taking +at one time the part of Hieronimo in Kyd's famous play, "The Spanish +Tragedy." By the beginning of 1598, Jonson, though still in needy +circumstances, had begun to receive recognition. Francis Meres--well +known for his "Comparative Discourse of our English Poets with the +Greek, Latin, and Italian Poets," printed in 1598, and for his mention +therein of a dozen plays of Shakespeare by title--accords to Ben Jonson +a place as one of "our best in tragedy," a matter of some surprise, as +no known tragedy of Jonson from so early a date has come down to us. +That Jonson was at work on tragedy, however, is proved by the entries in +Henslowe of at least three tragedies, now lost, in which he had a +hand. These are "Page of Plymouth," "King Robert II. of Scotland," +and "Richard Crookback." But all of these came later, on his return to +Henslowe, and range from August 1599 to June 1602. + +Returning to the autumn of 1598, an event now happened to sever for +a time Jonson's relations with Henslowe. In a letter to Alleyn, dated +September 26 of that year, Henslowe writes: "I have lost one of my +company that hurteth me greatly; that is Gabriel [Spencer], for he is +slain in Hogsden fields by the hands of Benjamin Jonson, bricklayer." +The last word is perhaps Henslowe's thrust at Jonson in his displeasure +rather than a designation of his actual continuance at his trade up to +this time. It is fair to Jonson to remark however, that his adversary +appears to have been a notorious fire-eater who had shortly before +killed one Feeke in a similar squabble. Duelling was a frequent +occurrence of the time among gentlemen and the nobility; it was an +impudent breach of the peace on the part of a player. This duel is the +one which Jonson described years after to Drummond, and for it Jonson +was duly arraigned at Old Bailey, tried, and convicted. He was sent to +prison and such goods and chattels as he had "were forfeited." It is +a thought to give one pause that, but for the ancient law permitting +convicted felons to plead, as it was called, the benefit of clergy, +Jonson might have been hanged for this deed. The circumstance that the +poet could read and write saved him; and he received only a brand of the +letter "T," for Tyburn, on his left thumb. While in jail Jonson became a +Roman Catholic; but he returned to the faith of the Church of England a +dozen years later. + +On his release, in disgrace with Henslowe and his former associates, +Jonson offered his services as a playwright to Henslowe's rivals, +the Lord Chamberlain's company, in which Shakespeare was a prominent +shareholder. A tradition of long standing, though not susceptible +of proof in a court of law, narrates that Jonson had submitted the +manuscript of "Every Man in His Humour" to the Chamberlain's men and had +received from the company a refusal; that Shakespeare called him back, +read the play himself, and at once accepted it. Whether this story is +true or not, certain it is that "Every Man in His Humour" was accepted +by Shakespeare's company and acted for the first time in 1598, with +Shakespeare taking a part. The evidence of this is contained in the list +of actors prefixed to the comedy in the folio of Jonson's works, 1616. +But it is a mistake to infer, because Shakespeare's name stands first +in the list of actors and the elder Kno'well first in the dramatis +personae, that Shakespeare took that particular part. The order of a +list of Elizabethan players was generally that of their importance or +priority as shareholders in the company and seldom if ever corresponded +to the list of characters. + +"Every Man in His Humour" was an immediate success, and with it Jonson's +reputation as one of the leading dramatists of his time was established +once and for all. This could have been by no means Jonson's earliest +comedy, and we have just learned that he was already reputed one of "our +best in tragedy." Indeed, one of Jonson's extant comedies, "The Case +is Altered," but one never claimed by him or published as his, must +certainly have preceded "Every Man in His Humour" on the stage. The +former play may be described as a comedy modelled on the Latin plays of +Plautus. (It combines, in fact, situations derived from the "Captivi" +and the "Aulularia" of that dramatist). But the pretty story of the +beggar-maiden, Rachel, and her suitors, Jonson found, not among the +classics, but in the ideals of romantic love which Shakespeare had +already popularised on the stage. Jonson never again produced so fresh +and lovable a feminine personage as Rachel, although in other respects +"The Case is Altered" is not a conspicuous play, and, save for the +satirising of Antony Munday in the person of Antonio Balladino and +Gabriel Harvey as well, is perhaps the least characteristic of the +comedies of Jonson. + +"Every Man in His Humour," probably first acted late in the summer of +1598 and at the Curtain, is commonly regarded as an epoch-making play; +and this view is not unjustified. As to plot, it tells little more than +how an intercepted letter enabled a father to follow his supposedly +studious son to London, and there observe his life with the gallants of +the time. The real quality of this comedy is in its personages and in +the theory upon which they are conceived. Ben Jonson had theories about +poetry and the drama, and he was neither chary in talking of them nor in +experimenting with them in his plays. This makes Jonson, like Dryden +in his time, and Wordsworth much later, an author to reckon with; +particularly when we remember that many of Jonson's notions came for +a time definitely to prevail and to modify the whole trend of English +poetry. First of all Jonson was a classicist, that is, he believed in +restraint and precedent in art in opposition to the prevalent ungoverned +and irresponsible Renaissance spirit. Jonson believed that there was a +professional way of doing things which might be reached by a study of +the best examples, and he found these examples for the most part among +the ancients. To confine our attention to the drama, Jonson objected to +the amateurishness and haphazard nature of many contemporary plays, and +set himself to do something different; and the first and most striking +thing that he evolved was his conception and practice of the comedy of +humours. + +As Jonson has been much misrepresented in this matter, let us quote his +own words as to "humour." A humour, according to Jonson, was a bias of +disposition, a warp, so to speak, in character by which + + "Some one peculiar quality + Doth so possess a man, that it doth draw + All his affects, his spirits, and his powers, + In their confluctions, all to run one way." + + But continuing, Jonson is careful to add: + + "But that a rook by wearing a pied feather, + The cable hat-band, or the three-piled ruff, + A yard of shoe-tie, or the Switzers knot + On his French garters, should affect a humour! + O, it is more than most ridiculous." + +Jonson's comedy of humours, in a word, conceived of stage personages +on the basis of a ruling trait or passion (a notable simplification +of actual life be it observed in passing); and, placing these typified +traits in juxtaposition in their conflict and contrast, struck the +spark of comedy. Downright, as his name indicates, is "a plain squire"; +Bobadill's humour is that of the braggart who is incidentally, and with +delightfully comic effect, a coward; Brainworm's humour is the finding +out of things to the end of fooling everybody: of course he is fooled +in the end himself. But it was not Jonson's theories alone that made the +success of "Every Man in His Humour." The play is admirably written +and each character is vividly conceived, and with a firm touch based on +observation of the men of the London of the day. Jonson was neither in +this, his first great comedy (nor in any other play that he wrote), +a supine classicist, urging that English drama return to a slavish +adherence to classical conditions. He says as to the laws of the old +comedy (meaning by "laws," such matters as the unities of time and place +and the use of chorus): "I see not then, but we should enjoy the same +licence, or free power to illustrate and heighten our invention as they +[the ancients] did; and not be tied to those strict and regular forms +which the niceness of a few, who are nothing but form, would thrust upon +us." "Every Man in His Humour" is written in prose, a novel practice +which Jonson had of his predecessor in comedy, John Lyly. Even the word +"humour" seems to have been employed in the Jonsonian sense by Chapman +before Jonson's use of it. Indeed, the comedy of humours itself is only +a heightened variety of the comedy of manners which represents life, +viewed at a satirical angle, and is the oldest and most persistent +species of comedy in the language. None the less, Jonson's comedy +merited its immediate success and marked out a definite course in which +comedy long continued to run. To mention only Shakespeare's Falstaff +and his rout, Bardolph, Pistol, Dame Quickly, and the rest, whether in +"Henry IV." or in "The Merry Wives of Windsor," all are conceived in +the spirit of humours. So are the captains, Welsh, Scotch, and Irish +of "Henry V.," and Malvolio especially later; though Shakespeare never +employed the method of humours for an important personage. It was not +Jonson's fault that many of his successors did precisely the thing +that he had reprobated, that is, degrade "the humour: into an oddity of +speech, an eccentricity of manner, of dress, or cut of beard. There was +an anonymous play called "Every Woman in Her Humour." Chapman wrote "A +Humourous Day's Mirth," Day, "Humour Out of Breath," Fletcher later, +"The Humourous Lieutenant," and Jonson, besides "Every Man Out of His +Humour," returned to the title in closing the cycle of his comedies in +"The Magnetic Lady or Humours Reconciled." + +With the performance of "Every Man Out of His Humour" in 1599, by +Shakespeare's company once more at the Globe, we turn a new page in +Jonson's career. Despite his many real virtues, if there is one feature +more than any other that distinguishes Jonson, it is his arrogance; and +to this may be added his self-righteousness, especially under criticism +or satire. "Every Man Out of His Humour" is the first of three "comical +satires" which Jonson contributed to what Dekker called the poetomachia +or war of the theatres as recent critics have named it. This play as a +fabric of plot is a very slight affair; but as a satirical picture +of the manners of the time, proceeding by means of vivid caricature, +couched in witty and brilliant dialogue and sustained by that righteous +indignation which must lie at the heart of all true satire--as a +realisation, in short, of the classical ideal of comedy--there had been +nothing like Jonson's comedy since the days of Aristophanes. "Every Man +in His Humour," like the two plays that follow it, contains two kinds +of attack, the critical or generally satiric, levelled at abuses +and corruptions in the abstract; and the personal, in which specific +application is made of all this in the lampooning of poets and others, +Jonson's contemporaries. The method of personal attack by actual +caricature of a person on the stage is almost as old as the drama. +Aristophanes so lampooned Euripides in "The Acharnians" and Socrates in +"The Clouds," to mention no other examples; and in English drama this +kind of thing is alluded to again and again. What Jonson really did, +was to raise the dramatic lampoon to an art, and make out of a casual +burlesque and bit of mimicry a dramatic satire of literary pretensions +and permanency. With the arrogant attitude mentioned above and his +uncommon eloquence in scorn, vituperation, and invective, it is no +wonder that Jonson soon involved himself in literary and even personal +quarrels with his fellow-authors. The circumstances of the origin of +this 'poetomachia' are far from clear, and those who have written on the +topic, except of late, have not helped to make them clearer. The origin +of the "war" has been referred to satirical references, apparently to +Jonson, contained in "The Scourge of Villainy," a satire in regular form +after the manner of the ancients by John Marston, a fellow playwright, +subsequent friend and collaborator of Jonson's. On the other hand, +epigrams of Jonson have been discovered (49, 68, and 100) variously +charging "playwright" (reasonably identified with Marston) with +scurrility, cowardice, and plagiarism; though the dates of the epigrams +cannot be ascertained with certainty. Jonson's own statement of the +matter to Drummond runs: "He had many quarrels with Marston, beat +him, and took his pistol from him, wrote his "Poetaster" on him; the +beginning[s] of them were that Marston represented him on the stage."* + + * The best account of this whole subject is to be + found in the edition of "Poetaster" and "Satiromastrix" by + J. H. Penniman in "Belles Lettres Series" shortly to appear. + See also his earlier work, "The War of the Theatres," 1892, + and the excellent contributions to the subject by H. C. Hart + in "Notes and Queries," and in his edition of Jonson, 1906. + +Here at least we are on certain ground; and the principals of the +quarrel are known. "Histriomastix," a play revised by Marston in 1598, +has been regarded as the one in which Jonson was thus "represented on +the stage"; although the personage in question, Chrisogonus, a poet, +satirist, and translator, poor but proud, and contemptuous of the common +herd, seems rather a complimentary portrait of Jonson than a caricature. +As to the personages actually ridiculed in "Every Man Out of His +Humour," Carlo Buffone was formerly thought certainly to be Marston, +as he was described as "a public, scurrilous, and profane jester," and +elsewhere as the "grand scourge or second untruss [that is, satirist], of +the time" (Joseph Hall being by his own boast the first, and Marston's +work being entitled "The Scourge of Villainy"). Apparently we must now +prefer for Carlo a notorious character named Charles Chester, of whom +gossipy and inaccurate Aubrey relates that he was "a bold impertinent +fellow... a perpetual talker and made a noise like a drum in a room. So +one time at a tavern Sir Walter Raleigh beats him and seals up his mouth +(that is his upper and nether beard) with hard wax. From him Ben Jonson +takes his Carlo Buffone ['i.e.', jester] in "Every Man in His Humour" +['sic']." Is it conceivable that after all Jonson was ridiculing +Marston, and that the point of the satire consisted in an intentional +confusion of "the grand scourge or second untruss" with "the scurrilous +and profane" Chester? + +We have digressed into detail in this particular case to exemplify the +difficulties of criticism in its attempts to identify the allusions in +these forgotten quarrels. We are on sounder ground of fact in recording +other manifestations of Jonson's enmity. In "The Case is Altered" there +is clear ridicule in the character Antonio Balladino of Anthony Munday, +pageant-poet of the city, translator of romances and playwright as well. +In "Every Man in His Humour" there is certainly a caricature of Samuel +Daniel, accepted poet of the court, sonneteer, and companion of men of +fashion. These men held recognised positions to which Jonson felt his +talents better entitled him; they were hence to him his natural enemies. +It seems almost certain that he pursued both in the personages of his +satire through "Every Man Out of His Humour," and "Cynthia's Revels," +Daniel under the characters Fastidious Brisk and Hedon, Munday as +Puntarvolo and Amorphus; but in these last we venture on quagmire once +more. Jonson's literary rivalry of Daniel is traceable again and again, +in the entertainments that welcomed King James on his way to London, in +the masques at court, and in the pastoral drama. As to Jonson's personal +ambitions with respect to these two men, it is notable that he became, +not pageant-poet, but chronologer to the City of London; and that, on +the accession of the new king, he came soon to triumph over Daniel as +the accepted entertainer of royalty. + +"Cynthia's Revels," the second "comical satire," was acted in 1600, and, +as a play, is even more lengthy, elaborate, and impossible than "Every +Man Out of His Humour." Here personal satire seems to have absorbed +everything, and while much of the caricature is admirable, especially in +the detail of witty and trenchantly satirical dialogue, the central idea +of a fountain of self-love is not very well carried out, and the persons +revert at times to abstractions, the action to allegory. It adds to our +wonder that this difficult drama should have been acted by the Children +of Queen Elizabeth's Chapel, among them Nathaniel Field with whom Jonson +read Horace and Martial, and whom he taught later how to make plays. +Another of these precocious little actors was Salathiel Pavy, who died +before he was thirteen, already famed for taking the parts of old men. +Him Jonson immortalised in one of the sweetest of his epitaphs. An +interesting sidelight is this on the character of this redoubtable +and rugged satirist, that he should thus have befriended and tenderly +remembered these little theatrical waifs, some of whom (as we know) had +been literally kidnapped to be pressed into the service of the theatre +and whipped to the conning of their difficult parts. To the caricature +of Daniel and Munday in "Cynthia's Revels" must be added Anaides +(impudence), here assuredly Marston, and Asotus (the prodigal), +interpreted as Lodge or, more perilously, Raleigh. Crites, like +Asper-Macilente in "Every Man Out of His Humour," is Jonson's +self-complaisant portrait of himself, the just, wholly admirable, and +judicious scholar, holding his head high above the pack of the yelping +curs of envy and detraction, but careless of their puny attacks on his +perfections with only too mindful a neglect. + +The third and last of the "comical satires" is "Poetaster," acted, once +more, by the Children of the Chapel in 1601, and Jonson's only avowed +contribution to the fray. According to the author's own account, this +play was written in fifteen weeks on a report that his enemies had +entrusted to Dekker the preparation of "Satiromastix, the Untrussing of +the Humorous Poet," a dramatic attack upon himself. In this attempt to +forestall his enemies Jonson succeeded, and "Poetaster" was an immediate +and deserved success. While hardly more closely knit in structure than +its earlier companion pieces, "Poetaster" is planned to lead up to +the ludicrous final scene in which, after a device borrowed from the +"Lexiphanes" of Lucian, the offending poetaster, Marston-Crispinus, is +made to throw up the difficult words with which he had overburdened his +stomach as well as overlarded his vocabulary. In the end Crispinus with +his fellow, Dekker-Demetrius, is bound over to keep the peace and never +thenceforward "malign, traduce, or detract the person or writings of +Quintus Horatius Flaccus [Jonson] or any other eminent man transcending +you in merit." One of the most diverting personages in Jonson's comedy +is Captain Tucca. "His peculiarity" has been well described by Ward as +"a buoyant blackguardism which recovers itself instantaneously from the +most complete exposure, and a picturesqueness of speech like that of a +walking dictionary of slang." + +It was this character, Captain Tucca, that Dekker hit upon in his reply, +"Satiromastix," and he amplified him, turning his abusive vocabulary +back upon Jonson and adding "an immodesty to his dialogue that did not +enter into Jonson's conception." It has been held, altogether plausibly, +that when Dekker was engaged professionally, so to speak, to write +a dramatic reply to Jonson, he was at work on a species of chronicle +history, dealing with the story of Walter Terill in the reign of William +Rufus. This he hurriedly adapted to include the satirical characters +suggested by "Poetaster," and fashioned to convey the satire of his +reply. The absurdity of placing Horace in the court of a Norman king is +the result. But Dekker's play is not without its palpable hits at the +arrogance, the literary pride, and self-righteousness of Jonson-Horace, +whose "ningle" or pal, the absurd Asinius Bubo, has recently been shown +to figure forth, in all likelihood, Jonson's friend, the poet Drayton. +Slight and hastily adapted as is "Satiromastix," especially in a +comparison with the better wrought and more significant satire of +"Poetaster," the town awarded the palm to Dekker, not to Jonson; and +Jonson gave over in consequence his practice of "comical satire." Though +Jonson was cited to appear before the Lord Chief Justice to answer +certain charges to the effect that he had attacked lawyers and soldiers +in "Poetaster," nothing came of this complaint. It may be suspected that +much of this furious clatter and give-and-take was pure playing to the +gallery. The town was agog with the strife, and on no less an authority +than Shakespeare ("Hamlet," ii. 2), we learn that the children's company +(acting the plays of Jonson) did "so berattle the common stages... that +many, wearing rapiers, are afraid of goose-quills, and dare scarce come +thither." + +Several other plays have been thought to bear a greater or less part +in the war of the theatres. Among them the most important is a college +play, entitled "The Return from Parnassus," dating 1601-02. In it a +much-quoted passage makes Burbage, as a character, declare: "Why here's +our fellow Shakespeare puts them all down; aye and Ben Jonson, too. O +that Ben Jonson is a pestilent fellow; he brought up Horace, giving the +poets a pill, but our fellow Shakespeare hath given him a purge that +made him bewray his credit." Was Shakespeare then concerned in this +war of the stages? And what could have been the nature of this "purge"? +Among several suggestions, "Troilus and Cressida" has been thought by +some to be the play in which Shakespeare thus "put down" his friend, +Jonson. A wiser interpretation finds the "purge" in "Satiromastix," +which, though not written by Shakespeare, was staged by his company, +and therefore with his approval and under his direction as one of the +leaders of that company. + +The last years of the reign of Elizabeth thus saw Jonson recognised as +a dramatist second only to Shakespeare, and not second even to him as +a dramatic satirist. But Jonson now turned his talents to new fields. +Plays on subjects derived from classical story and myth had held the +stage from the beginning of the drama, so that Shakespeare was making +no new departure when he wrote his "Julius Caesar" about 1600. Therefore +when Jonson staged "Sejanus," three years later and with Shakespeare's +company once more, he was only following in the elder dramatist's +footsteps. But Jonson's idea of a play on classical history, on the one +hand, and Shakespeare's and the elder popular dramatists, on the other, +were very different. Heywood some years before had put five straggling +plays on the stage in quick succession, all derived from stories in Ovid +and dramatised with little taste or discrimination. Shakespeare had +a finer conception of form, but even he was contented to take all his +ancient history from North's translation of Plutarch and dramatise his +subject without further inquiry. Jonson was a scholar and a classical +antiquarian. He reprobated this slipshod amateurishness, and wrote +his "Sejanus" like a scholar, reading Tacitus, Suetonius, and +other authorities, to be certain of his facts, his setting, and his +atmosphere, and somewhat pedantically noting his authorities in the +margin when he came to print. "Sejanus" is a tragedy of genuine dramatic +power in which is told with discriminating taste the story of the +haughty favourite of Tiberius with his tragical overthrow. Our drama +presents no truer nor more painstaking representation of ancient +Roman life than may be found in Jonson's "Sejanus" and "Catiline his +Conspiracy," which followed in 1611. A passage in the address of the +former play to the reader, in which Jonson refers to a collaboration +in an earlier version, has led to the surmise that Shakespeare may have +been that "worthier pen." There is no evidence to determine the matter. + +In 1605, we find Jonson in active collaboration with Chapman and Marston +in the admirable comedy of London life entitled "Eastward Hoe." In +the previous year, Marston had dedicated his "Malcontent," in terms +of fervid admiration, to Jonson; so that the wounds of the war of the +theatres must have been long since healed. Between Jonson and Chapman +there was the kinship of similar scholarly ideals. The two continued +friends throughout life. "Eastward Hoe" achieved the extraordinary +popularity represented in a demand for three issues in one year. But +this was not due entirely to the merits of the play. In its earliest +version a passage which an irritable courtier conceived to be derogatory +to his nation, the Scots, sent both Chapman and Jonson to jail; but the +matter was soon patched up, for by this time Jonson had influence at +court. + +With the accession of King James, Jonson began his long and successful +career as a writer of masques. He wrote more masques than all his +competitors together, and they are of an extraordinary variety +and poetic excellence. Jonson did not invent the masque; for such +premeditated devices to set and frame, so to speak, a court ball had +been known and practised in varying degrees of elaboration long before +his time. But Jonson gave dramatic value to the masque, especially in +his invention of the antimasque, a comedy or farcical element of relief, +entrusted to professional players or dancers. He enhanced, as well, the +beauty and dignity of those portions of the masque in which noble lords +and ladies took their parts to create, by their gorgeous costumes and +artistic grouping and evolutions, a sumptuous show. On the mechanical +and scenic side Jonson had an inventive and ingenious partner in +Inigo Jones, the royal architect, who more than any one man raised +the standard of stage representation in the England of his day. Jonson +continued active in the service of the court in the writing of masques +and other entertainments far into the reign of King Charles; but, +towards the end, a quarrel with Jones embittered his life, and the two +testy old men appear to have become not only a constant irritation to +each other, but intolerable bores at court. In "Hymenaei," "The Masque +of Queens," "Love Freed from Ignorance," "Lovers made Men," "Pleasure +Reconciled to Virtue," and many more will be found Jonson's aptitude, +his taste, his poetry and inventiveness in these by-forms of the drama; +while in "The Masque of Christmas," and "The Gipsies Metamorphosed" +especially, is discoverable that power of broad comedy which, at +court as well as in the city, was not the least element of Jonson's +contemporary popularity. + +But Jonson had by no means given up the popular stage when he turned to +the amusement of King James. In 1605 "Volpone" was produced, "The Silent +Woman" in 1609, "The Alchemist" in the following year. These comedies, +with "Bartholomew Fair," 1614, represent Jonson at his height, and for +constructive cleverness, character successfully conceived in the manner +of caricature, wit and brilliancy of dialogue, they stand alone in +English drama. "Volpone, or the Fox," is, in a sense, a transition play +from the dramatic satires of the war of the theatres to the purer comedy +represented in the plays named above. Its subject is a struggle of +wit applied to chicanery; for among its dramatis personae, from the +villainous Fox himself, his rascally servant Mosca, Voltore (the +vulture), Corbaccio and Corvino (the big and the little raven), to Sir +Politic Would-be and the rest, there is scarcely a virtuous character in +the play. Question has been raised as to whether a story so forbidding +can be considered a comedy, for, although the plot ends in the +discomfiture and imprisonment of the most vicious, it involves no mortal +catastrophe. But Jonson was on sound historical ground, for "Volpone" +is conceived far more logically on the lines of the ancients' theory +of comedy than was ever the romantic drama of Shakespeare, however +repulsive we may find a philosophy of life that facilely divides the +world into the rogues and their dupes, and, identifying brains +with roguery and innocence with folly, admires the former while +inconsistently punishing them. + +"The Silent Woman" is a gigantic farce of the most ingenious +construction. The whole comedy hinges on a huge joke, played by a +heartless nephew on his misanthropic uncle, who is induced to take to +himself a wife, young, fair, and warranted silent, but who, in the end, +turns out neither silent nor a woman at all. In "The Alchemist," again, +we have the utmost cleverness in construction, the whole fabric building +climax on climax, witty, ingenious, and so plausibly presented that we +forget its departures from the possibilities of life. In "The Alchemist" +Jonson represented, none the less to the life, certain sharpers of +the metropolis, revelling in their shrewdness and rascality and in the +variety of the stupidity and wickedness of their victims. We may object +to the fact that the only person in the play possessed of a scruple +of honesty is discomfited, and that the greatest scoundrel of all is +approved in the end and rewarded. The comedy is so admirably written and +contrived, the personages stand out with such lifelike distinctness +in their several kinds, and the whole is animated with such verve and +resourcefulness that "The Alchemist" is a new marvel every time it is +read. Lastly of this group comes the tremendous comedy, "Bartholomew +Fair," less clear cut, less definite, and less structurally worthy +of praise than its three predecessors, but full of the keenest and +cleverest of satire and inventive to a degree beyond any English comedy +save some other of Jonson's own. It is in "Bartholomew Fair" that we are +presented to the immortal caricature of the Puritan, Zeal-in-the-Land +Busy, and the Littlewits that group about him, and it is in this +extraordinary comedy that the humour of Jonson, always open to this +danger, loosens into the Rabelaisian mode that so delighted King James +in "The Gipsies Metamorphosed." Another comedy of less merit is "The +Devil is an Ass," acted in 1616. It was the failure of this play that +caused Jonson to give over writing for the public stage for a period of +nearly ten years. + +"Volpone" was laid as to scene in Venice. Whether because of the success +of "Eastward Hoe" or for other reasons, the other three comedies declare +in the words of the prologue to "The Alchemist": + + "Our scene is London, 'cause we would make known + No country's mirth is better than our own." + +Indeed Jonson went further when he came to revise his plays for +collected publication in his folio of 1616, he transferred the scene +of "Every Man in His Humour" from Florence to London also, converting +Signior Lorenzo di Pazzi to Old Kno'well, Prospero to Master Welborn, +and Hesperida to Dame Kitely "dwelling i' the Old Jewry." + +In his comedies of London life, despite his trend towards caricature, +Jonson has shown himself a genuine realist, drawing from the life about +him with an experience and insight rare in any generation. A happy +comparison has been suggested between Ben Jonson and Charles Dickens. +Both were men of the people, lowly born and hardly bred. Each knew +the London of his time as few men knew it; and each represented it +intimately and in elaborate detail. Both men were at heart moralists, +seeking the truth by the exaggerated methods of humour and caricature; +perverse, even wrong-headed at times, but possessed of a true pathos and +largeness of heart, and when all has been said--though the Elizabethan +ran to satire, the Victorian to sentimentality--leaving the world better +for the art that they practised in it. + +In 1616, the year of the death of Shakespeare, Jonson collected his +plays, his poetry, and his masques for publication in a collective +edition. This was an unusual thing at the time and had been attempted +by no dramatist before Jonson. This volume published, in a carefully +revised text, all the plays thus far mentioned, excepting "The Case is +Altered," which Jonson did not acknowledge, "Bartholomew Fair," and "The +Devil is an Ass," which was written too late. It included likewise a +book of some hundred and thirty odd "Epigrams," in which form of brief +and pungent writing Jonson was an acknowledged master; "The Forest," a +smaller collection of lyric and occasional verse and some ten "Masques" +and "Entertainments." In this same year Jonson was made poet laureate +with a pension of one hundred marks a year. This, with his fees and +returns from several noblemen, and the small earnings of his plays +must have formed the bulk of his income. The poet appears to have done +certain literary hack-work for others, as, for example, parts of the +Punic Wars contributed to Raleigh's "History of the World." We know +from a story, little to the credit of either, that Jonson accompanied +Raleigh's son abroad in the capacity of a tutor. In 1618 Jonson was +granted the reversion of the office of Master of the Revels, a post +for which he was peculiarly fitted; but he did not live to enjoy its +perquisites. Jonson was honoured with degrees by both universities, +though when and under what circumstances is not known. It has been said +that he narrowly escaped the honour of knighthood, which the satirists +of the day averred King James was wont to lavish with an indiscriminate +hand. Worse men were made knights in his day than worthy Ben Jonson. + +From 1616 to the close of the reign of King James, Jonson produced +nothing for the stage. But he "prosecuted" what he calls "his wonted +studies" with such assiduity that he became in reality, as by report, +one of the most learned men of his time. Jonson's theory of authorship +involved a wide acquaintance with books and "an ability," as he put it, +"to convert the substance or riches of another poet to his own use." +Accordingly Jonson read not only the Greek and Latin classics down to +the lesser writers, but he acquainted himself especially with the Latin +writings of his learned contemporaries, their prose as well as their +poetry, their antiquities and curious lore as well as their more solid +learning. Though a poor man, Jonson was an indefatigable collector of +books. He told Drummond that "the Earl of Pembroke sent him 20 pounds +every first day of the new year to buy new books." Unhappily, in 1623, +his library was destroyed by fire, an accident serio-comically described +in his witty poem, "An Execration upon Vulcan." Yet even now a book +turns up from time to time in which is inscribed, in fair large Italian +lettering, the name, Ben Jonson. With respect to Jonson's use of his +material, Dryden said memorably of him: "[He] was not only a professed +imitator of Horace, but a learned plagiary of all the others; you track +him everywhere in their snow.... But he has done his robberies so openly +that one sees he fears not to be taxed by any law. He invades authors +like a monarch, and what would be theft in other poets is only victory +in him." And yet it is but fair to say that Jonson prided himself, and +justly, on his originality. In "Catiline," he not only uses Sallust's +account of the conspiracy, but he models some of the speeches of Cicero +on the Roman orator's actual words. In "Poetaster," he lifts a whole +satire out of Horace and dramatises it effectively for his purposes. The +sophist Libanius suggests the situation of "The Silent Woman"; a Latin +comedy of Giordano Bruno, "Il Candelaio," the relation of the dupes +and the sharpers in "The Alchemist," the "Mostellaria" of Plautus, its +admirable opening scene. But Jonson commonly bettered his sources, and +putting the stamp of his sovereignty on whatever bullion he borrowed +made it thenceforward to all time current and his own. + +The lyric and especially the occasional poetry of Jonson has a peculiar +merit. His theory demanded design and the perfection of literary finish. +He was furthest from the rhapsodist and the careless singer of an +idle day; and he believed that Apollo could only be worthily served in +singing robes and laurel crowned. And yet many of Jonson's lyrics will +live as long as the language. Who does not know "Queen and huntress, +chaste and fair." "Drink to me only with thine eyes," or "Still to be +neat, still to be dressed"? Beautiful in form, deft and graceful in +expression, with not a word too much or one that bears not its part +in the total effect, there is yet about the lyrics of Jonson a +certain stiffness and formality, a suspicion that they were not quite +spontaneous and unbidden, but that they were carved, so to speak, +with disproportionate labour by a potent man of letters whose habitual +thought is on greater things. It is for these reasons that Jonson is +even better in the epigram and in occasional verse where rhetorical +finish and pointed wit less interfere with the spontaneity and emotion +which we usually associate with lyrical poetry. There are no such +epitaphs as Ben Jonson's, witness the charming ones on his own children, +on Salathiel Pavy, the child-actor, and many more; and this even though +the rigid law of mine and thine must now restore to William Browne of +Tavistock the famous lines beginning: "Underneath this sable hearse." +Jonson is unsurpassed, too, in the difficult poetry of compliment, +seldom falling into fulsome praise and disproportionate similitude, yet +showing again and again a generous appreciation of worth in others, a +discriminating taste and a generous personal regard. There was no man in +England of his rank so well known and universally beloved as Ben Jonson. +The list of his friends, of those to whom he had written verses, and +those who had written verses to him, includes the name of every man of +prominence in the England of King James. And the tone of many of these +productions discloses an affectionate familiarity that speaks for the +amiable personality and sound worth of the laureate. In 1619, growing +unwieldy through inactivity, Jonson hit upon the heroic remedy of a +journey afoot to Scotland. On his way thither and back he was hospitably +received at the houses of many friends and by those to whom his friends +had recommended him. When he arrived in Edinburgh, the burgesses met to +grant him the freedom of the city, and Drummond, foremost of Scottish +poets, was proud to entertain him for weeks as his guest at Hawthornden. +Some of the noblest of Jonson's poems were inspired by friendship. +Such is the fine "Ode to the memory of Sir Lucius Cary and Sir Henry +Moryson," and that admirable piece of critical insight and filial +affection, prefixed to the first Shakespeare folio, "To the memory of +my beloved master, William Shakespeare, and what he hath left us," to +mention only these. Nor can the earlier "Epode," beginning "Not to know +vice at all," be matched in stately gravity and gnomic wisdom in its own +wise and stately age. + +But if Jonson had deserted the stage after the publication of his folio +and up to the end of the reign of King James, he was far from inactive; +for year after year his inexhaustible inventiveness continued to +contribute to the masquing and entertainment at court. In "The Golden +Age Restored," Pallas turns the Iron Age with its attendant evils into +statues which sink out of sight; in "Pleasure Reconciled to Virtue," +Atlas figures represented as an old man, his shoulders covered with +snow, and Comus, "the god of cheer or the belly," is one of the +characters, a circumstance which an imaginative boy of ten, named John +Milton, was not to forget. "Pan's Anniversary," late in the reign +of James, proclaimed that Jonson had not yet forgotten how to write +exquisite lyrics, and "The Gipsies Metamorphosed" displayed the old +drollery and broad humorous stroke still unimpaired and unmatchable. +These, too, and the earlier years of Charles were the days of the Apollo +Room of the Devil Tavern where Jonson presided, the absolute monarch of +English literary Bohemia. We hear of a room blazoned about with Jonson's +own judicious "Leges Convivales" in letters of gold, of a company made +up of the choicest spirits of the time, devotedly attached to their +veteran dictator, his reminiscences, opinions, affections, and enmities. +And we hear, too, of valorous potations; but in the words of Herrick +addressed to his master, Jonson, at the Devil Tavern, as at the Dog, the +Triple Tun, and at the Mermaid, + + "We such clusters had + As made us nobly wild, not mad, + And yet each verse of thine + Outdid the meat, outdid the frolic wine." + +But the patronage of the court failed in the days of King Charles, +though Jonson was not without royal favours; and the old poet returned +to the stage, producing, between 1625 and 1633, "The Staple of News," +"The New Inn," "The Magnetic Lady," and "The Tale of a Tub," the last +doubtless revised from a much earlier comedy. None of these plays met +with any marked success, although the scathing generalisation of Dryden +that designated them "Jonson's dotages" is unfair to their genuine +merits. Thus the idea of an office for the gathering, proper dressing, +and promulgation of news (wild flight of the fancy in its time) was +an excellent subject for satire on the existing absurdities among +newsmongers; although as much can hardly be said for "The Magnetic +Lady," who, in her bounty, draws to her personages of differing humours +to reconcile them in the end according to the alternative title, or +"Humours Reconciled." These last plays of the old dramatist revert to +caricature and the hard lines of allegory; the moralist is more than +ever present, the satire degenerates into personal lampoon, especially +of his sometime friend, Inigo Jones, who appears unworthily to have used +his influence at court against the broken-down old poet. And now disease +claimed Jonson, and he was bedridden for months. He had succeeded +Middleton in 1628 as Chronologer to the City of London, but lost the +post for not fulfilling its duties. King Charles befriended him, and +even commissioned him to write still for the entertainment of the court; +and he was not without the sustaining hand of noble patrons and devoted +friends among the younger poets who were proud to be "sealed of the +tribe of Ben." + +Jonson died, August 6, 1637, and a second folio of his works, which +he had been some time gathering, was printed in 1640, bearing in its +various parts dates ranging from 1630 to 1642. It included all the plays +mentioned in the foregoing paragraphs, excepting "The Case is Altered;" +the masques, some fifteen, that date between 1617 and 1630; another +collection of lyrics and occasional poetry called "Underwoods", including +some further entertainments; a translation of "Horace's Art of Poetry" +(also published in a vicesimo quarto in 1640), and certain fragments and +ingatherings which the poet would hardly have included himself. These +last comprise the fragment (less than seventy lines) of a tragedy called +"Mortimer his Fall," and three acts of a pastoral drama of much beauty +and poetic spirit, "The Sad Shepherd." There is also the exceedingly +interesting "English Grammar" "made by Ben Jonson for the benefit of all +strangers out of his observation of the English language now spoken and +in use," in Latin and English; and "Timber, or Discoveries" "made upon +men and matter as they have flowed out of his daily reading, or had +their reflux to his peculiar notion of the times." The "Discoveries," +as it is usually called, is a commonplace book such as many literary +men have kept, in which their reading was chronicled, passages that took +their fancy translated or transcribed, and their passing opinions noted. +Many passages of Jonson's "Discoveries" are literal translations from +the authors he chanced to be reading, with the reference, noted or not, +as the accident of the moment prescribed. At times he follows the line +of Macchiavelli's argument as to the nature and conduct of princes; at +others he clarifies his own conception of poetry and poets by recourse +to Aristotle. He finds a choice paragraph on eloquence in Seneca the +elder and applies it to his own recollection of Bacon's power as an +orator; and another on facile and ready genius, and translates it, +adapting it to his recollection of his fellow-playwright, +Shakespeare. To call such passages--which Jonson never intended for +publication--plagiarism, is to obscure the significance of words. +To disparage his memory by citing them is a preposterous use of +scholarship. Jonson's prose, both in his dramas, in the descriptive +comments of his masques, and in the "Discoveries," is characterised by +clarity and vigorous directness, nor is it wanting in a fine sense of +form or in the subtler graces of diction. + +When Jonson died there was a project for a handsome monument to his +memory. But the Civil War was at hand, and the project failed. A +memorial, not insufficient, was carved on the stone covering his grave +in one of the aisles of Westminster Abbey: + +"O rare Ben Jonson." + +FELIX E. SCHELLING. + +THE COLLEGE, + +PHILADELPHIA, U.S.A. + + + +The following is a complete list of his published works:-- + + DRAMAS: + Every Man in his Humour, 4to, 1601; + The Case is Altered, 4to, 1609; + Every Man out of his Humour, 4to, 1600; + Cynthia's Revels, 4to, 1601; + Poetaster, 4to, 1602; + Sejanus, 4to, 1605; + Eastward Ho (with Chapman and Marston), 4to, 1605; + Volpone, 4to, 1607; + Epicoene, or the Silent Woman, 4to, 1609 (?), fol., 1616; + The Alchemist, 4to, 1612; + Catiline, his Conspiracy, 4to, 1611; + Bartholomew Fayre, 4to, 1614 (?), fol., 1631; + The Divell is an Asse, fol., 1631; + The Staple of Newes, fol., 1631; + The New Sun, 8vo, 1631, fol., 1692; + The Magnetic Lady, or Humours Reconcild, fol., 1640; + A Tale of a Tub, fol., 1640; + The Sad Shepherd, or a Tale of Robin Hood, fol., 1641; + Mortimer his Fall (fragment), fol., 1640. + + To Jonson have also been attributed additions to Kyd's Jeronymo, + and collaboration in The Widow with Fletcher and Middleton, and + in the Bloody Brother with Fletcher. + + POEMS: + Epigrams, The Forrest, Underwoods, published in fols., 1616, 1640; + Selections: Execration against Vulcan, and Epigrams, 1640; + G. Hor. Flaccus his art of Poetry, Englished by Ben Jonson, 1640; + Leges Convivialis, fol., 1692. + Other minor poems first appeared in Gifford's edition of Works. + + PROSE: + Timber, or Discoveries made upon Men and Matter, fol., 1641; + The English Grammar, made by Ben Jonson for the benefit of + Strangers, fol., 1640. + + Masques and Entertainments were published in the early folios. + + WORKS: + Fol., 1616, volume. 2, 1640 (1631-41); + fol., 1692, 1716-19, 1729; + edited by P. Whalley, 7 volumes., 1756; + by Gifford (with Memoir), 9 volumes., 1816, 1846; + re-edited by F. Cunningham, 3 volumes., 1871; + in 9 volumes., 1875; + by Barry Cornwall (with Memoir), 1838; + by B. Nicholson (Mermaid Series), with Introduction by + C. H. Herford, 1893, etc.; + Nine Plays, 1904; + ed. H. C. Hart (Standard Library), 1906, etc; + Plays and Poems, with Introduction by H. Morley (Universal + Library), 1885; + Plays (7) and Poems (Newnes), 1905; + Poems, with Memoir by H. Bennett (Carlton Classics), 1907; + Masques and Entertainments, ed. by H. Morley, 1890. + + SELECTIONS: + J. A. Symonds, with Biographical and Critical Essay, + (Canterbury Poets), 1886; + Grosart, Brave Translunary Things, 1895; + Arber, Jonson Anthology, 1901; + Underwoods, Cambridge University Press, 1905; + Lyrics (Jonson, Beaumont and Fletcher), the Chap Books, + No. 4, 1906; + Songs (from Plays, Masques, etc.), with earliest known + setting, Eragny Press, 1906. + + LIFE: + See Memoirs affixed to Works; + J. A. Symonds (English Worthies), 1886; + Notes of Ben Jonson Conversations with Drummond of Hawthornden; + Shakespeare Society, 1842; + ed. with Introduction and Notes by P. Sidney, 1906; + Swinburne, A Study of Ben Jonson, 1889. + + + + + +VOLPONE; OR, THE FOX + +By Ben Jonson + + +TO THE MOST NOBLE AND MOST EQUAL SISTERS, + +THE TWO FAMOUS UNIVERSITIES, + +FOR THEIR LOVE AND ACCEPTANCE SHEWN TO HIS POEM IN THE PRESENTATION, + +BEN JONSON, + +THE GRATEFUL ACKNOWLEDGER, + +DEDICATES BOTH IT AND HIMSELF. + +Never, most equal Sisters, had any man a wit so presently excellent, as +that it could raise itself; but there must come both matter, occasion, +commenders, and favourers to it. If this be true, and that the fortune +of all writers doth daily prove it, it behoves the careful to provide +well towards these accidents; and, having acquired them, to preserve +that part of reputation most tenderly, wherein the benefit of a friend +is also defended. Hence is it, that I now render myself grateful, and am +studious to justify the bounty of your act; to which, though your mere +authority were satisfying, yet it being an age wherein poetry and the +professors of it hear so ill on all sides, there will a reason be looked +for in the subject. It is certain, nor can it with any forehead be +opposed, that the too much license of poetasters in this time, hath much +deformed their mistress; that, every day, their manifold and manifest +ignorance doth stick unnatural reproaches upon her: but for their +petulancy, it were an act of the greatest injustice, either to let +the learned suffer, or so divine a skill (which indeed should not be +attempted with unclean hands) to fall under the least contempt. For, +if men will impartially, and not asquint, look toward the offices +and function of a poet, they will easily conclude to themselves the +impossibility of any man's being the good poet, without first being a +good man. He that is said to be able to inform young men to all good +disciplines, inflame grown men to all great virtues, keep old men in +their best and supreme state, or, as they decline to childhood, recover +them to their first strength; that comes forth the interpreter and +arbiter of nature, a teacher of things divine no less than human, a +master in manners; and can alone, or with a few, effect the business +of mankind: this, I take him, is no subject for pride and ignorance +to exercise their railing rhetoric upon. But it will here be hastily +answered, that the writers of these days are other things; that not only +their manners, but their natures, are inverted, and nothing remaining +with them of the dignity of poet, but the abused name, which every +scribe usurps; that now, especially in dramatic, or, as they term it, +stage-poetry, nothing but ribaldry, profanation, blasphemy, all license +of offence to God and man is practised. I dare not deny a great part of +this, and am sorry I dare not, because in some men's abortive features +(and would they had never boasted the light) it is over-true; but that +all are embarked in this bold adventure for hell, is a most uncharitable +thought, and, uttered, a more malicious slander. For my particular, I +can, and from a most clear conscience, affirm, that I have ever trembled +to think toward the least profaneness; have loathed the use of such +foul and unwashed bawdry, as is now made the food of the scene: and, +howsoever I cannot escape from some, the imputation of sharpness, but +that they will say, I have taken a pride, or lust, to be bitter, and not +my youngest infant but hath come into the world with all his teeth; +I would ask of these supercilious politics, what nation, society, or +general order or state, I have provoked? What public person? Whether I +have not in all these preserved their dignity, as mine own person, safe? +My works are read, allowed, (I speak of those that are intirely mine,) +look into them, what broad reproofs have I used? where have I been +particular? where personal? except to a mimic, cheater, bawd, or +buffoon, creatures, for their insolencies, worthy to be taxed? yet to +which of these so pointingly, as he might not either ingenuously have +confest, or wisely dissembled his disease? But it is not rumour can make +men guilty, much less entitle me to other men's crimes. I know, that +nothing can be so innocently writ or carried, but may be made obnoxious +to construction; marry, whilst I bear mine innocence about me, I fear +it not. Application is now grown a trade with many; and there are that +profess to have a key for the decyphering of every thing: but let wise +and noble persons take heed how they be too credulous, or give leave to +these invading interpreters to be over-familiar with their fames, who +cunningly, and often, utter their own virulent malice, under other men's +simplest meanings. As for those that will (by faults which charity hath +raked up, or common honesty concealed) make themselves a name with the +multitude, or, to draw their rude and beastly claps, care not whose +living faces they intrench with their petulant styles, may they do it +without a rival, for me! I choose rather to live graved in obscurity, +than share with them in so preposterous a fame. Nor can I blame the +wishes of those severe and wise patriots, who providing the hurts these +licentious spirits may do in a state, desire rather to see fools and +devils, and those antique relics of barbarism retrieved, with all other +ridiculous and exploded follies, than behold the wounds of private +men, of princes and nations: for, as Horace makes Trebatius speak among +these, + + "Sibi quisque timet, quanquam est intactus, et odit." + +And men may justly impute such rages, if continued, to the writer, as +his sports. The increase of which lust in liberty, together with the +present trade of the stage, in all their miscelline interludes, what +learned or liberal soul doth not already abhor? where nothing but the +filth of the time is uttered, and with such impropriety of phrase, such +plenty of solecisms, such dearth of sense, so bold prolepses, so racked +metaphors, with brothelry, able to violate the ear of a pagan, and +blasphemy, to turn the blood of a Christian to water. I cannot but be +serious in a cause of this nature, wherein my fame, and the reputation +of divers honest and learned are the question; when a name so full of +authority, antiquity, and all great mark, is, through their insolence, +become the lowest scorn of the age; and those men subject to the +petulancy of every vernaculous orator, that were wont to be the care of +kings and happiest monarchs. This it is that hath not only rapt me to +present indignation, but made me studious heretofore, and by all my +actions, to stand off from them; which may most appear in this my latest +work, which you, most learned Arbitresses, have seen, judged, and to +my crown, approved; wherein I have laboured for their instruction and +amendment, to reduce not only the ancient forms, but manners of the +scene, the easiness, the propriety, the innocence, and last, the +doctrine, which is the principal end of poesie, to inform men in the +best reason of living. And though my catastrophe may, in the strict +rigour of comic law, meet with censure, as turning back to my promise; +I desire the learned and charitable critic, to have so much faith in +me, to think it was done of industry: for, with what ease I could have +varied it nearer his scale (but that I fear to boast my own faculty) I +could here insert. But my special aim being to put the snaffle in their +mouths, that cry out, We never punish vice in our interludes, etc., I +took the more liberty; though not without some lines of example, drawn +even in the ancients themselves, the goings out of whose comedies are +not always joyful, but oft times the bawds, the servants, the rivals, +yea, and the masters are mulcted; and fitly, it being the office of a +comic poet to imitate justice, and instruct to life, as well as purity +of language, or stir up gentle affections; to which I shall take the +occasion elsewhere to speak. + +For the present, most reverenced Sisters, as I have cared to be thankful +for your affections past, and here made the understanding acquainted +with some ground of your favours; let me not despair their continuance, +to the maturing of some worthier fruits; wherein, if my muses be true to +me, I shall raise the despised head of poetry again, and stripping her +out of those rotten and base rags wherewith the times have adulterated +her form, restore her to her primitive habit, feature, and majesty, +and render her worthy to be embraced and kist of all the great and +master-spirits of our world. As for the vile and slothful, who never +affected an act worthy of celebration, or are so inward with their own +vicious natures, as they worthily fear her, and think it an high point +of policy to keep her in contempt, with their declamatory and windy +invectives; she shall out of just rage incite her servants (who are +genus irritabile) to spout ink in their faces, that shall eat farther +than their marrow into their fames; and not Cinnamus the barber, with +his art, shall be able to take out the brands; but they shall live, and +be read, till the wretches die, as things worst deserving of themselves +in chief, and then of all mankind. + +From my House in the Black-Friars, + +this 11th day of February, 1607. + + + + + +DRAMATIS PERSONAE + +VOLPONE, a Magnifico. + +MOSCA, his Parasite. + +VOLTORE, an Advocate. + +CORBACCIO, an old Gentleman. + +CORVINO, a Merchant. + +BONARIO, son to Corbaccio. + +SIR POLITICK WOULD-BE, a Knight. + +PEREGRINE, a Gentleman Traveller. + +NANO, a Dwarf. + +CASTRONE, an Eunuch. + +ANDROGYNO, an Hermaphrodite. + +GREGE (or Mob). + +COMMANDADORI, Officers of Justice. + +MERCATORI, three Merchants. + +AVOCATORI, four Magistrates. + +NOTARIO, the Register. + +LADY WOULD-BE, Sir Politick's Wife. + +CELIA, Corvino's Wife. + +SERVITORI, Servants, two Waiting-women, etc. + + + +SCENE: VENICE. + + + + +THE ARGUMENT. + +V olpone, childless, rich, feigns sick, despairs, + +O ffers his state to hopes of several heirs, + +L ies languishing: his parasite receives + +P resents of all, assures, deludes; then weaves + +O ther cross plots, which ope themselves, are told. + +N ew tricks for safety are sought; they thrive: when bold, + +E ach tempts the other again, and all are sold. + + + + + PROLOGUE. + + Now, luck yet sends us, and a little wit + Will serve to make our play hit; + (According to the palates of the season) + Here is rhime, not empty of reason. + This we were bid to credit from our poet, + Whose true scope, if you would know it, + In all his poems still hath been this measure, + To mix profit with your pleasure; + And not as some, whose throats their envy failing, + Cry hoarsely, All he writes is railing: + And when his plays come forth, think they can flout them, + With saying, he was a year about them. + To this there needs no lie, but this his creature, + Which was two months since no feature; + And though he dares give them five lives to mend it, + 'Tis known, five weeks fully penn'd it, + From his own hand, without a co-adjutor, + Novice, journey-man, or tutor. + Yet thus much I can give you as a token + Of his play's worth, no eggs are broken, + Nor quaking custards with fierce teeth affrighted, + Wherewith your rout are so delighted; + Nor hales he in a gull old ends reciting, + To stop gaps in his loose writing; + With such a deal of monstrous and forced action, + As might make Bethlem a faction: + Nor made he his play for jests stolen from each table, + But makes jests to fit his fable; + And so presents quick comedy refined, + As best critics have designed; + The laws of time, place, persons he observeth, + From no needful rule he swerveth. + All gall and copperas from his ink he draineth, + Only a little salt remaineth, + Wherewith he'll rub your cheeks, till red, with laughter, + They shall look fresh a week after. + + + + +ACT 1. SCENE 1.1. + + A ROOM IN VOLPONE'S HOUSE. + + ENTER VOLPONE AND MOSCA. + + VOLP: Good morning to the day; and next, my gold: + Open the shrine, that I may see my Saint. + [MOSCA WITHDRAWS THE CURTAIN, AND DISCOVERS PILES OF GOLD, + PLATE, JEWELS, ETC.] + Hail the world's soul, and mine! more glad than is + The teeming earth to see the long'd-for sun + Peep through the horns of the celestial Ram, + Am I, to view thy splendour darkening his; + That lying here, amongst my other hoards, + Shew'st like a flame by night; or like the day + Struck out of chaos, when all darkness fled + Unto the centre. O thou son of Sol, + But brighter than thy father, let me kiss, + With adoration, thee, and every relick + Of sacred treasure, in this blessed room. + Well did wise poets, by thy glorious name, + Title that age which they would have the best; + Thou being the best of things: and far transcending + All style of joy, in children, parents, friends, + Or any other waking dream on earth: + Thy looks when they to Venus did ascribe, + They should have given her twenty thousand Cupids; + Such are thy beauties and our loves! Dear saint, + Riches, the dumb God, that giv'st all men tongues; + That canst do nought, and yet mak'st men do all things; + The price of souls; even hell, with thee to boot, + Is made worth heaven. Thou art virtue, fame, + Honour, and all things else. Who can get thee, + He shall be noble, valiant, honest, wise,-- + + MOS: And what he will, sir. Riches are in fortune + A greater good than wisdom is in nature. + + VOLP: True, my beloved Mosca. Yet I glory + More in the cunning purchase of my wealth, + Than in the glad possession; since I gain + No common way; I use no trade, no venture; + I wound no earth with plough-shares; fat no beasts, + To feed the shambles; have no mills for iron, + Oil, corn, or men, to grind them into powder: + I blow no subtle glass; expose no ships + To threat'nings of the furrow-faced sea; + I turn no monies in the public bank, + Nor usure private. + + MOS: No sir, nor devour + Soft prodigals. You shall have some will swallow + A melting heir as glibly as your Dutch + Will pills of butter, and ne'er purge for it; + Tear forth the fathers of poor families + Out of their beds, and coffin them alive + In some kind clasping prison, where their bones + May be forth-coming, when the flesh is rotten: + But your sweet nature doth abhor these courses; + You lothe the widdow's or the orphan's tears + Should wash your pavements, or their piteous cries + Ring in your roofs, and beat the air for vengeance. + + VOLP: Right, Mosca; I do lothe it. + + MOS: And besides, sir, + You are not like a thresher that doth stand + With a huge flail, watching a heap of corn, + And, hungry, dares not taste the smallest grain, + But feeds on mallows, and such bitter herbs; + Nor like the merchant, who hath fill'd his vaults + With Romagnia, and rich Candian wines, + Yet drinks the lees of Lombard's vinegar: + You will not lie in straw, whilst moths and worms + Feed on your sumptuous hangings and soft beds; + You know the use of riches, and dare give now + From that bright heap, to me, your poor observer, + Or to your dwarf, or your hermaphrodite, + Your eunuch, or what other household-trifle + Your pleasure allows maintenance. + + VOLP: Hold thee, Mosca, + [GIVES HIM MONEY.] + Take of my hand; thou strik'st on truth in all, + And they are envious term thee parasite. + Call forth my dwarf, my eunuch, and my fool, + And let them make me sport. + [EXIT MOS.] + What should I do, + But cocker up my genius, and live free + To all delights my fortune calls me to? + I have no wife, no parent, child, ally, + To give my substance to; but whom I make + Must be my heir: and this makes men observe me: + This draws new clients daily, to my house, + Women and men of every sex and age, + That bring me presents, send me plate, coin, jewels, + With hope that when I die (which they expect + Each greedy minute) it shall then return + Ten-fold upon them; whilst some, covetous + Above the rest, seek to engross me whole, + And counter-work the one unto the other, + Contend in gifts, as they would seem in love: + All which I suffer, playing with their hopes, + And am content to coin them into profit, + To look upon their kindness, and take more, + And look on that; still bearing them in hand, + Letting the cherry knock against their lips, + And draw it by their mouths, and back again.-- + How now! + + [RE-ENTER MOSCA WITH NANO, ANDROGYNO, AND CASTRONE.] + + NAN: Now, room for fresh gamesters, who do will you to know, + They do bring you neither play, nor university show; + And therefore do entreat you, that whatsoever they rehearse, + May not fare a whit the worse, for the false pace of the verse. + If you wonder at this, you will wonder more ere we pass, + For know, here is inclosed the soul of Pythagoras, + That juggler divine, as hereafter shall follow; + Which soul, fast and loose, sir, came first from Apollo, + And was breath'd into Aethalides; Mercurius his son, + Where it had the gift to remember all that ever was done. + From thence it fled forth, and made quick transmigration + To goldy-lock'd Euphorbus, who was killed in good fashion, + At the siege of old Troy, by the cuckold of Sparta. + Hermotimus was next (I find it in my charta) + To whom it did pass, where no sooner it was missing + But with one Pyrrhus of Delos it learn'd to go a fishing; + And thence did it enter the sophist of Greece. + From Pythagore, she went into a beautiful piece, + Hight Aspasia, the meretrix; and the next toss of her + Was again of a whore, she became a philosopher, + Crates the cynick, as it self doth relate it: + Since kings, knights, and beggars, knaves, lords and fools gat it, + Besides, ox and ass, camel, mule, goat, and brock, + In all which it hath spoke, as in the cobler's cock. + But I come not here to discourse of that matter, + Or his one, two, or three, or his greath oath, BY QUATER! + His musics, his trigon, his golden thigh, + Or his telling how elements shift, but I + Would ask, how of late thou best suffered translation, + And shifted thy coat in these days of reformation. + + AND: Like one of the reformed, a fool, as you see, + Counting all old doctrine heresy. + + NAN: But not on thine own forbid meats hast thou ventured? + + AND: On fish, when first a Carthusian I enter'd. + + NAN: Why, then thy dogmatical silence hath left thee? + + AND: Of that an obstreperous lawyer bereft me. + + NAN: O wonderful change, when sir lawyer forsook thee! + For Pythagore's sake, what body then took thee? + + AND: A good dull mule. + + NAN: And how! by that means + Thou wert brought to allow of the eating of beans? + + AND: Yes. + + NAN: But from the mule into whom didst thou pass? + + AND: Into a very strange beast, by some writers call'd an ass; + By others, a precise, pure, illuminate brother, + Of those devour flesh, and sometimes one another; + And will drop you forth a libel, or a sanctified lie, + Betwixt every spoonful of a nativity pie. + + NAN: Now quit thee, for heaven, of that profane nation; + And gently report thy next transmigration. + + AND: To the same that I am. + + NAN: A creature of delight, + And, what is more than a fool, an hermaphrodite! + Now, prithee, sweet soul, in all thy variation, + Which body would'st thou choose, to keep up thy station? + + AND: Troth, this I am in: even here would I tarry. + + NAN: 'Cause here the delight of each sex thou canst vary? + + AND: Alas, those pleasures be stale and forsaken; + No, 'tis your fool wherewith I am so taken, + The only one creature that I can call blessed: + For all other forms I have proved most distressed. + + NAN: Spoke true, as thou wert in Pythagoras still. + This learned opinion we celebrate will, + Fellow eunuch, as behoves us, with all our wit and art, + To dignify that whereof ourselves are so great and special a part. + + VOLP: Now, very, very pretty! Mosca, this + Was thy invention? + + MOS: If it please my patron, + Not else. + + VOLP: It doth, good Mosca. + + MOS: Then it was, sir. + + NANO AND CASTRONE [SING.]: Fools, they are the only nation + Worth men's envy, or admiration: + Free from care or sorrow-taking, + Selves and others merry making: + All they speak or do is sterling. + Your fool he is your great man's darling, + And your ladies' sport and pleasure; + Tongue and bauble are his treasure. + E'en his face begetteth laughter, + And he speaks truth free from slaughter; + He's the grace of every feast, + And sometimes the chiefest guest; + Hath his trencher and his stool, + When wit waits upon the fool: + O, who would not be + He, he, he? + + [KNOCKING WITHOUT.] + + VOLP: Who's that? Away! + [EXEUNT NANO AND CASTRONE.] + Look, Mosca. Fool, begone! + [EXIT ANDROGYNO.] + + MOS: 'Tis Signior Voltore, the advocate; + I know him by his knock. + + VOLP: Fetch me my gown, + My furs and night-caps; say, my couch is changing, + And let him entertain himself awhile + Without i' the gallery. + [EXIT MOSCA.] + Now, now, my clients + Begin their visitation! Vulture, kite, + Raven, and gorcrow, all my birds of prey, + That think me turning carcase, now they come; + I am not for them yet-- + [RE-ENTER MOSCA, WITH THE GOWN, ETC.] + How now! the news? + + MOS: A piece of plate, sir. + + VOLP: Of what bigness? + + MOS: Huge, + Massy, and antique, with your name inscribed, + And arms engraven. + + VOLP: Good! and not a fox + Stretch'd on the earth, with fine delusive sleights, + Mocking a gaping crow? ha, Mosca? + + MOS: Sharp, sir. + + VOLP: Give me my furs. + [PUTS ON HIS SICK DRESS.] + Why dost thou laugh so, man? + + MOS: I cannot choose, sir, when I apprehend + What thoughts he has without now, as he walks: + That this might be the last gift he should give; + That this would fetch you; if you died to-day, + And gave him all, what he should be to-morrow; + What large return would come of all his ventures; + How he should worship'd be, and reverenced; + Ride with his furs, and foot-cloths; waited on + By herds of fools, and clients; have clear way + Made for his mule, as letter'd as himself; + Be call'd the great and learned advocate: + And then concludes, there's nought impossible. + + VOLP: Yes, to be learned, Mosca. + + MOS: O no: rich + Implies it. Hood an ass with reverend purple, + So you can hide his two ambitious ears, + And he shall pass for a cathedral doctor. + + VOLP: My caps, my caps, good Mosca. Fetch him in. + + MOS: Stay, sir, your ointment for your eyes. + + VOLP: That's true; + Dispatch, dispatch: I long to have possession + Of my new present. + + MOS: That, and thousands more, + I hope, to see you lord of. + + VOLP: Thanks, kind Mosca. + + MOS: And that, when I am lost in blended dust, + And hundred such as I am, in succession-- + + VOLP: Nay, that were too much, Mosca. + + MOS: You shall live, + Still, to delude these harpies. + + VOLP: Loving Mosca! + 'Tis well: my pillow now, and let him enter. + [EXIT MOSCA.] + Now, my fain'd cough, my pthisic, and my gout, + My apoplexy, palsy, and catarrhs, + Help, with your forced functions, this my posture, + Wherein, this three year, I have milk'd their hopes. + He comes; I hear him--Uh! [COUGHING.] uh! uh! uh! O-- + + [RE-ENTER MOSCA, INTRODUCING VOLTORE, WITH A PIECE OF PLATE.] + + MOS: You still are what you were, sir. Only you, + Of all the rest, are he commands his love, + And you do wisely to preserve it thus, + With early visitation, and kind notes + Of your good meaning to him, which, I know, + Cannot but come most grateful. Patron! sir! + Here's signior Voltore is come-- + + VOLP [FAINTLY.]: What say you? + + MOS: Sir, signior Voltore is come this morning + To visit you. + + VOLP: I thank him. + + MOS: And hath brought + A piece of antique plate, bought of St Mark, + With which he here presents you. + + VOLP: He is welcome. + Pray him to come more often. + + MOS: Yes. + + VOLT: What says he? + + MOS: He thanks you, and desires you see him often. + + VOLP: Mosca. + + MOS: My patron! + + VOLP: Bring him near, where is he? + I long to feel his hand. + + MOS: The plate is here, sir. + + VOLT: How fare you, sir? + + VOLP: I thank you, signior Voltore; + Where is the plate? mine eyes are bad. + + VOLT [PUTTING IT INTO HIS HANDS.]: I'm sorry, + To see you still thus weak. + + MOS [ASIDE.]: That he's not weaker. + + VOLP: You are too munificent. + + VOLT: No sir; would to heaven, + I could as well give health to you, as that plate! + + VOLP: You give, sir, what you can: I thank you. Your love + Hath taste in this, and shall not be unanswer'd: + I pray you see me often. + + VOLT: Yes, I shall sir. + + VOLP: Be not far from me. + + MOS: Do you observe that, sir? + + VOLP: Hearken unto me still; it will concern you. + + MOS: You are a happy man, sir; know your good. + + VOLP: I cannot now last long-- + + MOS: You are his heir, sir. + + VOLT: Am I? + + VOLP: I feel me going; Uh! uh! uh! uh! + I'm sailing to my port, Uh! uh! uh! uh! + And I am glad I am so near my haven. + + MOS: Alas, kind gentleman! Well, we must all go-- + + VOLT: But, Mosca-- + + MOS: Age will conquer. + + VOLT: 'Pray thee hear me: + Am I inscribed his heir for certain? + + MOS: Are you! + I do beseech you, sir, you will vouchsafe + To write me in your family. All my hopes + Depend upon your worship: I am lost, + Except the rising sun do shine on me. + + VOLT: It shall both shine, and warm thee, Mosca. + + MOS: Sir, + I am a man, that hath not done your love + All the worst offices: here I wear your keys, + See all your coffers and your caskets lock'd, + Keep the poor inventory of your jewels, + Your plate and monies; am your steward, sir. + Husband your goods here. + + VOLT: But am I sole heir? + + MOS: Without a partner, sir; confirm'd this morning: + The wax is warm yet, and the ink scarce dry + Upon the parchment. + + VOLT: Happy, happy, me! + By what good chance, sweet Mosca? + + MOS: Your desert, sir; + I know no second cause. + + VOLT: Thy modesty + Is not to know it; well, we shall requite it. + + MOS: He ever liked your course sir; that first took him. + I oft have heard him say, how he admired + Men of your large profession, that could speak + To every cause, and things mere contraries, + Till they were hoarse again, yet all be law; + That, with most quick agility, could turn, + And [re-] return; [could] make knots, and undo them; + Give forked counsel; take provoking gold + On either hand, and put it up: these men, + He knew, would thrive with their humility. + And, for his part, he thought he should be blest + To have his heir of such a suffering spirit, + So wise, so grave, of so perplex'd a tongue, + And loud withal, that would not wag, nor scarce + Lie still, without a fee; when every word + Your worship but lets fall, is a chequin!-- + [LOUD KNOCKING WITHOUT.] + Who's that? one knocks; I would not have you seen, sir. + And yet--pretend you came, and went in haste: + I'll fashion an excuse.--and, gentle sir, + When you do come to swim in golden lard, + Up to the arms in honey, that your chin + Is born up stiff, with fatness of the flood, + Think on your vassal; but remember me: + I have not been your worst of clients. + + VOLT: Mosca!-- + + MOS: When will you have your inventory brought, sir? + Or see a coppy of the will?--Anon!-- + I will bring them to you, sir. Away, be gone, + Put business in your face. + + [EXIT VOLTORE.] + + VOLP [SPRINGING UP.]: Excellent Mosca! + Come hither, let me kiss thee. + + MOS: Keep you still, sir. + Here is Corbaccio. + + VOLP: Set the plate away: + The vulture's gone, and the old raven's come! + + MOS: Betake you to your silence, and your sleep: + Stand there and multiply. + [PUTTING THE PLATE TO THE REST.] + Now, shall we see + A wretch who is indeed more impotent + Than this can feign to be; yet hopes to hop + Over his grave.-- + [ENTER CORBACCIO.] + Signior Corbaccio! + You're very welcome, sir. + + CORB: How does your patron? + + MOS: Troth, as he did, sir; no amends. + + CORB: What! mends he? + + MOS: No, sir: he's rather worse. + + CORB: That's well. Where is he? + + MOS: Upon his couch sir, newly fall'n asleep. + + CORB: Does he sleep well? + + MOS: No wink, sir, all this night. + Nor yesterday; but slumbers. + + CORB: Good! he should take + Some counsel of physicians: I have brought him + An opiate here, from mine own doctor. + + MOS: He will not hear of drugs. + + CORB: Why? I myself + Stood by while it was made; saw all the ingredients: + And know, it cannot but most gently work: + My life for his, 'tis but to make him sleep. + + VOLP [ASIDE.]: Ay, his last sleep, if he would take it. + + MOS: Sir, + He has no faith in physic. + + CORB: 'Say you? 'say you? + + MOS: He has no faith in physic: he does think + Most of your doctors are the greater danger, + And worse disease, to escape. I often have + Heard him protest, that your physician + Should never be his heir. + + CORB: Not I his heir? + + MOS: Not your physician, sir. + + CORB: O, no, no, no, + I do not mean it. + + MOS: No, sir, nor their fees + He cannot brook: he says, they flay a man, + Before they kill him. + + CORB: Right, I do conceive you. + + MOS: And then they do it by experiment; + For which the law not only doth absolve them, + But gives them great reward: and he is loth + To hire his death, so. + + CORB: It is true, they kill, + With as much license as a judge. + + MOS: Nay, more; + For he but kills, sir, where the law condemns, + And these can kill him too. + + CORB: Ay, or me; + Or any man. How does his apoplex? + Is that strong on him still? + + MOS: Most violent. + His speech is broken, and his eyes are set, + His face drawn longer than 'twas wont-- + + CORB: How! how! + Stronger then he was wont? + + MOS: No, sir: his face + Drawn longer than 'twas wont. + + CORB: O, good! + + MOS: His mouth + Is ever gaping, and his eyelids hang. + + CORB: Good. + + MOS: A freezing numbness stiffens all his joints, + And makes the colour of his flesh like lead. + + CORB: 'Tis good. + + MOS: His pulse beats slow, and dull. + + CORB: Good symptoms, still. + + MOS: And from his brain-- + + CORB: I conceive you; good. + + MOS: Flows a cold sweat, with a continual rheum, + Forth the resolved corners of his eyes. + + CORB: Is't possible? yet I am better, ha! + How does he, with the swimming of his head? + + B: O, sir, 'tis past the scotomy; he now + Hath lost his feeling, and hath left to snort: + You hardly can perceive him, that he breathes. + + CORB: Excellent, excellent! sure I shall outlast him: + This makes me young again, a score of years. + + MOS: I was a coming for you, sir. + + CORB: Has he made his will? + What has he given me? + + MOS: No, sir. + + CORB: Nothing! ha? + + MOS: He has not made his will, sir. + + CORB: Oh, oh, oh! + But what did Voltore, the Lawyer, here? + + MOS: He smelt a carcase, sir, when he but heard + My master was about his testament; + As I did urge him to it for your good-- + + CORB: He came unto him, did he? I thought so. + + MOS: Yes, and presented him this piece of plate. + + CORB: To be his heir? + + MOS: I do not know, sir. + + CORB: True: + I know it too. + + MOS [ASIDE.]: By your own scale, sir. + + CORB: Well, + I shall prevent him, yet. See, Mosca, look, + Here, I have brought a bag of bright chequines, + Will quite weigh down his plate. + + MOS [TAKING THE BAG.]: Yea, marry, sir. + This is true physic, this your sacred medicine, + No talk of opiates, to this great elixir! + + CORB: 'Tis aurum palpabile, if not potabile. + + MOS: It shall be minister'd to him, in his bowl. + + CORB: Ay, do, do, do. + + MOS: Most blessed cordial! + This will recover him. + + CORB: Yes, do, do, do. + + MOS: I think it were not best, sir. + + CORB: What? + + MOS: To recover him. + + CORB: O, no, no, no; by no means. + + MOS: Why, sir, this + Will work some strange effect, if he but feel it. + + CORB: 'Tis true, therefore forbear; I'll take my venture: + Give me it again. + + MOS: At no hand; pardon me: + You shall not do yourself that wrong, sir. I + Will so advise you, you shall have it all. + + CORB: How? + + MOS: All, sir; 'tis your right, your own; no man + Can claim a part: 'tis yours, without a rival, + Decreed by destiny. + + CORB: How, how, good Mosca? + + MOS: I'll tell you sir. This fit he shall recover. + + CORB: I do conceive you. + + MOS: And, on first advantage + Of his gain'd sense, will I re-importune him + Unto the making of his testament: + And shew him this. + [POINTING TO THE MONEY.] + + CORB: Good, good. + + MOS: 'Tis better yet, + If you will hear, sir. + + CORB: Yes, with all my heart. + + MOS: Now, would I counsel you, make home with speed; + There, frame a will; whereto you shall inscribe + My master your sole heir. + + CORB: And disinherit + My son! + + MOS: O, sir, the better: for that colour + Shall make it much more taking. + + CORB: O, but colour? + + MOS: This will sir, you shall send it unto me. + Now, when I come to inforce, as I will do, + Your cares, your watchings, and your many prayers, + Your more than many gifts, your this day's present, + And last, produce your will; where, without thought, + Or least regard, unto your proper issue, + A son so brave, and highly meriting, + The stream of your diverted love hath thrown you + Upon my master, and made him your heir: + He cannot be so stupid, or stone-dead, + But out of conscience, and mere gratitude-- + + CORB: He must pronounce me his? + + MOS: 'Tis true. + + CORB: This plot + Did I think on before. + + MOS: I do believe it. + + CORB: Do you not believe it? + + MOS: Yes, sir. + + CORB: Mine own project. + + MOS: Which, when he hath done, sir. + + CORB: Publish'd me his heir? + + MOS: And you so certain to survive him-- + + CORB: Ay. + + MOS: Being so lusty a man-- + + CORB: 'Tis true. + + MOS: Yes, sir-- + + CORB: I thought on that too. See, how he should be + The very organ to express my thoughts! + + MOS: You have not only done yourself a good-- + + CORB: But multiplied it on my son. + + MOS: 'Tis right, sir. + + CORB: Still, my invention. + + MOS: 'Las, sir! heaven knows, + It hath been all my study, all my care, + (I e'en grow gray withal,) how to work things-- + + CORB: I do conceive, sweet Mosca. + + MOS: You are he, + For whom I labour here. + + CORB: Ay, do, do, do: + I'll straight about it. + [GOING.] + + MOS: Rook go with you, raven! + + CORB: I know thee honest. + + MOS [ASIDE.]: You do lie, sir! + + CORB: And-- + + MOS: Your knowledge is no better than your ears, sir. + + CORB: I do not doubt, to be a father to thee. + + MOS: Nor I to gull my brother of his blessing. + + CORB: I may have my youth restored to me, why not? + + MOS: Your worship is a precious ass! + + CORB: What say'st thou? + + MOS: I do desire your worship to make haste, sir. + + CORB: 'Tis done, 'tis done, I go. + [EXIT.] + + VOLP [LEAPING FROM HIS COUCH.]: O, I shall burst! + Let out my sides, let out my sides-- + + MOS: Contain + Your flux of laughter, sir: you know this hope + Is such a bait, it covers any hook. + + VOLP: O, but thy working, and thy placing it! + I cannot hold; good rascal, let me kiss thee: + I never knew thee in so rare a humour. + + MOS: Alas sir, I but do as I am taught; + Follow your grave instructions; give them words; + Pour oil into their ears, and send them hence. + + VOLP: 'Tis true, 'tis true. What a rare punishment + Is avarice to itself! + + MOS: Ay, with our help, sir. + + VOLP: So many cares, so many maladies, + So many fears attending on old age, + Yea, death so often call'd on, as no wish + Can be more frequent with them, their limbs faint, + Their senses dull, their seeing, hearing, going, + All dead before them; yea, their very teeth, + Their instruments of eating, failing them: + Yet this is reckon'd life! nay, here was one; + Is now gone home, that wishes to live longer! + Feels not his gout, nor palsy; feigns himself + Younger by scores of years, flatters his age + With confident belying it, hopes he may, + With charms, like Aeson, have his youth restored: + And with these thoughts so battens, as if fate + Would be as easily cheated on, as he, + And all turns air! + [KNOCKING WITHIN.] + Who's that there, now? a third? + + MOS: Close, to your couch again; I hear his voice: + It is Corvino, our spruce merchant. + + VOLP [LIES DOWN AS BEFORE.]: Dead. + + MOS: Another bout, sir, with your eyes. + [ANOINTING THEM.] + --Who's there? + [ENTER CORVINO.] + Signior Corvino! come most wish'd for! O, + How happy were you, if you knew it, now! + + CORV: Why? what? wherein? + + MOS: The tardy hour is come, sir. + + CORV: He is not dead? + + MOS: Not dead, sir, but as good; + He knows no man. + + CORV: How shall I do then? + + MOS: Why, sir? + + CORV: I have brought him here a pearl. + + MOS: Perhaps he has + So much remembrance left, as to know you, sir: + He still calls on you; nothing but your name + Is in his mouth: Is your pearl orient, sir? + + CORV: Venice was never owner of the like. + + VOLP [FAINTLY.]: Signior Corvino. + + MOS: Hark. + + VOLP: Signior Corvino! + + MOS: He calls you; step and give it him.--He's here, sir, + And he has brought you a rich pearl. + + CORV: How do you, sir? + Tell him, it doubles the twelfth caract. + + MOS: Sir, + He cannot understand, his hearing's gone; + And yet it comforts him to see you-- + + CORV: Say, + I have a diamond for him, too. + + MOS: Best shew it, sir; + Put it into his hand; 'tis only there + He apprehends: he has his feeling, yet. + See how he grasps it! + + CORV: 'Las, good gentleman! + How pitiful the sight is! + + MOS: Tut! forget, sir. + The weeping of an heir should still be laughter + Under a visor. + + CORV: Why, am I his heir? + + MOS: Sir, I am sworn, I may not shew the will, + Till he be dead; but, here has been Corbaccio, + Here has been Voltore, here were others too, + I cannot number 'em, they were so many; + All gaping here for legacies: but I, + Taking the vantage of his naming you, + "Signior Corvino, Signior Corvino," took + Paper, and pen, and ink, and there I asked him, + Whom he would have his heir? "Corvino." Who + Should be executor? "Corvino." And, + To any question he was silent too, + I still interpreted the nods he made, + Through weakness, for consent: and sent home th' others, + Nothing bequeath'd them, but to cry and curse. + + CORV: O, my dear Mosca! + [THEY EMBRACE.] + Does he not perceive us? + + MOS: No more than a blind harper. He knows no man, + No face of friend, nor name of any servant, + Who 'twas that fed him last, or gave him drink: + Not those he hath begotten, or brought up, + Can he remember. + + CORV: Has he children? + + MOS: Bastards, + Some dozen, or more, that he begot on beggars, + Gipsies, and Jews, and black-moors, when he was drunk. + Knew you not that, sir? 'tis the common fable. + The dwarf, the fool, the eunuch, are all his; + He's the true father of his family, + In all, save me:--but he has giv'n them nothing. + + CORV: That's well, that's well. Art sure he does not hear us? + + MOS: Sure, sir! why, look you, credit your own sense. + [SHOUTS IN VOL.'S EAR.] + The pox approach, and add to your diseases, + If it would send you hence the sooner, sir, + For your incontinence, it hath deserv'd it + Thoroughly, and thoroughly, and the plague to boot!-- + You may come near, sir.--Would you would once close + Those filthy eyes of yours, that flow with slime, + Like two frog-pits; and those same hanging cheeks, + Cover'd with hide, instead of skin--Nay help, sir-- + That look like frozen dish-clouts, set on end! + + CORV [ALOUD.]: Or like an old smoked wall, on which the rain + Ran down in streaks! + + MOS: Excellent! sir, speak out: + You may be louder yet: A culverin + Discharged in his ear would hardly bore it. + + CORV: His nose is like a common sewer, still running. + + MOS: 'Tis good! And what his mouth? + + CORV: A very draught. + + MOS: O, stop it up-- + + CORV: By no means. + + MOS: 'Pray you, let me. + Faith I could stifle him, rarely with a pillow, + As well as any woman that should keep him. + + CORV: Do as you will: but I'll begone. + + MOS: Be so: + It is your presence makes him last so long. + + CORV: I pray you, use no violence. + + MOS: No, sir! why? + Why should you be thus scrupulous, pray you, sir? + + CORV: Nay, at your discretion. + + MOS: Well, good sir, begone. + + CORV: I will not trouble him now, to take my pearl. + + MOS: Puh! nor your diamond. What a needless care + Is this afflicts you? Is not all here yours? + Am not I here, whom you have made your creature? + That owe my being to you? + + CORV: Grateful Mosca! + Thou art my friend, my fellow, my companion, + My partner, and shalt share in all my fortunes. + + MOS: Excepting one. + + CORV: What's that? + + MOS: Your gallant wife, sir,-- + [EXIT CORV.] + Now is he gone: we had no other means + To shoot him hence, but this. + + VOLP: My divine Mosca! + Thou hast to-day outgone thyself. + [KNOCKING WITHIN.] + --Who's there? + I will be troubled with no more. Prepare + Me music, dances, banquets, all delights; + The Turk is not more sensual in his pleasures, + Than will Volpone. + [EXIT MOS.] + Let me see; a pearl! + A diamond! plate! chequines! Good morning's purchase, + Why, this is better than rob churches, yet; + Or fat, by eating, once a month, a man. + [RE-ENTER MOSCA.] + Who is't? + + MOS: The beauteous lady Would-be, sir. + Wife to the English knight, Sir Politick Would-be, + (This is the style, sir, is directed me,) + Hath sent to know how you have slept to-night, + And if you would be visited? + + VOLP: Not now: + Some three hours hence-- + + MOS: I told the squire so much. + + VOLP: When I am high with mirth and wine; then, then: + 'Fore heaven, I wonder at the desperate valour + Of the bold English, that they dare let loose + Their wives to all encounters! + + MOS: Sir, this knight + Had not his name for nothing, he is politick, + And knows, howe'er his wife affect strange airs, + She hath not yet the face to be dishonest: + But had she signior Corvino's wife's face-- + + VOLP: Has she so rare a face? + + MOS: O, sir, the wonder, + The blazing star of Italy! a wench + Of the first year! a beauty ripe as harvest! + Whose skin is whiter than a swan all over, + Than silver, snow, or lilies! a soft lip, + Would tempt you to eternity of kissing! + And flesh that melteth in the touch to blood! + Bright as your gold, and lovely as your gold! + + VOLP: Why had not I known this before? + + MOS: Alas, sir, + Myself but yesterday discover'd it. + + VOLP: How might I see her? + + MOS: O, not possible; + She's kept as warily as is your gold; + Never does come abroad, never takes air, + But at a window. All her looks are sweet, + As the first grapes or cherries, and are watch'd + As near as they are. + + VOLP: I must see her. + + MOS: Sir, + There is a guard of spies ten thick upon her, + All his whole household; each of which is set + Upon his fellow, and have all their charge, + When he goes out, when he comes in, examined. + + VOLP: I will go see her, though but at her window. + + MOS: In some disguise, then. + + VOLP: That is true; I must + Maintain mine own shape still the same: we'll think. + + [EXEUNT.] + + + + +ACT 2. SCENE 2.1. + + ST. MARK'S PLACE; A RETIRED CORNER BEFORE CORVINO'S HOUSE. + + ENTER SIR POLITICK WOULD-BE, AND PEREGRINE. + + SIR P: Sir, to a wise man, all the world's his soil: + It is not Italy, nor France, nor Europe, + That must bound me, if my fates call me forth. + Yet, I protest, it is no salt desire + Of seeing countries, shifting a religion, + Nor any disaffection to the state + Where I was bred, and unto which I owe + My dearest plots, hath brought me out; much less, + That idle, antique, stale, gray-headed project + Of knowing men's minds, and manners, with Ulysses! + But a peculiar humour of my wife's + Laid for this height of Venice, to observe, + To quote, to learn the language, and so forth-- + I hope you travel, sir, with license? + + PER: Yes. + + SIR P: I dare the safelier converse--How long, sir, + Since you left England? + + PER: Seven weeks. + + SIR P: So lately! + You have not been with my lord ambassador? + + PER: Not yet, sir. + + SIR P: Pray you, what news, sir, vents our climate? + I heard last night a most strange thing reported + By some of my lord's followers, and I long + To hear how 'twill be seconded. + + PER: What was't, sir? + + SIR P: Marry, sir, of a raven that should build + In a ship royal of the king's. + + PER [ASIDE.]: This fellow, + Does he gull me, trow? or is gull'd? + --Your name, sir. + + SIR P: My name is Politick Would-be. + + PER [ASIDE.]: O, that speaks him. + --A knight, sir? + + SIR P: A poor knight, sir. + + PER: Your lady + Lies here in Venice, for intelligence + Of tires, and fashions, and behaviour, + Among the courtezans? the fine lady Would-be? + + SIR P: Yes, sir; the spider and the bee, ofttimes, + Suck from one flower. + + PER: Good Sir Politick, + I cry you mercy; I have heard much of you: + 'Tis true, sir, of your raven. + + SIR P: On your knowledge? + + PER: Yes, and your lion's whelping, in the Tower. + + SIR P: Another whelp! + + PER: Another, sir. + + SIR P: Now heaven! + What prodigies be these? The fires at Berwick! + And the new star! these things concurring, strange, + And full of omen! Saw you those meteors? + + PER: I did, sir. + + SIR P: Fearful! Pray you, sir, confirm me, + Were there three porpoises seen above the bridge, + As they give out? + + PER: Six, and a sturgeon, sir. + + SIR P: I am astonish'd. + + PER: Nay, sir, be not so; + I'll tell you a greater prodigy than these. + + SIR P: What should these things portend? + + PER: The very day + (Let me be sure) that I put forth from London, + There was a whale discover'd in the river, + As high as Woolwich, that had waited there, + Few know how many months, for the subversion + Of the Stode fleet. + + SIR P: Is't possible? believe it, + 'Twas either sent from Spain, or the archdukes: + Spinola's whale, upon my life, my credit! + Will they not leave these projects? Worthy sir, + Some other news. + + PER: Faith, Stone the fool is dead; + And they do lack a tavern fool extremely. + + SIR P: Is Mass Stone dead? + + PER: He's dead sir; why, I hope + You thought him not immortal? + [ASIDE.] + --O, this knight, + Were he well known, would be a precious thing + To fit our English stage: he that should write + But such a fellow, should be thought to feign + Extremely, if not maliciously. + + SIR P: Stone dead! + + PER: Dead.--Lord! how deeply sir, you apprehend it? + He was no kinsman to you? + + SIR P: That I know of. + Well! that same fellow was an unknown fool. + + PER: And yet you knew him, it seems? + + SIR P: I did so. Sir, + I knew him one of the most dangerous heads + Living within the state, and so I held him. + + PER: Indeed, sir? + + SIR P: While he lived, in action. + He has received weekly intelligence, + Upon my knowledge, out of the Low Countries, + For all parts of the world, in cabbages; + And those dispensed again to ambassadors, + In oranges, musk-melons, apricocks, + Lemons, pome-citrons, and such-like: sometimes + In Colchester oysters, and your Selsey cockles. + + PER: You make me wonder. + + SIR P: Sir, upon my knowledge. + Nay, I've observed him, at your public ordinary, + Take his advertisement from a traveller + A conceal'd statesman, in a trencher of meat; + And instantly, before the meal was done, + Convey an answer in a tooth-pick. + + PER: Strange! + How could this be, sir? + + SIR P: Why, the meat was cut + So like his character, and so laid, as he + Must easily read the cipher. + + PER: I have heard, + He could not read, sir. + + SIR P: So 'twas given out, + In policy, by those that did employ him: + But he could read, and had your languages, + And to't, as sound a noddle-- + + PER: I have heard, sir, + That your baboons were spies, and that they were + A kind of subtle nation near to China: + + SIR P: Ay, ay, your Mamuluchi. Faith, they had + Their hand in a French plot or two; but they + Were so extremely given to women, as + They made discovery of all: yet I + Had my advices here, on Wednesday last. + From one of their own coat, they were return'd, + Made their relations, as the fashion is, + And now stand fair for fresh employment. + + PER: 'Heart! + [ASIDE.] + This sir Pol will be ignorant of nothing. + --It seems, sir, you know all? + + SIR P: Not all sir, but + I have some general notions. I do love + To note and to observe: though I live out, + Free from the active torrent, yet I'd mark + The currents and the passages of things, + For mine own private use; and know the ebbs, + And flows of state. + + PER: Believe it, sir, I hold + Myself in no small tie unto my fortunes, + For casting me thus luckily upon you, + Whose knowledge, if your bounty equal it, + May do me great assistance, in instruction + For my behaviour, and my bearing, which + Is yet so rude and raw. + + SIR P: Why, came you forth + Empty of rules, for travel? + + PER: Faith, I had + Some common ones, from out that vulgar grammar, + Which he that cried Italian to me, taught me. + + SIR P: Why this it is, that spoils all our brave bloods, + Trusting our hopeful gentry unto pedants, + Fellows of outside, and mere bark. You seem + To be a gentleman, of ingenuous race:-- + I not profess it, but my fate hath been + To be, where I have been consulted with, + In this high kind, touching some great men's sons, + Persons of blood, and honour.-- + + [ENTER MOSCA AND NANO DISGUISED, FOLLOWED BY PERSONS WITH + MATERIALS FOR ERECTING A STAGE.] + + PER: Who be these, sir? + + MOS: Under that window, there 't must be. The same. + + SIR P: Fellows, to mount a bank. Did your instructor + In the dear tongues, never discourse to you + Of the Italian mountebanks? + + PER: Yes, sir. + + SIR P: Why, + Here shall you see one. + + PER: They are quacksalvers; + Fellows, that live by venting oils and drugs. + + SIR P: Was that the character he gave you of them? + + PER: As I remember. + + SIR P: Pity his ignorance. + They are the only knowing men of Europe! + Great general scholars, excellent physicians, + Most admired statesmen, profest favourites, + And cabinet counsellors to the greatest princes; + The only languaged men of all the world! + + PER: And, I have heard, they are most lewd impostors; + Made all of terms and shreds; no less beliers + Of great men's favours, than their own vile med'cines; + Which they will utter upon monstrous oaths: + Selling that drug for two-pence, ere they part, + Which they have valued at twelve crowns before. + + SIR P: Sir, calumnies are answer'd best with silence. + Yourself shall judge.--Who is it mounts, my friends? + + MOS: Scoto of Mantua, sir. + + SIR P: Is't he? Nay, then + I'll proudly promise, sir, you shall behold + Another man than has been phant'sied to you. + I wonder yet, that he should mount his bank, + Here in this nook, that has been wont t'appear + In face of the Piazza!--Here, he comes. + + [ENTER VOLPONE, DISGUISED AS A MOUNTEBANK DOCTOR, AND + FOLLOWED BY A CROWD OF PEOPLE.] + + VOLP [TO NANO.]: Mount zany. + + MOB: Follow, follow, follow, follow! + + SIR P: See how the people follow him! he's a man + May write ten thousand crowns in bank here. Note, + [VOLPONE MOUNTS THE STAGE.] + Mark but his gesture:--I do use to observe + The state he keeps in getting up. + + PER: 'Tis worth it, sir. + + VOLP: Most noble gentlemen, and my worthy patrons! It may seem + strange, that I, your Scoto Mantuano, who was ever wont to fix + my bank in face of the public Piazza, near the shelter of the + Portico to the Procuratia, should now, after eight months' + absence from this illustrious city of Venice, humbly retire + myself into an obscure nook of the Piazza. + + SIR P: Did not I now object the same? + + PER: Peace, sir. + + VOLP: Let me tell you: I am not, as your Lombard proverb saith, + cold on my feet; or content to part with my commodities at a + cheaper rate, than I accustomed: look not for it. Nor that the + calumnious reports of that impudent detractor, and shame to our + profession, (Alessandro Buttone, I mean,) who gave out, in + public, I was condemn'd a sforzato to the galleys, for + poisoning the cardinal Bembo's--cook, hath at all attached, + much less dejected me. No, no, worthy gentlemen; to tell you + true, I cannot endure to see the rabble of these ground + ciarlitani, that spread their cloaks on the pavement, as if + they meant to do feats of activity, and then come in lamely, + with their mouldy tales out of Boccacio, like stale Tabarine, + the fabulist: some of them discoursing their travels, and of + their tedious captivity in the Turks' galleys, when, indeed, + were the truth known, they were the Christians' galleys, where + very temperately they eat bread, and drunk water, as a + wholesome penance, enjoined them by their confessors, for base + pilferies. + + SIR P: Note but his bearing, and contempt of these. + + VOLP: These turdy-facy-nasty-paty-lousy-fartical rogues, with + one poor groat's-worth of unprepared antimony, finely wrapt up + in several scartoccios, are able, very well, to kill their + twenty a week, and play; yet, these meagre, starved spirits, + who have half stopt the organs of their minds with earthy + oppilations, want not their favourers among your shrivell'd + sallad-eating artizans, who are overjoyed that they may have + their half-pe'rth of physic; though it purge them into another + world, it makes no matter. + + SIR P: Excellent! have you heard better language, sir? + + VOLP: Well, let them go. And, gentlemen, honourable gentlemen, + know, that for this time, our bank, being thus removed from the + clamours of the canaglia, shall be the scene of pleasure and + delight; for I have nothing to sell, little or nothing to sell. + + SIR P: I told you, sir, his end. + + PER: You did so, sir. + + VOLP: I protest, I, and my six servants, are not able to make + of this precious liquor, so fast as it is fetch'd away from my + lodging by gentlemen of your city; strangers of the Terra-firma; + worshipful merchants; ay, and senators too: who, ever since my + arrival, have detained me to their uses, by their splendidous + liberalities. And worthily; for, what avails your rich man to + have his magazines stuft with moscadelli, or of the purest + grape, when his physicians prescribe him, on pain of death, + to drink nothing but water cocted with aniseeds? O health! + health! the blessing of the rich, the riches of the poor! who + can buy thee at too dear a rate, since there is no enjoying + this world without thee? Be not then so sparing of your purses, + honourable gentlemen, as to abridge the natural course of life-- + + PER: You see his end. + + SIR P: Ay, is't not good? + + VOLP: For, when a humid flux, or catarrh, by the mutability of + air, falls from your head into an arm or shoulder, or any other + part; take you a ducat, or your chequin of gold, and apply to + the place affected: see what good effect it can work. No, no, + 'tis this blessed unguento, this rare extraction, that hath + only power to disperse all malignant humours, that proceed + either of hot, cold, moist, or windy causes-- + + PER: I would he had put in dry too. + + SIR P: 'Pray you, observe. + + VOLP: To fortify the most indigest and crude stomach, ay, were + it of one, that, through extreme weakness, vomited blood, + applying only a warm napkin to the place, after the unction + and fricace;--for the vertigine in the head, putting but a drop + into your nostrils, likewise behind the ears; a most sovereign + and approved remedy. The mal caduco, cramps, convulsions, + paralysies, epilepsies, tremor-cordia, retired nerves, ill + vapours of the spleen, stopping of the liver, the stone, the + strangury, hernia ventosa, iliaca passio; stops a disenteria + immediately; easeth the torsion of the small guts: and cures + melancholia hypocondriaca, being taken and applied according to + my printed receipt. + [POINTING TO HIS BILL AND HIS VIAL.] + For, this is the physician, this the medicine; this counsels, + this cures; this gives the direction, this works the effect; + and, in sum, both together may be termed an abstract of the + theorick and practick in the Aesculapian art. 'Twill cost you + eight crowns. And,--Zan Fritada, prithee sing a verse extempore + in honour of it. + + SIR P: How do you like him, sir? + + PER: Most strangely, I! + + SIR P: Is not his language rare? + + PER: But alchemy, + I never heard the like: or Broughton's books. + + NANO [SINGS.]: Had old Hippocrates, or Galen, + That to their books put med'cines all in, + But known this secret, they had never + (Of which they will be guilty ever) + Been murderers of so much paper, + Or wasted many a hurtless taper; + No Indian drug had e'er been famed, + Tabacco, sassafras not named; + Ne yet, of guacum one small stick, sir, + Nor Raymund Lully's great elixir. + Ne had been known the Danish Gonswart, + Or Paracelsus, with his long-sword. + + PER: All this, yet, will not do, eight crowns is high. + + VOLP: No more.--Gentlemen, if I had but time to discourse to you + the miraculous effects of this my oil, surnamed Oglio del Scoto; + with the countless catalogue of those I have cured of the + aforesaid, and many more diseases; the pattents and privileges of + all the princes and commonwealths of Christendom; or but the + depositions of those that appeared on my part, before the signiory + of the Sanita and most learned College of Physicians; where I was + authorised, upon notice taken of the admirable virtues of my + medicaments, and mine own excellency in matter of rare and unknown + secrets, not only to disperse them publicly in this famous city, + but in all the territories, that happily joy under the government + of the most pious and magnificent states of Italy. But may some + other gallant fellow say, O, there be divers that make profession + to have as good, and as experimented receipts as yours: indeed, + very many have assayed, like apes, in imitation of that, which is + really and essentially in me, to make of this oil; bestowed great + cost in furnaces, stills, alembecks, continual fires, and + preparation of the ingredients, (as indeed there goes to it six + hundred several simples, besides some quantity of human fat, for + the conglutination, which we buy of the anatomists,) but, when + these practitioners come to the last decoction, blow, blow, puff, + puff, and all flies in fumo: ha, ha, ha! Poor wretches! I rather + pity their folly and indiscretion, than their loss of time and + money; for these may be recovered by industry: but to be a fool + born, is a disease incurable. + For myself, I always from my youth have endeavoured to get the + rarest secrets, and book them, either in exchange, or for money; + I spared nor cost nor labour, where any thing was worthy to be + learned. And gentlemen, honourable gentlemen, I will undertake, + by virtue of chemical art, out of the honourable hat that covers + your head, to extract the four elements; that is to say, the + fire, air, water, and earth, and return you your felt without + burn or stain. For, whilst others have been at the Balloo, I + have been at my book; and am now past the craggy paths of study, + and come to the flowery plains of honour and reputation. + + SIR P: I do assure you, sir, that is his aim. + + VOLP: But, to our price-- + + PER: And that withal, sir Pol. + + VOLP: You all know, honourable gentlemen, I never valued this + ampulla, or vial, at less than eight crowns, but for this time, + I am content, to be deprived of it for six; six crowns is the + price; and less, in courtesy I know you cannot offer me; take it, + or leave it, howsoever, both it and I am at your service. I ask + you not as the value of the thing, for then I should demand of + you a thousand crowns, so the cardinals Montalto, Fernese, the + great Duke of Tuscany, my gossip, with divers other princes, have + given me; but I despise money. Only to shew my affection to you, + honourable gentlemen, and your illustrious State here, I have + neglected the messages of these princes, mine own offices, + framed my journey hither, only to present you with the fruits of + my travels.--Tune your voices once more to the touch of your + instruments, and give the honourable assembly some delightful + recreation. + + PER: What monstrous and most painful circumstance + Is here, to get some three or four gazettes, + Some three-pence in the whole! for that 'twill come to. + + NANO [SINGS.]: You that would last long, list to my song, + Make no more coil, but buy of this oil. + Would you be ever fair and young? + Stout of teeth, and strong of tongue? + Tart of palate? quick of ear? + Sharp of sight? of nostril clear? + Moist of hand? and light of foot? + Or, I will come nearer to't, + Would you live free from all diseases? + Do the act your mistress pleases; + Yet fright all aches from your bones? + Here's a med'cine, for the nones. + + VOLP: Well, I am in a humour at this time to make a present of + the small quantity my coffer contains; to the rich, in + courtesy, and to the poor for God's sake. Wherefore now mark: + I ask'd you six crowns, and six crowns, at other times, you + have paid me; you shall not give me six crowns, nor five, nor + four, nor three, nor two, nor one; nor half a ducat; no, nor a + moccinigo. Sixpence it will cost you, or six hundred pound-- + expect no lower price, for, by the banner of my front, I will + not bate a bagatine, that I will have, only, a pledge of your + loves, to carry something from amongst you, to shew I am not + contemn'd by you. Therefore, now, toss your handkerchiefs, + cheerfully, cheerfully; and be advertised, that the first + heroic spirit that deignes to grace me with a handkerchief, I + will give it a little remembrance of something, beside, shall + please it better, than if I had presented it with a double + pistolet. + + PER: Will you be that heroic spark, sir Pol? + [CELIA AT A WINDOW ABOVE, THROWS DOWN HER HANDKERCHIEF.] + O see! the window has prevented you. + + VOLP: Lady, I kiss your bounty; and for this timely grace you + have done your poor Scoto of Mantua, I will return you, over and + above my oil, a secret of that high and inestimable nature, + shall make you for ever enamour'd on that minute, wherein your + eye first descended on so mean, yet not altogether to be + despised, an object. Here is a powder conceal'd in this paper, + of which, if I should speak to the worth, nine thousand volumes + were but as one page, that page as a line, that line as a word; + so short is this pilgrimage of man (which some call life) to the + expressing of it. Would I reflect on the price? why, the whole + world is but as an empire, that empire as a province, that + province as a bank, that bank as a private purse to the purchase + of it. I will only tell you; it is the powder that made Venus a + goddess (given her by Apollo,) that kept her perpetually young, + clear'd her wrinkles, firm'd her gums, fill'd her skin, colour'd + her hair; from her deriv'd to Helen, and at the sack of Troy + unfortunately lost: till now, in this our age, it was as happily + recovered, by a studious antiquary, out of some ruins of Asia, + who sent a moiety of it to the court of France, (but much + sophisticated,) wherewith the ladies there, now, colour their + hair. The rest, at this present, remains with me; extracted to a + quintessence: so that, whereever it but touches, in youth it + perpetually preserves, in age restores the complexion; seats your + teeth, did they dance like virginal jacks, firm as a wall; makes + them white as ivory, that were black, as-- + + [ENTER CORVINO.] + + COR: Spight o' the devil, and my shame! come down here; + Come down;--No house but mine to make your scene? + Signior Flaminio, will you down, sir? down? + What, is my wife your Franciscina, sir? + No windows on the whole Piazza, here, + To make your properties, but mine? but mine? + [BEATS AWAY VOLPONE, NANO, ETC.] + Heart! ere to-morrow, I shall be new-christen'd, + And call'd the Pantalone di Besogniosi, + About the town. + + PER: What should this mean, sir Pol? + + SIR P: Some trick of state, believe it. I will home. + + PER: It may be some design on you: + + SIR P: I know not. + I'll stand upon my guard. + + PER: It is your best, sir. + + SIR P: This three weeks, all my advices, all my letters, + They have been intercepted. + + PER: Indeed, sir! + Best have a care. + + SIR P: Nay, so I will. + + PER: This knight, + I may not lose him, for my mirth, till night. + + [EXEUNT.] + + SCENE 2.2. + + A ROOM IN VOLPONE'S HOUSE. + + ENTER VOLPONE AND MOSCA. + + VOLP: O, I am wounded! + + MOS: Where, sir? + + VOLP: Not without; + Those blows were nothing: I could bear them ever. + But angry Cupid, bolting from her eyes, + Hath shot himself into me like a flame; + Where, now, he flings about his burning heat, + As in a furnace an ambitious fire, + Whose vent is stopt. The fight is all within me. + I cannot live, except thou help me, Mosca; + My liver melts, and I, without the hope + Of some soft air, from her refreshing breath, + Am but a heap of cinders. + + MOS: 'Las, good sir, + Would you had never seen her! + + VOLP: Nay, would thou + Had'st never told me of her! + + MOS: Sir 'tis true; + I do confess I was unfortunate, + And you unhappy: but I'm bound in conscience, + No less than duty, to effect my best + To your release of torment, and I will, sir. + + VOLP: Dear Mosca, shall I hope? + + MOS: Sir, more than dear, + I will not bid you to dispair of aught + Within a human compass. + + VOLP: O, there spoke + My better angel. Mosca, take my keys, + Gold, plate, and jewels, all's at thy devotion; + Employ them how thou wilt; nay, coin me too: + So thou, in this, but crown my longings, Mosca. + + MOS: Use but your patience. + + VOLP: So I have. + + MOS: I doubt not + To bring success to your desires. + + VOLP: Nay, then, + I not repent me of my late disguise. + + MOS: If you can horn him, sir, you need not. + + VOLP: True: + Besides, I never meant him for my heir.-- + Is not the colour of my beard and eyebrows, + To make me known? + + MOS: No jot. + + VOLP: I did it well. + + MOS: So well, would I could follow you in mine, + With half the happiness! + [ASIDE.] + --and yet I would + Escape your Epilogue. + + VOLP: But were they gull'd + With a belief that I was Scoto? + + MOS: Sir, + Scoto himself could hardly have distinguish'd! + I have not time to flatter you now; we'll part; + And as I prosper, so applaud my art. + + [EXEUNT.] + + + SCENE 2.3. + + A ROOM IN CORVINO'S HOUSE. + + ENTER CORVINO, WITH HIS SWORD IN HIS HAND, DRAGGING + IN CELIA. + + CORV: Death of mine honour, with the city's fool! + A juggling, tooth-drawing, prating mountebank! + And at a public window! where, whilst he, + With his strain'd action, and his dole of faces, + To his drug-lecture draws your itching ears, + A crew of old, unmarried, noted letchers, + Stood leering up like satyrs; and you smile + Most graciously, and fan your favours forth, + To give your hot spectators satisfaction! + What; was your mountebank their call? their whistle? + Or were you enamour'd on his copper rings, + His saffron jewel, with the toad-stone in't, + Or his embroider'd suit, with the cope-stitch, + Made of a herse-cloth? or his old tilt-feather? + Or his starch'd beard? Well; you shall have him, yes! + He shall come home, and minister unto you + The fricace for the mother. Or, let me see, + I think you'd rather mount; would you not mount? + Why, if you'll mount, you may; yes truly, you may: + And so you may be seen, down to the foot. + Get you a cittern, lady Vanity, + And be a dealer with the virtuous man; + Make one: I'll but protest myself a cuckold, + And save your dowry. I'm a Dutchman, I! + For, if you thought me an Italian, + You would be damn'd, ere you did this, you whore! + Thou'dst tremble, to imagine, that the murder + Of father, mother, brother, all thy race, + Should follow, as the subject of my justice. + + CEL: Good sir, have pacience. + + CORV: What couldst thou propose + Less to thyself, than in this heat of wrath + And stung with my dishonour, I should strike + This steel into thee, with as many stabs, + As thou wert gaz'd upon with goatish eyes? + + CEL: Alas, sir, be appeas'd! I could not think + My being at the window should more now + Move your impatience, than at other times. + + CORV: No! not to seek and entertain a parley + With a known knave, before a multitude! + You were an actor with your handkerchief; + Which he most sweetly kist in the receipt, + And might, no doubt, return it with a letter, + And point the place where you might meet: your sister's, + Your mother's, or your aunt's might serve the turn. + + CEL: Why, dear sir, when do I make these excuses, + Or ever stir abroad, but to the church? + And that so seldom-- + + CORV: Well, it shall be less; + And thy restraint before was liberty, + To what I now decree: and therefore mark me. + First, I will have this bawdy light damm'd up; + And till't be done, some two or three yards off, + I'll chalk a line: o'er which if thou but chance + To set thy desperate foot; more hell, more horror + More wild remorseless rage shall seize on thee, + Than on a conjurer, that had heedless left + His circle's safety ere his devil was laid. + Then here's a lock which I will hang upon thee; + And, now I think on't, I will keep thee backwards; + Thy lodging shall be backwards; thy walks backwards; + Thy prospect, all be backwards; and no pleasure, + That thou shalt know but backwards: nay, since you force + My honest nature, know, it is your own, + Being too open, makes me use you thus: + Since you will not contain your subtle nostrils + In a sweet room, but they must snuff the air + Of rank and sweaty passengers. + [KNOCKING WITHIN.] + --One knocks. + Away, and be not seen, pain of thy life; + Nor look toward the window: if thou dost-- + Nay, stay, hear this--let me not prosper, whore, + But I will make thee an anatomy, + Dissect thee mine own self, and read a lecture + Upon thee to the city, and in public. + Away! + [EXIT CELIA.] + [ENTER SERVANT.] + Who's there? + + SERV: 'Tis signior Mosca, sir. + + CORV: Let him come in. + [EXIT SERVANT.] + His master's dead: There's yet + Some good to help the bad.-- + [ENTER MOSCA.] + My Mosca, welcome! + I guess your news. + + MOS: I fear you cannot, sir. + + CORV: Is't not his death? + + MOS: Rather the contrary. + + CORV: Not his recovery? + + MOS: Yes, sir, + + CORV: I am curs'd, + I am bewitch'd, my crosses meet to vex me. + How? how? how? how? + + MOS: Why, sir, with Scoto's oil; + Corbaccio and Voltore brought of it, + Whilst I was busy in an inner room-- + + CORV: Death! that damn'd mountebank; but for the law + Now, I could kill the rascal: it cannot be, + His oil should have that virtue. Have not I + Known him a common rogue, come fidling in + To the osteria, with a tumbling whore, + And, when he has done all his forced tricks, been glad + Of a poor spoonful of dead wine, with flies in't? + It cannot be. All his ingredients + Are a sheep's gall, a roasted bitch's marrow, + Some few sod earwigs pounded caterpillars, + A little capon's grease, and fasting spittle: + I know them to a dram. + + MOS: I know not, sir, + But some on't, there, they pour'd into his ears, + Some in his nostrils, and recover'd him; + Applying but the fricace. + + CORV: Pox o' that fricace. + + MOS: And since, to seem the more officious + And flatt'ring of his health, there, they have had, + At extreme fees, the college of physicians + Consulting on him, how they might restore him; + Where one would have a cataplasm of spices, + Another a flay'd ape clapp'd to his breast, + A third would have it a dog, a fourth an oil, + With wild cats' skins: at last, they all resolved + That, to preserve him, was no other means, + But some young woman must be straight sought out, + Lusty, and full of juice, to sleep by him; + And to this service, most unhappily, + And most unwillingly, am I now employ'd, + Which here I thought to pre-acquaint you with, + For your advice, since it concerns you most; + Because, I would not do that thing might cross + Your ends, on whom I have my whole dependance, sir: + Yet, if I do it not, they may delate + My slackness to my patron, work me out + Of his opinion; and there all your hopes, + Ventures, or whatsoever, are all frustrate! + I do but tell you, sir. Besides, they are all + Now striving, who shall first present him; therefore-- + I could entreat you, briefly conclude somewhat; + Prevent them if you can. + + CORV: Death to my hopes, + This is my villainous fortune! Best to hire + Some common courtezan. + + MOS: Ay, I thought on that, sir; + But they are all so subtle, full of art-- + And age again doting and flexible, + So as--I cannot tell--we may, perchance, + Light on a quean may cheat us all. + + CORV: 'Tis true. + + MOS: No, no: it must be one that has no tricks, sir, + Some simple thing, a creature made unto it; + Some wench you may command. Have you no kinswoman? + Odso--Think, think, think, think, think, think, think, sir. + One o' the doctors offer'd there his daughter. + + CORV: How! + + MOS: Yes, signior Lupo, the physician. + + CORV: His daughter! + + MOS: And a virgin, sir. Why? alas, + He knows the state of's body, what it is; + That nought can warm his blood sir, but a fever; + Nor any incantation raise his spirit: + A long forgetfulness hath seized that part. + Besides sir, who shall know it? some one or two-- + + CORV: I prithee give me leave. + [WALKS ASIDE.] + If any man + But I had had this luck--The thing in't self, + I know, is nothing--Wherefore should not I + As well command my blood and my affections, + As this dull doctor? In the point of honour, + The cases are all one of wife and daughter. + + MOS [ASIDE.]: I hear him coming. + + CORV: She shall do't: 'tis done. + Slight! if this doctor, who is not engaged, + Unless 't be for his counsel, which is nothing, + Offer his daughter, what should I, that am + So deeply in? I will prevent him: Wretch! + Covetous wretch!--Mosca, I have determined. + + MOS: How, sir? + + CORV: We'll make all sure. The party you wot of + Shall be mine own wife, Mosca. + + MOS: Sir, the thing, + But that I would not seem to counsel you, + I should have motion'd to you, at the first: + And make your count, you have cut all their throats. + Why! 'tis directly taking a possession! + And in his next fit, we may let him go. + 'Tis but to pull the pillow from his head, + And he is throttled: it had been done before, + But for your scrupulous doubts. + + CORV: Ay, a plague on't, + My conscience fools my wit! Well, I'll be brief, + And so be thou, lest they should be before us: + Go home, prepare him, tell him with what zeal + And willingness I do it; swear it was + On the first hearing, as thou mayst do, truly, + Mine own free motion. + + MOS: Sir, I warrant you, + I'll so possess him with it, that the rest + Of his starv'd clients shall be banish'd all; + And only you received. But come not, sir, + Until I send, for I have something else + To ripen for your good, you must not know't. + + CORV: But do not you forget to send now. + + MOS: Fear not. + + [EXIT.] + + CORV: Where are you, wife? my Celia? wife? + [RE-ENTER CELIA.] + --What, blubbering? + Come, dry those tears. I think thou thought'st me in earnest; + Ha! by this light I talk'd so but to try thee: + Methinks the lightness of the occasion + Should have confirm'd thee. Come, I am not jealous. + + CEL: No! + + CORV: Faith I am not I, nor never was; + It is a poor unprofitable humour. + Do not I know, if women have a will, + They'll do 'gainst all the watches of the world, + And that the feircest spies are tamed with gold? + Tut, I am confident in thee, thou shalt see't; + And see I'll give thee cause too, to believe it. + Come kiss me. Go, and make thee ready, straight, + In all thy best attire, thy choicest jewels, + Put them all on, and, with them, thy best looks: + We are invited to a solemn feast, + At old Volpone's, where it shall appear + How far I am free from jealousy or fear. + + [exeunt.] + + + + +ACT 3. SCENE 3.1. + + A STREET. + + ENTER MOSCA. + + MOS: I fear, I shall begin to grow in love + With my dear self, and my most prosperous parts, + They do so spring and burgeon; I can feel + A whimsy in my blood: I know not how, + Success hath made me wanton. I could skip + Out of my skin, now, like a subtle snake, + I am so limber. O! your parasite + Is a most precious thing, dropt from above, + Not bred 'mongst clods, and clodpoles, here on earth. + I muse, the mystery was not made a science, + It is so liberally profest! almost + All the wise world is little else, in nature, + But parasites, or sub-parasites.--And yet, + I mean not those that have your bare town-art, + To know who's fit to feed them; have no house, + No family, no care, and therefore mould + Tales for men's ears, to bait that sense; or get + Kitchen-invention, and some stale receipts + To please the belly, and the groin; nor those, + With their court dog-tricks, that can fawn and fleer, + Make their revenue out of legs and faces, + Echo my lord, and lick away a moth: + But your fine elegant rascal, that can rise, + And stoop, almost together, like an arrow; + Shoot through the air as nimbly as a star; + Turn short as doth a swallow; and be here, + And there, and here, and yonder, all at once; + Present to any humour, all occasion; + And change a visor, swifter than a thought! + This is the creature had the art born with him; + Toils not to learn it, but doth practise it + Out of most excellent nature: and such sparks + Are the true parasites, others but their zanis. + + [ENTER BONARIO.] + + MOS: Who's this? Bonario, old Corbaccio's son? + The person I was bound to seek.--Fair sir, + You are happily met. + + BON: That cannot be by thee. + + MOS: Why, sir? + + BON: Nay, pray thee know thy way, and leave me: + I would be loth to interchange discourse + With such a mate as thou art + + MOS: Courteous sir, + Scorn not my poverty. + + BON: Not I, by heaven; + But thou shalt give me leave to hate thy baseness. + + MOS: Baseness! + + BON: Ay; answer me, is not thy sloth + Sufficient argument? thy flattery? + Thy means of feeding? + + MOS: Heaven be good to me! + These imputations are too common, sir, + And easily stuck on virtue when she's poor. + You are unequal to me, and however, + Your sentence may be righteous, yet you are not + That, ere you know me, thus proceed in censure: + St. Mark bear witness 'gainst you, 'tis inhuman. + [WEEPS.] + + BON [ASIDE.]: What! does he weep? the sign is soft and good; + I do repent me that I was so harsh. + + MOS: 'Tis true, that, sway'd by strong necessity, + I am enforced to eat my careful bread + With too much obsequy; 'tis true, beside, + That I am fain to spin mine own poor raiment + Out of my mere observance, being not born + To a free fortune: but that I have done + Base offices, in rending friends asunder, + Dividing families, betraying counsels, + Whispering false lies, or mining men with praises, + Train'd their credulity with perjuries, + Corrupted chastity, or am in love + With mine own tender ease, but would not rather + Prove the most rugged, and laborious course, + That might redeem my present estimation, + Let me here perish, in all hope of goodness. + + BON [ASIDE.]: This cannot be a personated passion.-- + I was to blame, so to mistake thy nature; + Prithee, forgive me: and speak out thy business. + + MOS: Sir, it concerns you; and though I may seem, + At first to make a main offence in manners, + And in my gratitude unto my master; + Yet, for the pure love, which I bear all right, + And hatred of the wrong, I must reveal it. + This very hour your father is in purpose + To disinherit you-- + + BON: How! + + MOS: And thrust you forth, + As a mere stranger to his blood; 'tis true, sir: + The work no way engageth me, but, as + I claim an interest in the general state + Of goodness and true virtue, which I hear + To abound in you: and, for which mere respect, + Without a second aim, sir, I have done it. + + BON: This tale hath lost thee much of the late trust + Thou hadst with me; it is impossible: + I know not how to lend it any thought, + My father should be so unnatural. + + MOS: It is a confidence that well becomes + Your piety; and form'd, no doubt, it is + From your own simple innocence: which makes + Your wrong more monstrous, and abhorr'd. But, sir, + I now will tell you more. This very minute, + It is, or will be doing; and, if you + Shall be but pleas'd to go with me, I'll bring you, + I dare not say where you shall see, but where + Your ear shall be a witness of the deed; + Hear yourself written bastard; and profest + The common issue of the earth. + + BON: I am amazed! + + MOS: Sir, if I do it not, draw your just sword, + And score your vengeance on my front and face; + Mark me your villain: you have too much wrong, + And I do suffer for you, sir. My heart + Weeps blood in anguish-- + + BON: Lead; I follow thee. + + [EXEUNT.] + + SCENE 3.2. + + A ROOM IN VOLPONE'S HOUSE. + + ENTER VOLPONE. + + VOLP: Mosca stays long, methinks. Bring forth your sports, + And help to make the wretched time more sweet. + + [ENTER NANO, ANDROGYNO, AND CASTRONE.] + + NAN: Dwarf, fool, and eunuch, well met here we be. + A question it were now, whether of us three, + Being all the known delicates of a rich man, + In pleasing him, claim the precedency can? + + CAS: I claim for myself. + + AND: And so doth the fool. + + NAN: 'Tis foolish indeed: let me set you both to school. + First for your dwarf, he's little and witty, + And every thing, as it is little, is pretty; + Else why do men say to a creature of my shape, + So soon as they see him, It's a pretty little ape? + And why a pretty ape, but for pleasing imitation + Of greater men's actions, in a ridiculous fashion? + Beside, this feat body of mine doth not crave + Half the meat, drink, and cloth, one of your bulks will have. + Admit your fool's face be the mother of laughter, + Yet, for his brain, it must always come after: + And though that do feed him, 'tis a pitiful case, + His body is beholding to such a bad face. + + [KNOCKING WITHIN.] + + VOLP: Who's there? my couch; away! look! Nano, see: + [EXE. AND. AND CAS.] + Give me my caps, first--go, enquire. + [EXIT NANO.] + --Now, Cupid + Send it be Mosca, and with fair return! + + NAN [WITHIN.]: It is the beauteous madam-- + + VOLP: Would-be?--is it? + + NAN: The same. + + VOLP: Now torment on me! Squire her in; + For she will enter, or dwell here for ever: + Nay, quickly. + [RETIRES TO HIS COUCH.] + --That my fit were past! I fear + A second hell too, that my lothing this + Will quite expel my appetite to the other: + Would she were taking now her tedious leave. + Lord, how it threats me what I am to suffer! + + [RE-ENTER NANO, WITH LADY POLITICK WOULD-BE.] + + LADY P: I thank you, good sir. 'Pray you signify + Unto your patron, I am here.--This band + Shews not my neck enough.--I trouble you, sir; + Let me request you, bid one of my women + Come hither to me.--In good faith, I, am drest + Most favorably, to-day! It is no matter: + 'Tis well enough.-- + [ENTER 1 WAITING-WOMAN.] + Look, see, these petulant things, + How they have done this! + + VOLP [ASIDE.]: I do feel the fever + Entering in at mine ears; O, for a charm, + To fright it hence. + + LADY P: Come nearer: Is this curl + In his right place, or this? Why is this higher + Then all the rest? You have not wash'd your eyes, yet! + Or do they not stand even in your head? + Where is your fellow? call her. + + [EXIT 1 WOMAN.] + + NAN: Now, St. Mark + Deliver us! anon, she will beat her women, + Because her nose is red. + + [RE-ENTER 1 WITH 2 WOMAN.] + + LADY P: I pray you, view + This tire, forsooth; are all things apt, or no? + + 1 WOM: One hair a little, here, sticks out, forsooth. + + LADY P: Does't so, forsooth? and where was your dear sight, + When it did so, forsooth! What now! bird-eyed? + And you too? 'Pray you, both approach and mend it. + Now, by that light, I muse you are not ashamed! + I, that have preach'd these things so oft unto you, + Read you the principles, argued all the grounds, + Disputed every fitness, every grace, + Call'd you to counsel of so frequent dressings-- + + NAN [ASIDE.]: More carefully than of your fame or honour. + + LADY P: Made you acquainted, what an ample dowry + The knowledge of these things would be unto you, + Able, alone, to get you noble husbands + At your return: and you thus to neglect it! + Besides you seeing what a curious nation + The Italians are, what will they say of me? + "The English lady cannot dress herself." + Here's a fine imputation to our country: + Well, go your ways, and stay, in the next room. + This fucus was too course too, it's no matter.-- + Good-sir, you will give them entertainment? + + [EXEUNT NANO AND WAITING-WOMEN.] + + VOLP: The storm comes toward me. + + LADY P [GOES TO THE COUCH.]: How does my Volpone? + + VOLP: Troubled with noise, I cannot sleep; I dreamt + That a strange fury enter'd, now, my house, + And, with the dreadful tempest of her breath, + Did cleave my roof asunder. + + LADY P: Believe me, and I + Had the most fearful dream, could I remember't-- + + VOLP [ASIDE.]: Out on my fate! I have given her the occasion + How to torment me: she will tell me hers. + + LADY P: Me thought, the golden mediocrity, + Polite and delicate-- + + VOLP: O, if you do love me, + No more; I sweat, and suffer, at the mention + Of any dream: feel, how I tremble yet. + + LADY P: Alas, good soul! the passion of the heart. + Seed-pearl were good now, boil'd with syrup of apples, + Tincture of gold, and coral, citron-pills, + Your elicampane root, myrobalanes-- + + VOLP [ASIDE.]: Ah me, I have ta'en a grass-hopper by the wing! + + LADY P: Burnt silk, and amber: you have muscadel + Good in the house-- + + VOLP: You will not drink, and part? + + LADY P: No, fear not that. I doubt, we shall not get + Some English saffron, half a dram would serve; + Your sixteen cloves, a little musk, dried mints, + Bugloss, and barley-meal-- + + VOLP [ASIDE.]: She's in again! + Before I fain'd diseases, now I have one. + + LADY P: And these applied with a right scarlet cloth. + + VOLP [ASIDE.]: Another flood of words! a very torrent! + + LADY P: Shall I, sir, make you a poultice? + + VOLP: No, no, no; + I am very well: you need prescribe no more. + + LADY P: I have a little studied physic; but now, + I'm all for music, save, in the forenoons, + An hour or two for painting. I would have + A lady, indeed, to have all, letters, and arts, + Be able to discourse, to write, to paint, + But principal, as Plato holds, your music, + And, so does wise Pythagoras, I take it, + Is your true rapture: when there is concent + In face, in voice, and clothes: and is, indeed, + Our sex's chiefest ornament. + + VOLP: The poet + As old in time as Plato, and as knowing, + Says that your highest female grace is silence. + + LADY P: Which of your poets? Petrarch, or Tasso, or Dante? + Guarini? Ariosto? Aretine? + Cieco di Hadria? I have read them all. + + VOLP [ASIDE.]: Is every thing a cause to my distruction? + + LADY P: I think I have two or three of them about me. + + VOLP [ASIDE.]: The sun, the sea will sooner both stand still, + Then her eternal tongue; nothing can 'scape it. + + LADY P: Here's pastor Fido-- + + VOLP [ASIDE.]: Profess obstinate silence, + That's now my safest. + + LADY P: All our English writers, + I mean such as are happy in the Italian, + Will deign to steal out of this author, mainly: + Almost as much, as from Montagnie; + He has so modern and facile a vein, + Fitting the time, and catching the court-ear! + Your Petrarch is more passionate, yet he, + In days of sonetting, trusted them with much: + Dante is hard, and few can understand him. + But, for a desperate wit, there's Aretine; + Only, his pictures are a little obscene-- + You mark me not. + + VOLP: Alas, my mind is perturb'd. + + LADY P: Why, in such cases, we must cure ourselves, + Make use of our philosophy-- + + VOLP: Oh me! + + LADY P: And as we find our passions do rebel, + Encounter them with reason, or divert them, + By giving scope unto some other humour + Of lesser danger: as, in politic bodies, + There's nothing more doth overwhelm the judgment, + And cloud the understanding, than too much + Settling and fixing, and, as 'twere, subsiding + Upon one object. For the incorporating + Of these same outward things, into that part, + Which we call mental, leaves some certain faeces + That stop the organs, and as Plato says, + Assassinate our Knowledge. + + VOLP [ASIDE.]: Now, the spirit + Of patience help me! + + LADY P: Come, in faith, I must + Visit you more a days; and make you well: + Laugh and be lusty. + + VOLP [ASIDE.]: My good angel save me! + + LADY P: There was but one sole man in all the world, + With whom I e'er could sympathise; and he + Would lie you, often, three, four hours together + To hear me speak; and be sometimes so rapt, + As he would answer me quite from the purpose, + Like you, and you are like him, just. I'll discourse, + An't be but only, sir, to bring you asleep, + How we did spend our time and loves together, + For some six years. + + VOLP: Oh, oh, oh, oh, oh, oh! + + LADY P: For we were coaetanei, and brought up-- + + VOLP: Some power, some fate, some fortune rescue me! + + [ENTER MOSCA.] + + MOS: God save you, madam! + + LADY P: Good sir. + + VOLP: Mosca? welcome, + Welcome to my redemption. + + MOS: Why, sir? + + VOLP: Oh, + Rid me of this my torture, quickly, there; + My madam, with the everlasting voice: + The bells, in time of pestilence, ne'er made + Like noise, or were in that perpetual motion! + The Cock-pit comes not near it. All my house, + But now, steam'd like a bath with her thick breath. + A lawyer could not have been heard; nor scarce + Another woman, such a hail of words + She has let fall. For hell's sake, rid her hence. + + MOS: Has she presented? + + VOLP: O, I do not care; + I'll take her absence, upon any price, + With any loss. + + MOS: Madam-- + + LADY P: I have brought your patron + A toy, a cap here, of mine own work. + + MOS: 'Tis well. + I had forgot to tell you, I saw your knight, + Where you would little think it.-- + + LADY P: Where? + + MOS: Marry, + Where yet, if you make haste, you may apprehend, + Rowing upon the water in a gondole, + With the most cunning courtezan of Venice. + + LADY P: Is't true? + + MOS: Pursue them, and believe your eyes; + Leave me, to make your gift. + [EXIT LADY P. HASTILY.] + --I knew 'twould take: + For, lightly, they, that use themselves most license, + Are still most jealous. + + VOLP: Mosca, hearty thanks, + For thy quick fiction, and delivery of me. + Now to my hopes, what say'st thou? + + [RE-ENTER LADY P. WOULD-BE.] + + LADY P: But do you hear, sir?-- + + VOLP: Again! I fear a paroxysm. + + LADY P: Which way + Row'd they together? + + MOS: Toward the Rialto. + + LADY P: I pray you lend me your dwarf. + + MOS: I pray you, take him.-- + [EXIT LADY P.] + Your hopes, sir, are like happy blossoms, fair, + And promise timely fruit, if you will stay + But the maturing; keep you at your couch, + Corbaccio will arrive straight, with the Will; + When he is gone, I'll tell you more. + + [EXIT.] + + VOLP: My blood, + My spirits are return'd; I am alive: + And like your wanton gamester, at primero, + Whose thought had whisper'd to him, not go less, + Methinks I lie, and draw--for an encounter. + + [THE SCENE CLOSES UPON VOLPONE.] + + SCENE 3.3 + + THE PASSAGE LEADING TO VOLPONE'S CHAMBER. + + ENTER MOSCA AND BONARIO. + + MOS: Sir, here conceal'd, + [SHEWS HIM A CLOSET.] + you may here all. But, pray you, + Have patience, sir; + [KNOCKING WITHIN.] + --the same's your father knocks: + I am compell'd to leave you. + + [EXIT.] + + BON: Do so.--Yet, + Cannot my thought imagine this a truth. + + [GOES INTO THE CLOSET.] + + SCENE 3.4. + + ANOTHER PART OF THE SAME. + + ENTER MOSCA AND CORVINO, CELIA FOLLOWING. + + MOS: Death on me! you are come too soon, what meant you? + Did not I say, I would send? + + CORV: Yes, but I fear'd + You might forget it, and then they prevent us. + + MOS [ASIDE.]: Prevent! did e'er man haste so, for his horns? + A courtier would not ply it so, for a place. + --Well, now there's no helping it, stay here; + I'll presently return. + + [EXIT.] + + CORV: Where are you, Celia? + You know not wherefore I have brought you hither? + + CEL: Not well, except you told me. + + CORV: Now, I will: + Hark hither. + + [EXEUNT.] + + SCENE 3.5. + + A CLOSET OPENING INTO A GALLERY. + + ENTER MOSCA AND BONARIO. + + MOS: Sir, your father hath sent word, + It will be half an hour ere he come; + And therefore, if you please to walk the while + Into that gallery--at the upper end, + There are some books to entertain the time: + And I'll take care no man shall come unto you, sir. + + BON: Yes, I will stay there. + [ASIDE.]--I do doubt this fellow. + + [EXIT.] + + MOS [LOOKING AFTER HIM.]: There; he is far enough; + he can hear nothing: + And, for his father, I can keep him off. + + [EXIT.] + + SCENE 3.6. + + VOLPONE'S CHAMBER.--VOLPONE ON HIS COUCH. + MOSCA SITTING BY HIM. + + ENTER CORVINO, FORCING IN CELIA. + + CORV: Nay, now, there is no starting back, and therefore, + Resolve upon it: I have so decreed. + It must be done. Nor would I move't, afore, + Because I would avoid all shifts and tricks, + That might deny me. + + CEL: Sir, let me beseech you, + Affect not these strange trials; if you doubt + My chastity, why, lock me up for ever: + Make me the heir of darkness. Let me live, + Where I may please your fears, if not your trust. + + CORV: Believe it, I have no such humour, I. + All that I speak I mean; yet I'm not mad; + Nor horn-mad, see you? Go to, shew yourself + Obedient, and a wife. + + CEL: O heaven! + + CORV: I say it, + Do so. + + CEL: Was this the train? + + CORV: I've told you reasons; + What the physicians have set down; how much + It may concern me; what my engagements are; + My means; and the necessity of those means, + For my recovery: wherefore, if you be + Loyal, and mine, be won, respect my venture. + + CEL: Before your honour? + + CORV: Honour! tut, a breath: + There's no such thing, in nature: a mere term + Invented to awe fools. What is my gold + The worse, for touching, clothes for being look'd on? + Why, this is no more. An old decrepit wretch, + That has no sense, no sinew; takes his meat + With others' fingers; only knows to gape, + When you do scald his gums; a voice; a shadow; + And, what can this man hurt you? + + CEL [ASIDE.]: Lord! what spirit + Is this hath enter'd him? + + CORV: And for your fame, + That's such a jig; as if I would go tell it, + Cry it on the Piazza! who shall know it, + But he that cannot speak it, and this fellow, + Whose lips are in my pocket? save yourself, + (If you'll proclaim't, you may,) I know no other, + Shall come to know it. + + CEL: Are heaven and saints then nothing? + Will they be blind or stupid? + + CORV: How! + + CEL: Good sir, + Be jealous still, emulate them; and think + What hate they burn with toward every sin. + + CORV: I grant you: if I thought it were a sin, + I would not urge you. Should I offer this + To some young Frenchman, or hot Tuscan blood + That had read Aretine, conn'd all his prints, + Knew every quirk within lust's labyrinth, + And were professed critic in lechery; + And I would look upon him, and applaud him, + This were a sin: but here, 'tis contrary, + A pious work, mere charity for physic, + And honest polity, to assure mine own. + + CEL: O heaven! canst thou suffer such a change? + + VOLP: Thou art mine honour, Mosca, and my pride, + My joy, my tickling, my delight! Go bring them. + + MOS [ADVANCING.]: Please you draw near, sir. + + CORV: Come on, what-- + You will not be rebellious? by that light-- + + MOS: Sir, + Signior Corvino, here, is come to see you. + + VOLP: Oh! + + MOS: And hearing of the consultation had, + So lately, for your health, is come to offer, + Or rather, sir, to prostitute-- + + CORV: Thanks, sweet Mosca. + + MOS: Freely, unask'd, or unintreated-- + + CORV: Well. + + MOS: As the true fervent instance of his love, + His own most fair and proper wife; the beauty, + Only of price in Venice-- + + CORV: 'Tis well urged. + + MOS: To be your comfortress, and to preserve you. + + VOLP: Alas, I am past, already! Pray you, thank him + For his good care and promptness; but for that, + 'Tis a vain labour e'en to fight 'gainst heaven; + Applying fire to stone-- + [COUGHING.] uh, uh, uh, uh! + Making a dead leaf grow again. I take + His wishes gently, though; and you may tell him, + What I have done for him: marry, my state is hopeless. + Will him to pray for me; and to use his fortune + With reverence, when he comes to't. + + MOS: Do you hear, sir? + Go to him with your wife. + + CORV: Heart of my father! + Wilt thou persist thus? come, I pray thee, come. + Thou seest 'tis nothing, Celia. By this hand, + I shall grow violent. Come, do't, I say. + + CEL: Sir, kill me, rather: I will take down poison, + Eat burning coals, do any thing.-- + + CORV: Be damn'd! + Heart, I'll drag thee hence, home, by the hair; + Cry thee a strumpet through the streets; rip up + Thy mouth unto thine ears; and slit thy nose, + Like a raw rotchet!--Do not tempt me; come, + Yield, I am loth--Death! I will buy some slave + Whom I will kill, and bind thee to him, alive; + And at my window hang you forth: devising + Some monstrous crime, which I, in capital letters, + Will eat into thy flesh with aquafortis, + And burning corsives, on this stubborn breast. + Now, by the blood thou hast incensed, I'll do it! + + CEL: Sir, what you please, you may, I am your martyr. + + CORV: Be not thus obstinate, I have not deserved it: + Think who it is intreats you. 'Prithee, sweet;-- + Good faith, thou shalt have jewels, gowns, attires, + What thou wilt think, and ask. Do but go kiss him. + Or touch him, but, for my sake.--At my suit.-- + This once.--No! not! I shall remember this. + Will you disgrace me thus? Do you thirst my undoing? + + MOS: Nay, gentle lady, be advised. + + CORV: No, no. + She has watch'd her time. Ods precious, this is scurvy, + 'Tis very scurvy: and you are-- + + MOS: Nay, good, sir. + + CORV: An arrant Locust, by heaven, a locust! + Whore, crocodile, that hast thy tears prepared, + Expecting how thou'lt bid them flow-- + + MOS: Nay, 'Pray you, sir! + She will consider. + + CEL: Would my life would serve + To satisfy-- + + CORV: S'death! if she would but speak to him, + And save my reputation, it were somewhat; + But spightfully to affect my utter ruin! + + MOS: Ay, now you have put your fortune in her hands. + Why i'faith, it is her modesty, I must quit her. + If you were absent, she would be more coming; + I know it: and dare undertake for her. + What woman can before her husband? 'pray you, + Let us depart, and leave her here. + + CORV: Sweet Celia, + Thou may'st redeem all, yet; I'll say no more: + If not, esteem yourself as lost,--Nay, stay there. + + [SHUTS THE DOOR, AND EXIT WITH MOSCA.] + + CEL: O God, and his good angels! whither, whither, + Is shame fled human breasts? that with such ease, + Men dare put off your honours, and their own? + Is that, which ever was a cause of life, + Now placed beneath the basest circumstance, + And modesty an exile made, for money? + + VOLP: Ay, in Corvino, and such earth-fed minds, + [LEAPING FROM HIS COUCH.] + That never tasted the true heaven of love. + Assure thee, Celia, he that would sell thee, + Only for hope of gain, and that uncertain, + He would have sold his part of Paradise + For ready money, had he met a cope-man. + Why art thou mazed to see me thus revived? + Rather applaud thy beauty's miracle; + 'Tis thy great work: that hath, not now alone, + But sundry times raised me, in several shapes, + And, but this morning, like a mountebank; + To see thee at thy window: ay, before + I would have left my practice, for thy love, + In varying figures, I would have contended + With the blue Proteus, or the horned flood. + Now art thou welcome. + + CEL: Sir! + + VOLP: Nay, fly me not. + Nor let thy false imagination + That I was bed-rid, make thee think I am so: + Thou shalt not find it. I am, now, as fresh, + As hot, as high, and in as jovial plight, + As when, in that so celebrated scene, + At recitation of our comedy, + For entertainment of the great Valois, + I acted young Antinous; and attracted + The eyes and ears of all the ladies present, + To admire each graceful gesture, note, and footing. + [SINGS.] + Come, my Celia, let us prove, + While we can, the sports of love, + Time will not be ours for ever, + He, at length, our good will sever; + Spend not then his gifts in vain; + Suns, that set, may rise again: + But if once we loose this light, + 'Tis with us perpetual night. + Why should we defer our joys? + Fame and rumour are but toys. + Cannot we delude the eyes + Of a few poor household spies? + Or his easier ears beguile, + Thus remooved by our wile?-- + 'Tis no sin love's fruits to steal: + But the sweet thefts to reveal; + To be taken, to be seen, + These have crimes accounted been. + + CEL: Some serene blast me, or dire lightning strike + This my offending face! + + VOLP: Why droops my Celia? + Thou hast, in place of a base husband, found + A worthy lover: use thy fortune well, + With secrecy and pleasure. See, behold, + What thou art queen of; not in expectation, + As I feed others: but possess'd, and crown'd. + See, here, a rope of pearl; and each, more orient + Than that the brave Egyptian queen caroused: + Dissolve and drink them. See, a carbuncle, + May put out both the eyes of our St Mark; + A diamond, would have bought Lollia Paulina, + When she came in like star-light, hid with jewels, + That were the spoils of provinces; take these, + And wear, and lose them: yet remains an ear-ring + To purchase them again, and this whole state. + A gem but worth a private patrimony, + Is nothing: we will eat such at a meal. + The heads of parrots, tongues of nightingales, + The brains of peacocks, and of estriches, + Shall be our food: and, could we get the phoenix, + Though nature lost her kind, she were our dish. + + CEL: Good sir, these things might move a mind affected + With such delights; but I, whose innocence + Is all I can think wealthy, or worth th' enjoying, + And which, once lost, I have nought to lose beyond it, + Cannot be taken with these sensual baits: + If you have conscience-- + + VOLP: 'Tis the beggar's virtue, + If thou hast wisdom, hear me, Celia. + Thy baths shall be the juice of July-flowers, + Spirit of roses, and of violets, + The milk of unicorns, and panthers' breath + Gather'd in bags, and mixt with Cretan wines. + Our drink shall be prepared gold and amber; + Which we will take, until my roof whirl round + With the vertigo: and my dwarf shall dance, + My eunuch sing, my fool make up the antic. + Whilst we, in changed shapes, act Ovid's tales, + Thou, like Europa now, and I like Jove, + Then I like Mars, and thou like Erycine: + So, of the rest, till we have quite run through, + And wearied all the fables of the gods. + Then will I have thee in more modern forms, + Attired like some sprightly dame of France, + Brave Tuscan lady, or proud Spanish beauty; + Sometimes, unto the Persian sophy's wife; + Or the grand signior's mistress; and, for change, + To one of our most artful courtezans, + Or some quick Negro, or cold Russian; + And I will meet thee in as many shapes: + Where we may so transfuse our wandering souls, + Out at our lips, and score up sums of pleasures, + [SINGS.] + That the curious shall not know + How to tell them as they flow; + And the envious, when they find + What there number is, be pined. + + CEL: If you have ears that will be pierc'd--or eyes + That can be open'd--a heart that may be touch'd-- + Or any part that yet sounds man about you-- + If you have touch of holy saints--or heaven-- + Do me the grace to let me 'scape--if not, + Be bountiful and kill me. You do know, + I am a creature, hither ill betray'd, + By one, whose shame I would forget it were: + If you will deign me neither of these graces, + Yet feed your wrath, sir, rather than your lust, + (It is a vice comes nearer manliness,) + And punish that unhappy crime of nature, + Which you miscall my beauty; flay my face, + Or poison it with ointments, for seducing + Your blood to this rebellion. Rub these hands, + With what may cause an eating leprosy, + E'en to my bones and marrow: any thing, + That may disfavour me, save in my honour-- + And I will kneel to you, pray for you, pay down + A thousand hourly vows, sir, for your health; + Report, and think you virtuous-- + + VOLP: Think me cold, + Frosen and impotent, and so report me? + That I had Nestor's hernia, thou wouldst think. + I do degenerate, and abuse my nation, + To play with opportunity thus long; + I should have done the act, and then have parley'd. + Yield, or I'll force thee. + + [SEIZES HER.] + + CEL: O! just God! + + VOLP: In vain-- + + BON [RUSHING IN]: Forbear, foul ravisher, libidinous swine! + Free the forced lady, or thou diest, impostor. + But that I'm loth to snatch thy punishment + Out of the hand of justice, thou shouldst, yet, + Be made the timely sacrifice of vengeance, + Before this altar, and this dross, thy idol.-- + Lady, let's quit the place, it is the den + Of villany; fear nought, you have a guard: + And he, ere long, shall meet his just reward. + + [EXEUNT BON. AND CEL.] + + VOLP: Fall on me, roof, and bury me in ruin! + Become my grave, that wert my shelter! O! + I am unmask'd, unspirited, undone, + Betray'd to beggary, to infamy-- + + [ENTER MOSCA, WOUNDED AND BLEEDING.] + + MOS: Where shall I run, most wretched shame of men, + To beat out my unlucky brains? + + VOLP: Here, here. + What! dost thou bleed? + + MOS: O that his well-driv'n sword + Had been so courteous to have cleft me down + Unto the navel; ere I lived to see + My life, my hopes, my spirits, my patron, all + Thus desperately engaged, by my error! + + VOLP: Woe on thy fortune! + + MOS: And my follies, sir. + + VOLP: Thou hast made me miserable. + + MOS: And myself, sir. + Who would have thought he would have harken'd, so? + + VOLP: What shall we do? + + MOS: I know not; if my heart + Could expiate the mischance, I'd pluck it out. + Will you be pleased to hang me? or cut my throat? + And I'll requite you, sir. Let us die like Romans, + Since we have lived like Grecians. + + [KNOCKING WITHIN.] + + VOLP: Hark! who's there? + I hear some footing; officers, the saffi, + Come to apprehend us! I do feel the brand + Hissing already at my forehead; now, + Mine ears are boring. + + MOS: To your couch, sir, you, + Make that place good, however. + [VOLPONE LIES DOWN, AS BEFORE.] + --Guilty men + Suspect what they deserve still. + [ENTER CORBACCIO.] + Signior Corbaccio! + + CORB: Why, how now, Mosca? + + MOS: O, undone, amazed, sir. + Your son, I know not by what accident, + Acquainted with your purpose to my patron, + Touching your Will, and making him your heir, + Enter'd our house with violence, his sword drawn + Sought for you, call'd you wretch, unnatural, + Vow'd he would kill you. + + CORB: Me! + + MOS: Yes, and my patron. + + CORB: This act shall disinherit him indeed; + Here is the Will. + + MOS: 'Tis well, sir. + + CORB: Right and well: + Be you as careful now for me. + + [ENTER VOLTORE, BEHIND.] + + MOS: My life, sir, + Is not more tender'd; I am only yours. + + CORB: How does he? will he die shortly, think'st thou? + + MOS: I fear + He'll outlast May. + + CORB: To-day? + + MOS: No, last out May, sir. + + CORB: Could'st thou not give him a dram? + + MOS: O, by no means, sir. + + CORB: Nay, I'll not bid you. + + VOLT [COMING FORWARD.]: This is a knave, I see. + + MOS [SEEING VOLTORE.]: How! signior Voltore! + [ASIDE.] did he hear me? + + VOLT: Parasite! + + MOS: Who's that?--O, sir, most timely welcome-- + + VOLT: Scarce, + To the discovery of your tricks, I fear. + You are his, ONLY? and mine, also? are you not? + + MOS: Who? I, sir? + + VOLT: You, sir. What device is this + About a Will? + + MOS: A plot for you, sir. + + VOLT: Come, + Put not your foists upon me; I shall scent them. + + MOS: Did you not hear it? + + VOLT: Yes, I hear Corbaccio + Hath made your patron there his heir. + + MOS: 'Tis true, + By my device, drawn to it by my plot, + With hope-- + + VOLT: Your patron should reciprocate? + And you have promised? + + MOS: For your good, I did, sir. + Nay, more, I told his son, brought, hid him here, + Where he might hear his father pass the deed: + Being persuaded to it by this thought, sir, + That the unnaturalness, first, of the act, + And then his father's oft disclaiming in him, + (Which I did mean t'help on,) would sure enrage him + To do some violence upon his parent, + On which the law should take sufficient hold, + And you be stated in a double hope: + Truth be my comfort, and my conscience, + My only aim was to dig you a fortune + Out of these two old rotten sepulchres-- + + VOLT: I cry thee mercy, Mosca. + + MOS: Worth your patience, + And your great merit, sir. And see the change! + + VOLT: Why, what success? + + MOS: Most happless! you must help, sir. + Whilst we expected the old raven, in comes + Corvino's wife, sent hither by her husband-- + + VOLT: What, with a present? + + MOS: No, sir, on visitation; + (I'll tell you how anon;) and staying long, + The youth he grows impatient, rushes forth, + Seizeth the lady, wounds me, makes her swear + (Or he would murder her, that was his vow) + To affirm my patron to have done her rape: + Which how unlike it is, you see! and hence, + With that pretext he's gone, to accuse his father, + Defame my patron, defeat you-- + + VOLT: Where is her husband? + Let him be sent for straight. + + MOS: Sir, I'll go fetch him. + + VOLT: Bring him to the Scrutineo. + + MOS: Sir, I will. + + VOLT: This must be stopt. + + MOS: O you do nobly, sir. + Alas, 'twas labor'd all, sir, for your good; + Nor was there want of counsel in the plot: + But fortune can, at any time, o'erthrow + The projects of a hundred learned clerks, sir. + + CORB [LISTENING]: What's that? + + VOLT: Will't please you, sir, to go along? + + [EXIT CORBACCIO, FOLLOWED BY VOLTORE.] + + MOS: Patron, go in, and pray for our success. + + VOLP [RISING FROM HIS COUCH.]: Need makes devotion: + heaven your labour bless! + + [EXEUNT.] + + + + +ACT 4. SCENE 4.1. + + A STREET. + + [ENTER SIR POLITICK WOULD-BE AND PEREGRINE.] + + SIR P: I told you, sir, it was a plot: you see + What observation is! You mention'd me, + For some instructions: I will tell you, sir, + (Since we are met here in this height of Venice,) + Some few perticulars I have set down, + Only for this meridian, fit to be known + Of your crude traveller, and they are these. + I will not touch, sir, at your phrase, or clothes, + For they are old. + + PER: Sir, I have better. + + SIR P: Pardon, + I meant, as they are themes. + + PER: O, sir, proceed: + I'll slander you no more of wit, good sir. + + SIR P: First, for your garb, it must be grave and serious, + Very reserv'd, and lock'd; not tell a secret + On any terms, not to your father; scarce + A fable, but with caution; make sure choice + Both of your company, and discourse; beware + You never speak a truth-- + + PER: How! + + SIR P: Not to strangers, + For those be they you must converse with, most; + Others I would not know, sir, but at distance, + So as I still might be a saver in them: + You shall have tricks else past upon you hourly. + And then, for your religion, profess none, + But wonder at the diversity, of all: + And, for your part, protest, were there no other + But simply the laws o' the land, you could content you, + Nic. Machiavel, and Monsieur Bodin, both + Were of this mind. Then must you learn the use + And handling of your silver fork at meals; + The metal of your glass; (these are main matters + With your Italian;) and to know the hour + When you must eat your melons, and your figs. + + PER: Is that a point of state too? + + SIR P: Here it is, + For your Venetian, if he see a man + Preposterous in the least, he has him straight; + He has; he strips him. I'll acquaint you, sir, + I now have lived here, 'tis some fourteen months + Within the first week of my landing here, + All took me for a citizen of Venice: + I knew the forms, so well-- + + PER [ASIDE.]: And nothing else. + + SIR P: I had read Contarene, took me a house, + Dealt with my Jews to furnish it with moveables-- + Well, if I could but find one man, one man + To mine own heart, whom I durst trust, I would-- + + PER: What, what, sir? + + SIR P: Make him rich; make him a fortune: + He should not think again. I would command it. + + PER: As how? + + SIR P: With certain projects that I have; + Which I may not discover. + + PER [ASIDE.]: If I had + But one to wager with, I would lay odds now, + He tells me instantly. + + SIR P: One is, and that + I care not greatly who knows, to serve the state + Of Venice with red herrings for three years, + And at a certain rate, from Rotterdam, + Where I have correspendence. There's a letter, + Sent me from one of the states, and to that purpose: + He cannot write his name, but that's his mark. + + PER: He's a chandler? + + SIR P: No, a cheesemonger. + There are some others too with whom I treat + About the same negociation; + And I will undertake it: for, 'tis thus. + I'll do't with ease, I have cast it all: Your hoy + Carries but three men in her, and a boy; + And she shall make me three returns a year: + So, if there come but one of three, I save, + If two, I can defalk:--but this is now, + If my main project fail. + + PER: Then you have others? + + SIR P: I should be loth to draw the subtle air + Of such a place, without my thousand aims. + I'll not dissemble, sir: where'er I come, + I love to be considerative; and 'tis true, + I have at my free hours thought upon + Some certain goods unto the state of Venice, + Which I do call "my Cautions;" and, sir, which + I mean, in hope of pension, to propound + To the Great Council, then unto the Forty, + So to the Ten. My means are made already-- + + PER: By whom? + + SIR P: Sir, one that, though his place be obscure, + Yet he can sway, and they will hear him. He's + A commandador. + + PER: What! a common serjeant? + + SIR P: Sir, such as they are, put it in their mouths, + What they should say, sometimes; as well as greater: + I think I have my notes to shew you-- + [SEARCHING HIS POCKETS.] + + PER: Good sir. + + SIR P: But you shall swear unto me, on your gentry, + Not to anticipate-- + + PER: I, sir! + + SIR P: Nor reveal + A circumstance--My paper is not with me. + + PER: O, but you can remember, sir. + + SIR P: My first is + Concerning tinder-boxes. You must know, + No family is here, without its box. + Now, sir, it being so portable a thing, + Put case, that you or I were ill affected + Unto the state, sir; with it in our pockets, + Might not I go into the Arsenal, + Or you, come out again, and none the wiser? + + PER: Except yourself, sir. + + SIR P: Go to, then. I therefore + Advertise to the state, how fit it were, + That none but such as were known patriots, + Sound lovers of their country, should be suffer'd + To enjoy them in their houses; and even those + Seal'd at some office, and at such a bigness + As might not lurk in pockets. + + PER: Admirable! + + SIR P: My next is, how to enquire, and be resolv'd, + By present demonstration, whether a ship, + Newly arrived from Soria, or from + Any suspected part of all the Levant, + Be guilty of the plague: and where they use + To lie out forty, fifty days, sometimes, + About the Lazaretto, for their trial; + I'll save that charge and loss unto the merchant, + And in an hour clear the doubt. + + PER: Indeed, sir! + + SIR P: Or--I will lose my labour. + + PER: 'My faith, that's much. + + SIR P: Nay, sir, conceive me. It will cost me in onions, + Some thirty livres-- + + PER: Which is one pound sterling. + + SIR P: Beside my water-works: for this I do, sir. + First, I bring in your ship 'twixt two brick walls; + But those the state shall venture: On the one + I strain me a fair tarpauling, and in that + I stick my onions, cut in halves: the other + Is full of loop-holes, out at which I thrust + The noses of my bellows; and those bellows + I keep, with water-works, in perpetual motion, + Which is the easiest matter of a hundred. + Now, sir, your onion, which doth naturally + Attract the infection, and your bellows blowing + The air upon him, will show, instantly, + By his changed colour, if there be contagion; + Or else remain as fair as at the first. + --Now it is known, 'tis nothing. + + PER: You are right, sir. + + SIR P: I would I had my note. + + PER: 'Faith, so would I: + But you have done well for once, sir. + + SIR P: Were I false, + Or would be made so, I could shew you reasons + How I could sell this state now, to the Turk; + Spite of their galleys, or their-- + [EXAMINING HIS PAPERS.] + + PER: Pray you, sir Pol. + + SIR P: I have them not about me. + + PER: That I fear'd. + They are there, sir. + + SIR P: No. This is my diary, + Wherein I note my actions of the day. + + PER: Pray you let's see, sir. What is here? + [READS.] + "Notandum, + A rat had gnawn my spur-leathers; notwithstanding, + I put on new, and did go forth: but first + I threw three beans over the threshold. Item, + I went and bought two tooth-picks, whereof one + I burst immediatly, in a discourse + With a Dutch merchant, 'bout ragion del stato. + From him I went and paid a moccinigo, + For piecing my silk stockings; by the way + I cheapen'd sprats; and at St. Mark's I urined." + 'Faith, these are politic notes! + + SIR P: Sir, I do slip + No action of my life, but thus I quote it. + + PER: Believe me, it is wise! + + SIR P: Nay, sir, read forth. + + [ENTER, AT A DISTANCE, LADY POLITICK-WOULD BE, NANO, + AND TWO WAITING-WOMEN.] + + LADY P: Where should this loose knight be, trow? + sure he's housed. + + NAN: Why, then he's fast. + + LADY P: Ay, he plays both with me. + I pray you, stay. This heat will do more harm + To my complexion, than his heart is worth; + (I do not care to hinder, but to take him.) + [RUBBING HER CHEEKS.] + How it comes off! + + 1 WOM: My master's yonder. + + LADY P: Where? + + 1 WOM: With a young gentleman. + + LADY P: That same's the party; + In man's apparel! 'Pray you, sir, jog my knight: + I'll be tender to his reputation, + However he demerit. + + SIR P [SEEING HER]: My lady! + + PER: Where? + + SIR P: 'Tis she indeed, sir; you shall know her. She is, + Were she not mine, a lady of that merit, + For fashion and behaviour; and, for beauty + I durst compare-- + + PER: It seems you are not jealous, + That dare commend her. + + SIR P: Nay, and for discourse-- + + PER: Being your wife, she cannot miss that. + + SIR P [INTRODUCING PER.]: Madam, + Here is a gentleman, pray you, use him fairly; + He seems a youth, but he is-- + + LADY P: None. + + SIR P: Yes, one + Has put his face as soon into the world-- + + LADY P: You mean, as early? but to-day? + + SIR P: How's this? + + LADY P: Why, in this habit, sir; you apprehend me:-- + Well, master Would-be, this doth not become you; + I had thought the odour, sir, of your good name, + Had been more precious to you; that you would not + Have done this dire massacre on your honour; + One of your gravity and rank besides! + But knights, I see, care little for the oath + They make to ladies; chiefly, their own ladies. + + SIR P: Now by my spurs, the symbol of my knighthood,-- + + PER [ASIDE.]: Lord, how his brain is humbled for an oath! + + SIR P: I reach you not. + + LADY P: Right, sir, your policy + May bear it through, thus. + [TO PER.] + sir, a word with you. + I would be loth to contest publicly + With any gentlewoman, or to seem + Froward, or violent, as the courtier says; + It comes too near rusticity in a lady, + Which I would shun by all means: and however + I may deserve from master Would-be, yet + T'have one fair gentlewoman thus be made + The unkind instrument to wrong another, + And one she knows not, ay, and to persever; + In my poor judgment, is not warranted + From being a solecism in our sex, + If not in manners. + + PER: How is this! + + SIR P: Sweet madam, + Come nearer to your aim. + + LADY P: Marry, and will, sir. + Since you provoke me with your impudence, + And laughter of your light land-syren here, + Your Sporus, your hermaphrodite-- + + PER: What's here? + Poetic fury, and historic storms? + + SIR P: The gentleman, believe it, is of worth, + And of our nation. + + LADY P: Ay, your White-friars nation. + Come, I blush for you, master Would-be, I; + And am asham'd you should have no more forehead, + Than thus to be the patron, or St. George, + To a lewd harlot, a base fricatrice, + A female devil, in a male outside. + + SIR P: Nay, + And you be such a one, I must bid adieu + To your delights. The case appears too liquid. + + [EXIT.] + + LADY P: Ay, you may carry't clear, with your state-face!-- + But for your carnival concupiscence, + Who here is fled for liberty of conscience, + From furious persecution of the marshal, + Her will I dis'ple. + + PER: This is fine, i'faith! + And do you use this often? Is this part + Of your wit's exercise, 'gainst you have occasion? + Madam-- + + LADY P: Go to, sir. + + PER: Do you hear me, lady? + Why, if your knight have set you to beg shirts, + Or to invite me home, you might have done it + A nearer way, by far: + + LADY P: This cannot work you + Out of my snare. + + PER: Why, am I in it, then? + Indeed your husband told me you were fair, + And so you are; only your nose inclines, + That side that's next the sun, to the queen-apple. + + LADY P: This cannot be endur'd by any patience. + + [ENTER MOSCA.] + + MOS: What is the matter, madam? + + LADY P: If the Senate + Right not my quest in this; I'll protest them + To all the world, no aristocracy. + + MOS: What is the injury, lady? + + LADY P: Why, the callet + You told me of, here I have ta'en disguised. + + MOS: Who? this! what means your ladyship? the creature + I mention'd to you is apprehended now, + Before the senate; you shall see her-- + + LADY P: Where? + + MOS: I'll bring you to her. This young gentleman, + I saw him land this morning at the port. + + LADY P: Is't possible! how has my judgment wander'd? + Sir, I must, blushing, say to you, I have err'd; + And plead your pardon. + + PER: What, more changes yet! + + LADY P: I hope you have not the malice to remember + A gentlewoman's passion. If you stay + In Venice here, please you to use me, sir-- + + MOS: Will you go, madam? + + LADY P: 'Pray you, sir, use me. In faith, + The more you see me, the more I shall conceive + You have forgot our quarrel. + + [EXEUNT LADY WOULD-BE, MOSCA, NANO, AND WAITING-WOMEN.] + + PER: This is rare! + Sir Politick Would-be? no; sir Politick Bawd. + To bring me thus acquainted with his wife! + Well, wise sir Pol, since you have practised thus + Upon my freshman-ship, I'll try your salt-head, + What proof it is against a counter-plot. + + [EXIT.] + + SCENE 4.2. + + THE SCRUTINEO, OR SENATE-HOUSE. + + ENTER VOLTORE, CORBACCIO, CORVINO, AND MOSCA. + + VOLT: Well, now you know the carriage of the business, + Your constancy is all that is required + Unto the safety of it. + + MOS: Is the lie + Safely convey'd amongst us? is that sure? + Knows every man his burden? + + CORV: Yes. + + MOS: Then shrink not. + + CORV: But knows the advocate the truth? + + MOS: O, sir, + By no means; I devised a formal tale, + That salv'd your reputation. But be valiant, sir. + + CORV: I fear no one but him, that this his pleading + Should make him stand for a co-heir-- + + MOS: Co-halter! + Hang him; we will but use his tongue, his noise, + As we do croakers here. + + CORV: Ay, what shall he do? + + MOS: When we have done, you mean? + + CORV: Yes. + + MOS: Why, we'll think: + Sell him for mummia; he's half dust already. + [TO VOLTORE.] + Do not you smile, to see this buffalo, + How he does sport it with his head? + [ASIDE.] + --I should, + If all were well and past. + [TO CORBACCIO.] + --Sir, only you + Are he that shall enjoy the crop of all, + And these not know for whom they toil. + + CORB: Ay, peace. + + MOS [TURNING TO CORVINO.]: But you shall eat it. + Much! [ASIDE.] + [TO VOLTORE.] + --Worshipful sir, + Mercury sit upon your thundering tongue, + Or the French Hercules, and make your language + As conquering as his club, to beat along, + As with a tempest, flat, our adversaries; + But much more yours, sir. + + VOLT: Here they come, have done. + + MOS: I have another witness, if you need, sir, + I can produce. + + VOLT: Who is it? + + MOS: Sir, I have her. + + [ENTER AVOCATORI AND TAKE THEIR SEATS, + BONARIO, CELIA, NOTARIO, COMMANDADORI, SAFFI, + AND OTHER OFFICERS OF JUSTICE.] + + 1 AVOC: The like of this the senate never heard of. + + 2 AVOC: 'Twill come most strange to them when we report it. + + 4 AVOC: The gentlewoman has been ever held + Of unreproved name. + + 3 AVOC: So has the youth. + + 4 AVOC: The more unnatural part that of his father. + + 2 AVOC: More of the husband. + + 1 AVOC: I not know to give + His act a name, it is so monstrous! + + 4 AVOC: But the impostor, he's a thing created + To exceed example! + + 1 AVOC: And all after-times! + + 2 AVOC: I never heard a true voluptuary + Discribed, but him. + + 3 AVOC: Appear yet those were cited? + + NOT: All, but the old magnifico, Volpone. + + 1 AVOC: Why is not he here? + + MOS: Please your fatherhoods, + Here is his advocate: himself's so weak, + So feeble-- + + 4 AVOC: What are you? + + BON: His parasite, + His knave, his pandar--I beseech the court, + He may be forced to come, that your grave eyes + May bear strong witness of his strange impostures. + + VOLT: Upon my faith and credit with your virtues, + He is not able to endure the air. + + 2 AVOC: Bring him, however. + + 3 AVOC: We will see him. + + 4 AVOC: Fetch him. + + VOLT: Your fatherhoods fit pleasures be obey'd; + [EXEUNT OFFICERS.] + But sure, the sight will rather move your pities, + Than indignation. May it please the court, + In the mean time, he may be heard in me; + I know this place most void of prejudice, + And therefore crave it, since we have no reason + To fear our truth should hurt our cause. + + 3 AVOC: Speak free. + + VOLT: Then know, most honour'd fathers, I must now + Discover to your strangely abused ears, + The most prodigious and most frontless piece + Of solid impudence, and treachery, + That ever vicious nature yet brought forth + To shame the state of Venice. This lewd woman, + That wants no artificial looks or tears + To help the vizor she has now put on, + Hath long been known a close adulteress, + To that lascivious youth there; not suspected, + I say, but known, and taken in the act + With him; and by this man, the easy husband, + Pardon'd: whose timeless bounty makes him now + Stand here, the most unhappy, innocent person, + That ever man's own goodness made accused. + For these not knowing how to owe a gift + Of that dear grace, but with their shame; being placed + So above all powers of their gratitude, + Began to hate the benefit; and, in place + Of thanks, devise to extirpe the memory + Of such an act: wherein I pray your fatherhoods + To observe the malice, yea, the rage of creatures + Discover'd in their evils; and what heart + Such take, even from their crimes:--but that anon + Will more appear.--This gentleman, the father, + Hearing of this foul fact, with many others, + Which daily struck at his too tender ears, + And grieved in nothing more than that he could not + Preserve himself a parent, (his son's ills + Growing to that strange flood,) at last decreed + To disinherit him. + + 1 AVOC: These be strange turns! + + 2 AVOC: The young man's fame was ever fair and honest. + + VOLT: So much more full of danger is his vice, + That can beguile so under shade of virtue. + But, as I said, my honour'd sires, his father + Having this settled purpose, by what means + To him betray'd, we know not, and this day + Appointed for the deed; that parricide, + I cannot style him better, by confederacy + Preparing this his paramour to be there, + Enter'd Volpone's house, (who was the man, + Your fatherhoods must understand, design'd + For the inheritance,) there sought his father:-- + But with what purpose sought he him, my lords? + I tremble to pronounce it, that a son + Unto a father, and to such a father, + Should have so foul, felonious intent! + It was to murder him: when being prevented + By his more happy absence, what then did he? + Not check his wicked thoughts; no, now new deeds, + (Mischief doth ever end where it begins) + An act of horror, fathers! he dragg'd forth + The aged gentleman that had there lain bed-rid + Three years and more, out of his innocent couch, + Naked upon the floor, there left him; wounded + His servant in the face: and, with this strumpet + The stale to his forged practice, who was glad + To be so active,--(I shall here desire + Your fatherhoods to note but my collections, + As most remarkable,--) thought at once to stop + His father's ends; discredit his free choice + In the old gentleman, redeem themselves, + By laying infamy upon this man, + To whom, with blushing, they should owe their lives. + + 1 AVOC: What proofs have you of this? + + BON: Most honoured fathers, + I humbly crave there be no credit given + To this man's mercenary tongue. + + 2 AVOC: Forbear. + + BON: His soul moves in his fee. + + 3 AVOC: O, sir. + + BON: This fellow, + For six sols more, would plead against his Maker. + + 1 AVOC: You do forget yourself. + + VOLT: Nay, nay, grave fathers, + Let him have scope: can any man imagine + That he will spare his accuser, that would not + Have spared his parent? + + 1 AVOC: Well, produce your proofs. + + CEL: I would I could forget I were a creature. + + VOLT: Signior Corbaccio. + + [CORBACCIO COMES FORWARD.] + + 1 AVOC: What is he? + + VOLT: The father. + + 2 AVOC: Has he had an oath? + + NOT: Yes. + + CORB: What must I do now? + + NOT: Your testimony's craved. + + CORB: Speak to the knave? + I'll have my mouth first stopt with earth; my heart + Abhors his knowledge: I disclaim in him. + + 1 AVOC: But for what cause? + + CORB: The mere portent of nature! + He is an utter stranger to my loins. + + BON: Have they made you to this? + + CORB: I will not hear thee, + Monster of men, swine, goat, wolf, parricide! + Speak not, thou viper. + + BON: Sir, I will sit down, + And rather wish my innocence should suffer, + Then I resist the authority of a father. + + VOLT: Signior Corvino! + + [CORVINO COMES FORWARD.] + + 2 AVOC: This is strange. + + 1 AVOC: Who's this? + + NOT: The husband. + + 4 AVOC: Is he sworn? + + NOT: He is. + + 3 AVOC: Speak, then. + + CORV: This woman, please your fatherhoods, is a whore, + Of most hot exercise, more than a partrich, + Upon record-- + + 1 AVOC: No more. + + CORV: Neighs like a jennet. + + NOT: Preserve the honour of the court. + + CORV: I shall, + And modesty of your most reverend ears. + And yet I hope that I may say, these eyes + Have seen her glued unto that piece of cedar, + That fine well-timber'd gallant; and that here + The letters may be read, through the horn, + That make the story perfect. + + MOS: Excellent! sir. + + CORV [ASIDE TO MOSCA.]: There's no shame in this now, is there? + + MOS: None. + + CORV: Or if I said, I hoped that she were onward + To her damnation, if there be a hell + Greater than whore and woman; a good catholic + May make the doubt. + + 3 AVOC: His grief hath made him frantic. + + 1 AVOC: Remove him hence. + + 2 AVOC: Look to the woman. + + [CELIA SWOONS.] + + CORV: Rare! + Prettily feign'd, again! + + 4 AVOC: Stand from about her. + + 1 AVOC: Give her the air. + + 3 AVOC [TO MOSCA.]: What can you say? + + MOS: My wound, + May it please your wisdoms, speaks for me, received + In aid of my good patron, when he mist + His sought-for father, when that well-taught dame + Had her cue given her, to cry out, A rape! + + BON: O most laid impudence! Fathers-- + + 3 AVOC: Sir, be silent; + You had your hearing free, so must they theirs. + + 2 AVOC: I do begin to doubt the imposture here. + + 4 AVOC: This woman has too many moods. + + VOLT: Grave fathers, + She is a creature of a most profest + And prostituted lewdness. + + CORV: Most impetuous, + Unsatisfied, grave fathers! + + VOLT: May her feignings + Not take your wisdoms: but this day she baited + A stranger, a grave knight, with her loose eyes, + And more lascivious kisses. This man saw them + Together on the water in a gondola. + + MOS: Here is the lady herself, that saw them too; + Without; who then had in the open streets + Pursued them, but for saving her knight's honour. + + 1 AVOC: Produce that lady. + + 2 AVOC: Let her come. + + [EXIT MOSCA.] + + 4 AVOC: These things, + They strike with wonder! + + 3 AVOC: I am turn'd a stone. + + [RE-ENTER MOSCA WITH LADY WOULD-BE.] + + MOS: Be resolute, madam. + + LADY P: Ay, this same is she. + [POINTING TO CELIA.] + Out, thou chameleon harlot! now thine eyes + Vie tears with the hyaena. Dar'st thou look + Upon my wronged face?--I cry your pardons, + I fear I have forgettingly transgrest + Against the dignity of the court-- + + 2 AVOC: No, madam. + + LADY P: And been exorbitant-- + + 2 AVOC: You have not, lady. + + 4 AVOC: These proofs are strong. + + LADY P: Surely, I had no purpose + To scandalise your honours, or my sex's. + + 3 AVOC: We do believe it. + + LADY P: Surely, you may believe it. + + 2 AVOC: Madam, we do. + + LADY P: Indeed, you may; my breeding + Is not so coarse-- + + 1 AVOC: We know it. + + LADY P: To offend + With pertinacy-- + + 3 AVOC: Lady-- + + LADY P: Such a presence! + No surely. + + 1 AVOC: We well think it. + + LADY P: You may think it. + + 1 AVOC: Let her o'ercome. What witnesses have you + To make good your report? + + BON: Our consciences. + + CEL: And heaven, that never fails the innocent. + + 4 AVOC: These are no testimonies. + + BON: Not in your courts, + Where multitude, and clamour overcomes. + + 1 AVOC: Nay, then you do wax insolent. + + [RE-ENTER OFFICERS, BEARING VOLPONE ON A COUCH.] + + VOLT: Here, here, + The testimony comes, that will convince, + And put to utter dumbness their bold tongues: + See here, grave fathers, here's the ravisher, + The rider on men's wives, the great impostor, + The grand voluptuary! Do you not think + These limbs should affect venery? or these eyes + Covet a concubine? pray you mark these hands; + Are they not fit to stroke a lady's breasts?-- + Perhaps he doth dissemble! + + BON: So he does. + + VOLT: Would you have him tortured? + + BON: I would have him proved. + + VOLT: Best try him then with goads, or burning irons; + Put him to the strappado: I have heard + The rack hath cured the gout; 'faith, give it him, + And help him of a malady; be courteous. + I'll undertake, before these honour'd fathers, + He shall have yet as many left diseases, + As she has known adulterers, or thou strumpets.-- + O, my most equal hearers, if these deeds, + Acts of this bold and most exorbitant strain, + May pass with sufferance; what one citizen + But owes the forfeit of his life, yea, fame, + To him that dares traduce him? which of you + Are safe, my honour'd fathers? I would ask, + With leave of your grave fatherhoods, if their plot + Have any face or colour like to truth? + Or if, unto the dullest nostril here, + It smell not rank, and most abhorred slander? + I crave your care of this good gentleman, + Whose life is much endanger'd by their fable; + And as for them, I will conclude with this, + That vicious persons, when they're hot and flesh'd + In impious acts, their constancy abounds: + Damn'd deeds are done with greatest confidence. + + 1 AVOC: Take them to custody, and sever them. + + 2 AVOC: 'Tis pity two such prodigies should live. + + 1 AVOC: Let the old gentleman be return'd with care; + [EXEUNT OFFICERS WITH VOLPONE.] + I'm sorry our credulity hath wrong'd him. + + 4 AVOC: These are two creatures! + + 3 AVOC: I've an earthquake in me. + + 2 AVOC: Their shame, even in their cradles, fled their faces. + + 4 AVOC [TO VOLT.]: You have done a worthy service to the state, sir, + In their discovery. + + 1 AVOC: You shall hear, ere night, + What punishment the court decrees upon them. + + [EXEUNT AVOCAT., NOT., AND OFFICERS WITH BONARIO AND CELIA.] + + VOLT: We thank your fatherhoods.--How like you it? + + MOS: Rare. + I'd have your tongue, sir, tipt with gold for this; + I'd have you be the heir to the whole city; + The earth I'd have want men, ere you want living: + They're bound to erect your statue in St. Mark's. + Signior Corvino, I would have you go + And shew yourself, that you have conquer'd. + + CORV: Yes. + + MOS: It was much better that you should profess + Yourself a cuckold thus, than that the other + Should have been prov'd. + + CORV: Nay, I consider'd that: + Now it is her fault: + + MOS: Then it had been yours. + + CORV: True; I do doubt this advocate still. + + MOS: I'faith, + You need not, I dare ease you of that care. + + CORV: I trust thee, Mosca. + + [EXIT.] + + MOS: As your own soul, sir. + + CORB: Mosca! + + MOS: Now for your business, sir. + + CORB: How! have you business? + + MOS: Yes, your's, sir. + + CORB: O, none else? + + MOS: None else, not I. + + CORB: Be careful, then. + + MOS: Rest you with both your eyes, sir. + + CORB: Dispatch it. + + MOS: Instantly. + + CORB: And look that all, + Whatever, be put in, jewels, plate, moneys, + Household stuff, bedding, curtains. + + MOS: Curtain-rings, sir. + Only the advocate's fee must be deducted. + + CORB: I'll pay him now; you'll be too prodigal. + + MOS: Sir, I must tender it. + + CORB: Two chequines is well? + + MOS: No, six, sir. + + CORB: 'Tis too much. + + MOS: He talk'd a great while; + You must consider that, sir. + + CORB: Well, there's three-- + + MOS: I'll give it him. + + CORB: Do so, and there's for thee. + + [EXIT.] + + MOS [ASIDE.]: Bountiful bones! What horrid strange offence + Did he commit 'gainst nature, in his youth, + Worthy this age? + [TO VOLT.]--You see, sir, how I work + Unto your ends; take you no notice. + + VOLT: No, + I'll leave you. + + [EXIT.] + + MOS: All is yours, the devil and all: + Good advocate!--Madam, I'll bring you home. + + LADY P: No, I'll go see your patron. + + MOS: That you shall not: + I'll tell you why. My purpose is to urge + My patron to reform his Will; and for + The zeal you have shewn to-day, whereas before + You were but third or fourth, you shall be now + Put in the first; which would appear as begg'd, + If you were present. Therefore-- + + LADY P: You shall sway me. + + [EXEUNT.] + + + + +ACT 5. SCENE 5.1 + + A ROOM IN VOLPONE'S HOUSE. + + ENTER VOLPONE. + + VOLP: Well, I am here, and all this brunt is past. + I ne'er was in dislike with my disguise + Till this fled moment; here 'twas good, in private; + But in your public,--cave whilst I breathe. + 'Fore God, my left leg began to have the cramp, + And I apprehended straight some power had struck me + With a dead palsy: Well! I must be merry, + And shake it off. A many of these fears + Would put me into some villanous disease, + Should they come thick upon me: I'll prevent 'em. + Give me a bowl of lusty wine, to fright + This humour from my heart. + [DRINKS.] + Hum, hum, hum! + 'Tis almost gone already; I shall conquer. + Any device, now, of rare ingenious knavery, + That would possess me with a violent laughter, + Would make me up again. + [DRINKS AGAIN.] + So, so, so, so! + This heat is life; 'tis blood by this time:--Mosca! + + [ENTER MOSCA.] + + MOS: How now, sir? does the day look clear again? + Are we recover'd, and wrought out of error, + Into our way, to see our path before us? + Is our trade free once more? + + VOLP: Exquisite Mosca! + + MOS: Was it not carried learnedly? + + VOLP: And stoutly: + Good wits are greatest in extremities. + + MOS: It were a folly beyond thought, to trust + Any grand act unto a cowardly spirit: + You are not taken with it enough, methinks? + + VOLP: O, more than if I had enjoy'd the wench: + The pleasure of all woman-kind's not like it. + + MOS: Why now you speak, sir. We must here be fix'd; + Here we must rest; this is our master-piece; + We cannot think to go beyond this. + + VOLP: True. + Thou hast play'd thy prize, my precious Mosca. + + MOS: Nay, sir, + To gull the court-- + + VOLP: And quite divert the torrent + Upon the innocent. + + MOS: Yes, and to make + So rare a music out of discords-- + + VOLP: Right. + That yet to me's the strangest, how thou hast borne it! + That these, being so divided 'mongst themselves, + Should not scent somewhat, or in me or thee, + Or doubt their own side. + + MOS: True, they will not see't. + Too much light blinds them, I think. Each of them + Is so possest and stuft with his own hopes, + That any thing unto the contrary, + Never so true, or never so apparent, + Never so palpable, they will resist it-- + + VOLP: Like a temptation of the devil. + + MOS: Right, sir. + Merchants may talk of trade, and your great signiors + Of land that yields well; but if Italy + Have any glebe more fruitful than these fellows, + I am deceiv'd. Did not your advocate rare? + + VOLP: O--"My most honour'd fathers, my grave fathers, + Under correction of your fatherhoods, + What face of truth is here? If these strange deeds + May pass, most honour'd fathers"--I had much ado + To forbear laughing. + + MOS: It seem'd to me, you sweat, sir. + + VOLP: In troth, I did a little. + + MOS: But confess, sir, + Were you not daunted? + + VOLP: In good faith, I was + A little in a mist, but not dejected; + Never, but still my self. + + MOS: I think it, sir. + Now, so truth help me, I must needs say this, sir, + And out of conscience for your advocate: + He has taken pains, in faith, sir, and deserv'd, + In my poor judgment, I speak it under favour, + Not to contrary you, sir, very richly-- + Well--to be cozen'd. + + VOLP: Troth, and I think so too, + By that I heard him, in the latter end. + + MOS: O, but before, sir: had you heard him first + Draw it to certain heads, then aggravate, + Then use his vehement figures--I look'd still + When he would shift a shirt: and, doing this + Out of pure love, no hope of gain-- + + VOLP: 'Tis right. + I cannot answer him, Mosca, as I would, + Not yet; but for thy sake, at thy entreaty, + I will begin, even now--to vex them all, + This very instant. + + MOS: Good sir. + + VOLP: Call the dwarf + And eunuch forth. + + MOS: Castrone, Nano! + + [ENTER CASTRONE AND NANO.] + + NANO: Here. + + VOLP: Shall we have a jig now? + + MOS: What you please, sir. + + VOLP: Go, + Straight give out about the streets, you two, + That I am dead; do it with constancy, + Sadly, do you hear? impute it to the grief + Of this late slander. + + [EXEUNT CAST. AND NANO.] + + MOS: What do you mean, sir? + + VOLP: O, + I shall have instantly my Vulture, Crow, + Raven, come flying hither, on the news, + To peck for carrion, my she-wolfe, and all, + Greedy, and full of expectation-- + + MOS: And then to have it ravish'd from their mouths! + + VOLP: 'Tis true. I will have thee put on a gown, + And take upon thee, as thou wert mine heir: + Shew them a will; Open that chest, and reach + Forth one of those that has the blanks; I'll straight + Put in thy name. + + MOS [GIVES HIM A PAPER.]: It will be rare, sir. + + VOLP: Ay, + When they ev'n gape, and find themselves deluded-- + + MOS: Yes. + + VOLP: And thou use them scurvily! + Dispatch, get on thy gown. + + MOS [PUTTING ON A GOWN.]: But, what, sir, if they ask + After the body? + + VOLP: Say, it was corrupted. + + MOS: I'll say it stunk, sir; and was fain to have it + Coffin'd up instantly, and sent away. + + VOLP: Any thing; what thou wilt. Hold, here's my will. + Get thee a cap, a count-book, pen and ink, + Papers afore thee; sit as thou wert taking + An inventory of parcels: I'll get up + Behind the curtain, on a stool, and hearken; + Sometime peep over, see how they do look, + With what degrees their blood doth leave their faces, + O, 'twill afford me a rare meal of laughter! + + MOS [PUTTING ON A CAP, AND SETTING OUT THE TABLE, ETC.]: + Your advocate will turn stark dull upon it. + + VOLP: It will take off his oratory's edge. + + MOS: But your clarissimo, old round-back, he + Will crump you like a hog-louse, with the touch. + + VOLP: And what Corvino? + + MOS: O, sir, look for him, + To-morrow morning, with a rope and dagger, + To visit all the streets; he must run mad. + My lady too, that came into the court, + To bear false witness for your worship-- + + VOLP: Yes, + And kist me 'fore the fathers; when my face + Flow'd all with oils. + + MOS: And sweat, sir. Why, your gold + Is such another med'cine, it dries up + All those offensive savours: it transforms + The most deformed, and restores them lovely, + As 'twere the strange poetical girdle. Jove + Could not invent t' himself a shroud more subtle + To pass Acrisius' guards. It is the thing + Makes all the world her grace, her youth, her beauty. + + VOLP: I think she loves me. + + MOS: Who? the lady, sir? + She's jealous of you. + + VOLP: Dost thou say so? + + [KNOCKING WITHIN.] + + MOS: Hark, + There's some already. + + VOLP: Look. + + MOS: It is the Vulture: + He has the quickest scent. + + VOLP: I'll to my place, + Thou to thy posture. + + [GOES BEHIND THE CURTAIN.] + + MOS: I am set. + + VOLP: But, Mosca, + Play the artificer now, torture them rarely. + + [ENTER VOLTORE.] + + VOLT: How now, my Mosca? + + MOS [WRITING.]: "Turkey carpets, nine"-- + + VOLT: Taking an inventory! that is well. + + MOS: "Two suits of bedding, tissue"-- + + VOLT: Where's the Will? + Let me read that the while. + + [ENTER SERVANTS, WITH CORBACCIO IN A CHAIR.] + + CORB: So, set me down: + And get you home. + + [EXEUNT SERVANTS.] + + VOLT: Is he come now, to trouble us! + + MOS: "Of cloth of gold, two more"-- + + CORB: Is it done, Mosca? + + MOS: "Of several velvets, eight"-- + + VOLT: I like his care. + + CORB: Dost thou not hear? + + [ENTER CORVINO.] + + CORB: Ha! is the hour come, Mosca? + + VOLP [PEEPING OVER THE CURTAIN.]: Ay, now, they muster. + + CORV: What does the advocate here, + Or this Corbaccio? + + CORB: What do these here? + + [ENTER LADY POL. WOULD-BE.] + + LADY P: Mosca! + Is his thread spun? + + MOS: "Eight chests of linen"-- + + VOLP: O, + My fine dame Would-be, too! + + CORV: Mosca, the Will, + That I may shew it these, and rid them hence. + + MOS: "Six chests of diaper, four of damask."--There. + + [GIVES THEM THE WILL CARELESSLY, OVER HIS SHOULDER.] + + CORB: Is that the will? + + MOS: "Down-beds, and bolsters"-- + + VOLP: Rare! + Be busy still. Now they begin to flutter: + They never think of me. Look, see, see, see! + How their swift eyes run over the long deed, + Unto the name, and to the legacies, + What is bequeath'd them there-- + + MOS: "Ten suits of hangings"-- + + VOLP: Ay, in their garters, Mosca. Now their hopes + Are at the gasp. + + VOLT: Mosca the heir? + + CORB: What's that? + + VOLP: My advocate is dumb; look to my merchant, + He has heard of some strange storm, a ship is lost, + He faints; my lady will swoon. Old glazen eyes, + He hath not reach'd his despair yet. + + CORB [TAKES THE WILL.]: All these + Are out of hope: I am sure, the man. + + CORV: But, Mosca-- + + MOS: "Two cabinets." + + CORV: Is this in earnest? + + MOS: "One + Of ebony"-- + + CORV: Or do you but delude me? + + MOS: The other, mother of pearl--I am very busy. + Good faith, it is a fortune thrown upon me-- + "Item, one salt of agate"--not my seeking. + + LADY P: Do you hear, sir? + + MOS: "A perfum'd box"--'Pray you forbear, + You see I'm troubled--"made of an onyx"-- + + LADY P: How! + + MOS: To-morrow or next day, I shall be at leisure + To talk with you all. + + CORV: Is this my large hope's issue? + + LADY P: Sir, I must have a fairer answer. + + MOS: Madam! + Marry, and shall: 'pray you, fairly quit my house. + Nay, raise no tempest with your looks; but hark you, + Remember what your ladyship offer'd me, + To put you in an heir; go to, think on it: + And what you said e'en your best madams did + For maintenance, and why not you? Enough. + Go home, and use the poor sir Pol, your knight, well, + For fear I tell some riddles; go, be melancholy. + + [EXIT LADY WOULD-BE.] + + VOLP: O, my fine devil! + + CORV: Mosca, 'pray you a word. + + MOS: Lord! will you not take your dispatch hence yet? + Methinks, of all, you should have been the example. + Why should you stay here? with what thought? what promise? + Hear you; do not you know, I know you an ass, + And that you would most fain have been a wittol, + If fortune would have let you? that you are + A declared cuckold, on good terms? This pearl, + You'll say, was yours? right: this diamond? + I'll not deny't, but thank you. Much here else? + It may be so. Why, think that these good works + May help to hide your bad. I'll not betray you; + Although you be but extraordinary, + And have it only in title, it sufficeth: + Go home, be melancholy too, or mad. + + [EXIT CORVINO.] + + VOLP: Rare Mosca! how his villany becomes him! + + VOLT: Certain he doth delude all these for me. + + CORB: Mosca the heir! + + VOLP: O, his four eyes have found it. + + CORB: I am cozen'd, cheated, by a parasite slave; + Harlot, thou hast gull'd me. + + MOS: Yes, sir. Stop your mouth, + Or I shall draw the only tooth is left. + Are not you he, that filthy covetous wretch, + With the three legs, that, here, in hope of prey, + Have, any time this three years, snuff'd about, + With your most grovelling nose; and would have hired + Me to the poisoning of my patron, sir? + Are not you he that have to-day in court + Profess'd the disinheriting of your son? + Perjured yourself? Go home, and die, and stink. + If you but croak a syllable, all comes out: + Away, and call your porters! + [exit corbaccio.] + Go, go, stink. + + VOLP: Excellent varlet! + + VOLT: Now, my faithful Mosca, + I find thy constancy. + + MOS: Sir! + + VOLT: Sincere. + + MOS [WRITING.]: "A table + Of porphyry"--I marle, you'll be thus troublesome. + + VOLP: Nay, leave off now, they are gone. + + MOS: Why? who are you? + What! who did send for you? O, cry you mercy, + Reverend sir! Good faith, I am grieved for you, + That any chance of mine should thus defeat + Your (I must needs say) most deserving travails: + But I protest, sir, it was cast upon me, + And I could almost wish to be without it, + But that the will o' the dead must be observ'd, + Marry, my joy is that you need it not, + You have a gift, sir, (thank your education,) + Will never let you want, while there are men, + And malice, to breed causes. Would I had + But half the like, for all my fortune, sir! + If I have any suits, as I do hope, + Things being so easy and direct, I shall not, + I will make bold with your obstreperous aid, + Conceive me,--for your fee, sir. In mean time, + You that have so much law, I know have the conscience, + Not to be covetous of what is mine. + Good sir, I thank you for my plate; 'twill help + To set up a young man. Good faith, you look + As you were costive; best go home and purge, sir. + + [EXIT VOLTORE.] + + VOLP [COMES FROM BEHIND THE CURTAIN.]: + Bid him eat lettuce well. + My witty mischief, + Let me embrace thee. O that I could now + Transform thee to a Venus!--Mosca, go, + Straight take my habit of clarissimo, + And walk the streets; be seen, torment them more: + We must pursue, as well as plot. Who would + Have lost this feast? + + MOS: I doubt it will lose them. + + VOLP: O, my recovery shall recover all. + That I could now but think on some disguise + To meet them in, and ask them questions: + How I would vex them still at every turn! + + MOS: Sir, I can fit you. + + VOLP: Canst thou? + + MOS: Yes, I know + One o' the commandadori, sir, so like you; + Him will I straight make drunk, and bring you his habit. + + VOLP: A rare disguise, and answering thy brain! + O, I will be a sharp disease unto them. + + MOS: Sir, you must look for curses-- + + VOLP: Till they burst; + The Fox fares ever best when he is curst. + + [EXEUNT.] + + SCENE 5.2. + + A HALL IN SIR POLITICK'S HOUSE. + + ENTER PEREGRINE DISGUISED, AND THREE MERCHANTS. + + PER: Am I enough disguised? + + 1 MER: I warrant you. + + PER: All my ambition is to fright him only. + + 2 MER: If you could ship him away, 'twere excellent. + + 3 MER: To Zant, or to Aleppo? + + PER: Yes, and have his + Adventures put i' the Book of Voyages. + And his gull'd story register'd for truth. + Well, gentlemen, when I am in a while, + And that you think us warm in our discourse, + Know your approaches. + + 1 MER: Trust it to our care. + + [EXEUNT MERCHANTS.] + + [ENTER WAITING-WOMAN.] + + PER: Save you, fair lady! Is sir Pol within? + + WOM: I do not know, sir. + + PER: Pray you say unto him, + Here is a merchant, upon earnest business, + Desires to speak with him. + + WOM: I will see, sir. + [EXIT.] + + PER: Pray you.-- + I see the family is all female here. + + [RE-ENTER WAITING-WOMAN.] + + WOM: He says, sir, he has weighty affairs of state, + That now require him whole; some other time + You may possess him. + + PER: Pray you say again, + If those require him whole, these will exact him, + Whereof I bring him tidings. + [EXIT WOMAN.] + --What might be + His grave affair of state now! how to make + Bolognian sausages here in Venice, sparing + One o' the ingredients? + + [RE-ENTER WAITING-WOMAN.] + + WOM: Sir, he says, he knows + By your word "tidings," that you are no statesman, + And therefore wills you stay. + + PER: Sweet, pray you return him; + I have not read so many proclamations, + And studied them for words, as he has done-- + But--here he deigns to come. + + [EXIT WOMAN.] + + [ENTER SIR POLITICK.] + + SIR P: Sir, I must crave + Your courteous pardon. There hath chanced to-day, + Unkind disaster 'twixt my lady and me; + And I was penning my apology, + To give her satisfaction, as you came now. + + PER: Sir, I am grieved I bring you worse disaster: + The gentleman you met at the port to-day, + That told you, he was newly arrived-- + + SIR P: Ay, was + A fugitive punk? + + PER: No, sir, a spy set on you; + And he has made relation to the senate, + That you profest to him to have a plot + To sell the State of Venice to the Turk. + + SIR P: O me! + + PER: For which, warrants are sign'd by this time, + To apprehend you, and to search your study + For papers-- + + SIR P: Alas, sir, I have none, but notes + Drawn out of play-books-- + + PER: All the better, sir. + + SIR P: And some essays. What shall I do? + + PER: Sir, best + Convey yourself into a sugar-chest; + Or, if you could lie round, a frail were rare: + And I could send you aboard. + + SIR P: Sir, I but talk'd so, + For discourse sake merely. + + [KNOCKING WITHIN.] + + PER: Hark! they are there. + + SIR P: I am a wretch, a wretch! + + PER: What will you do, sir? + Have you ne'er a currant-butt to leap into? + They'll put you to the rack, you must be sudden. + + SIR P: Sir, I have an ingine-- + + 3 MER [WITHIN.]: Sir Politick Would-be? + + 2 MER [WITHIN.]: Where is he? + + SIR P: That I have thought upon before time. + + PER: What is it? + + SIR P: I shall ne'er endure the torture. + Marry, it is, sir, of a tortoise-shell, + Fitted for these extremities: pray you, sir, help me. + Here I've a place, sir, to put back my legs, + Please you to lay it on, sir, + [LIES DOWN WHILE PEREGRINE PLACES THE SHELL UPON HIM.] + --with this cap, + And my black gloves. I'll lie, sir, like a tortoise, + 'Till they are gone. + + PER: And call you this an ingine? + + SIR P: Mine own device--Good sir, bid my wife's women + To burn my papers. + + [EXIT PEREGRINE.] + + [THE THREE MERCHANTS RUSH IN.] + + 1 MER: Where is he hid? + + 3 MER: We must, + And will sure find him. + + 2 MER: Which is his study? + + [RE-ENTER PEREGRINE.] + + 1 MER: What + Are you, sir? + + PER: I am a merchant, that came here + To look upon this tortoise. + + 3 MER: How! + + 1 MER: St. Mark! + What beast is this! + + PER: It is a fish. + + 2 MER: Come out here! + + PER: Nay, you may strike him, sir, and tread upon him; + He'll bear a cart. + + 1 MER: What, to run over him? + + PER: Yes, sir. + + 3 MER: Let's jump upon him. + + 2 MER: Can he not go? + + PER: He creeps, sir. + + 1 MER: Let's see him creep. + + PER: No, good sir, you will hurt him. + + 2 MER: Heart, I will see him creep, or prick his guts. + + 3 MER: Come out here! + + PER: Pray you, sir! + [ASIDE TO SIR POLITICK.] + --Creep a little. + + 1 MER: Forth. + + 2 MER: Yet farther. + + PER: Good sir!--Creep. + + 2 MER: We'll see his legs. + [THEY PULL OFF THE SHELL AND DISCOVER HIM.] + + 3 MER: Ods so, he has garters! + + 1 MER: Ay, and gloves! + + 2 MER: Is this + Your fearful tortoise? + + PER [DISCOVERING HIMSELF.]: Now, sir Pol, we are even; + For your next project I shall be prepared: + I am sorry for the funeral of your notes, sir. + + 1 MER: 'Twere a rare motion to be seen in Fleet-street. + + 2 MER: Ay, in the Term. + + 1 MER: Or Smithfield, in the fair. + + 3 MER: Methinks 'tis but a melancholy sight. + + PER: Farewell, most politic tortoise! + + [EXEUNT PER. AND MERCHANTS.] + + [RE-ENTER WAITING-WOMAN.] + + SIR P: Where's my lady? + Knows she of this? + + WOM: I know not, sir. + + SIR P: Enquire.-- + O, I shall be the fable of all feasts, + The freight of the gazetti; ship-boy's tale; + And, which is worst, even talk for ordinaries. + + WOM: My lady's come most melancholy home, + And says, sir, she will straight to sea, for physic. + + SIR P: And I to shun this place and clime for ever; + Creeping with house on back: and think it well, + To shrink my poor head in my politic shell. + + [EXEUNT.] + + + SCENE 5.3. + + A ROOM IN VOLPONE'S HOUSE. + + ENTER MOSCA IN THE HABIT OF A CLARISSIMO; + AND VOLPONE IN THAT OF A COMMANDADORE. + + VOLP: Am I then like him? + + MOS: O, sir, you are he; + No man can sever you. + + VOLP: Good. + + MOS: But what am I? + + VOLP: 'Fore heaven, a brave clarissimo, thou becom'st it! + Pity thou wert not born one. + + MOS [ASIDE.]: If I hold + My made one, 'twill be well. + + VOLP: I'll go and see + What news first at the court. + + [EXIT.] + + MOS: Do so. My Fox + Is out of his hole, and ere he shall re-enter, + I'll make him languish in his borrow'd case, + Except he come to composition with me.-- + Androgyno, Castrone, Nano! + + [ENTER ANDROGYNO, CASTRONE AND NANO.] + + ALL: Here. + + MOS: Go, recreate yourselves abroad; go sport.-- + [EXEUNT.] + So, now I have the keys, and am possest. + Since he will needs be dead afore his time, + I'll bury him, or gain by him: I am his heir, + And so will keep me, till he share at least. + To cozen him of all, were but a cheat + Well placed; no man would construe it a sin: + Let his sport pay for it, this is call'd the Fox-trap. + + [EXIT.] + + + SCENE 5.4 + + A STREET. + + ENTER CORBACCIO AND CORVINO. + + CORB: They say, the court is set. + + CORV: We must maintain + Our first tale good, for both our reputations. + + CORB: Why, mine's no tale: my son would there have kill'd me. + + CORV: That's true, I had forgot:-- + [ASIDE.]--mine is, I am sure. + But for your Will, sir. + + CORB: Ay, I'll come upon him + For that hereafter; now his patron's dead. + + [ENTER VOLPONE.] + + VOLP: Signior Corvino! and Corbaccio! sir, + Much joy unto you. + + CORV: Of what? + + VOLP: The sudden good, + Dropt down upon you-- + + CORB: Where? + + VOLP: And, none knows how, + From old Volpone, sir. + + CORB: Out, arrant knave! + + VOLP: Let not your too much wealth, sir, make you furious. + + CORB: Away, thou varlet! + + VOLP: Why, sir? + + CORB: Dost thou mock me? + + VOLP: You mock the world, sir; did you not change Wills? + + CORB: Out, harlot! + + VOLP: O! belike you are the man, + Signior Corvino? 'faith, you carry it well; + You grow not mad withal: I love your spirit: + You are not over-leaven'd with your fortune. + You should have some would swell now, like a wine-fat, + With such an autumn--Did he give you all, sir? + + CORB: Avoid, you rascal! + + VOLP: Troth, your wife has shewn + Herself a very woman; but you are well, + You need not care, you have a good estate, + To bear it out sir, better by this chance: + Except Corbaccio have a share. + + CORV: Hence, varlet. + + VOLP: You will not be acknown, sir; why, 'tis wise. + Thus do all gamesters, at all games, dissemble: + No man will seem to win. + [exeunt corvino and corbaccio.] + --Here comes my vulture, + Heaving his beak up in the air, and snuffing. + + [ENTER VOLTORE.] + + VOLT: Outstript thus, by a parasite! a slave, + Would run on errands, and make legs for crumbs? + Well, what I'll do-- + + VOLP: The court stays for your worship. + I e'en rejoice, sir, at your worship's happiness, + And that it fell into so learned hands, + That understand the fingering-- + + VOLT: What do you mean? + + VOLP: I mean to be a suitor to your worship, + For the small tenement, out of reparations, + That, to the end of your long row of houses, + By the Piscaria: it was, in Volpone's time, + Your predecessor, ere he grew diseased, + A handsome, pretty, custom'd bawdy-house, + As any was in Venice, none dispraised; + But fell with him; his body and that house + Decay'd, together. + + VOLT: Come sir, leave your prating. + + VOLP: Why, if your worship give me but your hand, + That I may have the refusal, I have done. + 'Tis a mere toy to you, sir; candle-rents; + As your learn'd worship knows-- + + VOLT: What do I know? + + VOLP: Marry, no end of your wealth, sir, God decrease it! + + VOLT: Mistaking knave! what, mockst thou my misfortune? + + [EXIT.] + + VOLP: His blessing on your heart, sir; would 'twere more!-- + Now to my first again, at the next corner. + + [EXIT.] + + + SCENE 5.5. + + ANOTHER PART OF THE STREET. + + ENTER CORBACCIO AND CORVINO;-- + MOSCA PASSES OVER THE STAGE, BEFORE THEM. + + CORB: See, in our habit! see the impudent varlet! + + CORV: That I could shoot mine eyes at him like gun-stones. + + [ENTER VOLPONE.] + + VOLP: But is this true, sir, of the parasite? + + CORB: Again, to afflict us! monster! + + VOLP: In good faith, sir, + I'm heartily grieved, a beard of your grave length + Should be so over-reach'd. I never brook'd + That parasite's hair; methought his nose should cozen: + There still was somewhat in his look, did promise + The bane of a clarissimo. + + CORB: Knave-- + + VOLP: Methinks + Yet you, that are so traded in the world, + A witty merchant, the fine bird, Corvino, + That have such moral emblems on your name, + Should not have sung your shame; and dropt your cheese, + To let the Fox laugh at your emptiness. + + CORV: Sirrah, you think the privilege of the place, + And your red saucy cap, that seems to me + Nail'd to your jolt-head with those two chequines, + Can warrant your abuses; come you hither: + You shall perceive, sir, I dare beat you; approach. + + VOLP: No haste, sir, I do know your valour well, + Since you durst publish what you are, sir. + + CORV: Tarry, + I'd speak with you. + + VOLP: Sir, sir, another time-- + + CORV: Nay, now. + + VOLP: O lord, sir! I were a wise man, + Would stand the fury of a distracted cuckold. + + [AS HE IS RUNNING OFF, RE-ENTER MOSCA.] + + CORB: What, come again! + + VOLP: Upon 'em, Mosca; save me. + + CORB: The air's infected where he breathes. + + CORV: Let's fly him. + + [EXEUNT CORV. AND CORB.] + + VOLP: Excellent basilisk! turn upon the vulture. + + [ENTER VOLTORE.] + + VOLT: Well, flesh-fly, it is summer with you now; + Your winter will come on. + + MOS: Good advocate, + Prithee not rail, nor threaten out of place thus; + Thou'lt make a solecism, as madam says. + Get you a biggin more, your brain breaks loose. + + [EXIT.] + + VOLT: Well, sir. + + VOLP: Would you have me beat the insolent slave, + Throw dirt upon his first good clothes? + + VOLT: This same + Is doubtless some familiar. + + VOLP: Sir, the court, + In troth, stays for you. I am mad, a mule + That never read Justinian, should get up, + And ride an advocate. Had you no quirk + To avoid gullage, sir, by such a creature? + I hope you do but jest; he has not done it: + 'Tis but confederacy, to blind the rest. + You are the heir. + + VOLT: A strange, officious, + Troublesome knave! thou dost torment me. + + VOLP: I know-- + It cannot be, sir, that you should be cozen'd; + 'Tis not within the wit of man to do it; + You are so wise, so prudent; and 'tis fit + That wealth and wisdom still should go together. + + [EXEUNT.] + + + SCENE 5.6. + + THE SCRUTINEO OR SENATE-HOUSE. + + ENTER AVOCATORI, NOTARIO, BONARIO, CELIA, + CORBACCIO, CORVINO, COMMANDADORI, SAFFI, ETC. + + 1 AVOC: Are all the parties here? + + NOT: All but the advocate. + + 2 AVOC: And here he comes. + + [ENTER VOLTORE AND VOLPONE.] + + 1 AVOC: Then bring them forth to sentence. + + VOLT: O, my most honour'd fathers, let your mercy + Once win upon your justice, to forgive-- + I am distracted-- + + VOLP [ASIDE.]: What will he do now? + + VOLT: O, + I know not which to address myself to first; + Whether your fatherhoods, or these innocents-- + + CORV [ASIDE.]: Will he betray himself? + + VOLT: Whom equally + I have abused, out of most covetous ends-- + + CORV: The man is mad! + + CORB: What's that? + + CORV: He is possest. + + VOLT: For which, now struck in conscience, here, I prostate + Myself at your offended feet, for pardon. + + 1, 2 AVOC: Arise. + + CEL: O heaven, how just thou art! + + VOLP [ASIDE.]: I am caught + In mine own noose-- + + CORV [TO CORBACCIO.]: Be constant, sir: nought now + Can help, but impudence. + + 1 AVOC: Speak forward. + + COM: Silence! + + VOLT: It is not passion in me, reverend fathers, + But only conscience, conscience, my good sires, + That makes me now tell trueth. That parasite, + That knave, hath been the instrument of all. + + 1 AVOC: Where is that knave? fetch him. + + VOLP: I go. + + [EXIT.] + + CORV: Grave fathers, + This man's distracted; he confest it now: + For, hoping to be old Volpone's heir, + Who now is dead-- + + 3 AVOC: How? + + 2 AVOC: Is Volpone dead? + + CORV: Dead since, grave fathers-- + + BON: O sure vengeance! + + 1 AVOC: Stay, + Then he was no deceiver? + + VOLT: O no, none: + The parasite, grave fathers. + + CORV: He does speak + Out of mere envy, 'cause the servant's made + The thing he gaped for: please your fatherhoods, + This is the truth, though I'll not justify + The other, but he may be some-deal faulty. + + VOLT: Ay, to your hopes, as well as mine, Corvino: + But I'll use modesty. Pleaseth your wisdoms, + To view these certain notes, and but confer them; + As I hope favour, they shall speak clear truth. + + CORV: The devil has enter'd him! + + BON: Or bides in you. + + 4 AVOC: We have done ill, by a public officer, + To send for him, if he be heir. + + 2 AVOC: For whom? + + 4 AVOC: Him that they call the parasite. + + 3 AVOC: 'Tis true, + He is a man of great estate, now left. + + 4 AVOC: Go you, and learn his name, and say, the court + Entreats his presence here, but to the clearing + Of some few doubts. + + [EXIT NOTARY.] + + 2 AVOC: This same's a labyrinth! + + 1 AVOC: Stand you unto your first report? + + CORV: My state, + My life, my fame-- + + BON: Where is it? + + CORV: Are at the stake + + 1 AVOC: Is yours so too? + + CORB: The advocate's a knave, + And has a forked tongue-- + + 2 AVOC: Speak to the point. + + CORB: So is the parasite too. + + 1 AVOC: This is confusion. + + VOLT: I do beseech your fatherhoods, read but those-- + [GIVING THEM THE PAPERS.] + + CORV: And credit nothing the false spirit hath writ: + It cannot be, but he's possest grave fathers. + + [THE SCENE CLOSES.] + + + SCENE 5.7. + + A STREET. + + ENTER VOLPONE. + + VOLP: To make a snare for mine own neck! and run + My head into it, wilfully! with laughter! + When I had newly 'scaped, was free, and clear, + Out of mere wantonness! O, the dull devil + Was in this brain of mine, when I devised it, + And Mosca gave it second; he must now + Help to sear up this vein, or we bleed dead.-- + [ENTER NANO, ANDROGYNO, AND CASTRONE.] + How now! who let you loose? whither go you now? + What, to buy gingerbread? or to drown kitlings? + + NAN: Sir, master Mosca call'd us out of doors, + And bid us all go play, and took the keys. + + AND: Yes. + + VOLP: Did master Mosca take the keys? why so! + I'm farther in. These are my fine conceits! + I must be merry, with a mischief to me! + What a vile wretch was I, that could not bear + My fortune soberly? I must have my crotchets, + And my conundrums! Well, go you, and seek him: + His meaning may be truer than my fear. + Bid him, he straight come to me to the court; + Thither will I, and, if't be possible, + Unscrew my advocate, upon new hopes: + When I provoked him, then I lost myself. + + [EXEUNT.] + + + SCENE 5.8. + + THE SCRUTINEO, OR SENATE-HOUSE. + + AVOCATORI, BONARIO, CELIA, CORBACCIO, CORVINO, + COMMANDADORI, SAFFI, ETC., AS BEFORE. + + 1 AVOC: These things can ne'er be reconciled. He, here, + [SHEWING THE PAPERS.] + Professeth, that the gentleman was wrong'd, + And that the gentlewoman was brought thither, + Forced by her husband, and there left. + + VOLT: Most true. + + CEL: How ready is heaven to those that pray! + + 1 AVOC: But that + Volpone would have ravish'd her, he holds + Utterly false; knowing his impotence. + + CORV: Grave fathers, he's possest; again, I say, + Possest: nay, if there be possession, and + Obsession, he has both. + + 3 AVOC: Here comes our officer. + + [ENTER VOLPONE.] + + VOLP: The parasite will straight be here, grave fathers. + + 4 AVOC: You might invent some other name, sir varlet. + + 3 AVOC: Did not the notary meet him? + + VOLP: Not that I know. + + 4 AVOC: His coming will clear all. + + 2 AVOC: Yet, it is misty. + + VOLT: May't please your fatherhoods-- + + VOLP [whispers volt.]: Sir, the parasite + Will'd me to tell you, that his master lives; + That you are still the man; your hopes the same; + And this was only a jest-- + + VOLT: How? + + VOLP: Sir, to try + If you were firm, and how you stood affected. + + VOLT: Art sure he lives? + + VOLP: Do I live, sir? + + VOLT: O me! + I was too violent. + + VOLP: Sir, you may redeem it, + They said, you were possest; fall down, and seem so: + I'll help to make it good. + [voltore falls.] + --God bless the man!-- + Stop your wind hard, and swell: See, see, see, see! + He vomits crooked pins! his eyes are set, + Like a dead hare's hung in a poulter's shop! + His mouth's running away! Do you see, signior? + Now it is in his belly! + + CORV: Ay, the devil! + + VOLP: Now in his throat. + + CORV: Ay, I perceive it plain. + + VOLP: 'Twill out, 'twill out! stand clear. + See, where it flies, + In shape of a blue toad, with a bat's wings! + Do you not see it, sir? + + CORB: What? I think I do. + + CORV: 'Tis too manifest. + + VOLP: Look! he comes to himself! + + VOLT: Where am I? + + VOLP: Take good heart, the worst is past, sir. + You are dispossest. + + 1 AVOC: What accident is this! + + 2 AVOC: Sudden, and full of wonder! + + 3 AVOC: If he were + Possest, as it appears, all this is nothing. + + CORV: He has been often subject to these fits. + + 1 AVOC: Shew him that writing:--do you know it, sir? + + VOLP [WHISPERS VOLT.]: Deny it, sir, forswear it; know it not. + + VOLT: Yes, I do know it well, it is my hand; + But all that it contains is false. + + BON: O practice! + + 2 AVOC: What maze is this! + + 1 AVOC: Is he not guilty then, + Whom you there name the parasite? + + VOLT: Grave fathers, + No more than his good patron, old Volpone. + + 4 AVOC: Why, he is dead. + + VOLT: O no, my honour'd fathers, + He lives-- + + 1 AVOC: How! lives? + + VOLT: Lives. + + 2 AVOC: This is subtler yet! + + 3 AVOC: You said he was dead. + + VOLT: Never. + + 3 AVOC: You said so. + + CORV: I heard so. + + 4 AVOC: Here comes the gentleman; make him way. + + [ENTER MOSCA.] + + 3 AVOC: A stool. + + 4 AVOC [ASIDE.]: A proper man; and, were Volpone dead, + A fit match for my daughter. + + 3 AVOC: Give him way. + + VOLP [ASIDE TO MOSCA.]: Mosca, I was almost lost, the advocate + Had betrayed all; but now it is recovered; + All's on the hinge again--Say, I am living. + + MOS: What busy knave is this!--Most reverend fathers, + I sooner had attended your grave pleasures, + But that my order for the funeral + Of my dear patron, did require me-- + + VOLP [ASIDE.]: Mosca! + + MOS: Whom I intend to bury like a gentleman. + + VOLP [ASIDE.]: Ay, quick, and cozen me of all. + + 2 AVOC: Still stranger! + More intricate! + + 1 AVOC: And come about again! + + 4 AVOC [ASIDE.]: It is a match, my daughter is bestow'd. + + MOS [ASIDE TO VOLP.]: Will you give me half? + + VOLP: First, I'll be hang'd. + + MOS: I know, + Your voice is good, cry not so loud. + + 1 AVOC: Demand + The advocate.--Sir, did not you affirm, + Volpone was alive? + + VOLP: Yes, and he is; + This gentleman told me so. + [ASIDE TO VOLP.] + --Thou shalt have half.-- + + MOS: Whose drunkard is this same? speak, some that know him: + I never saw his face. + [ASIDE TO VOLP.] + --I cannot now + Afford it you so cheap. + + VOLP: No! + + 1 AVOC: What say you? + + VOLT: The officer told me. + + VOLP: I did, grave fathers, + And will maintain he lives, with mine own life. + And that this creature [POINTS TO MOSCA.] told me. + [ASIDE.] + --I was born, + With all good stars my enemies. + + MOS: Most grave fathers, + If such an insolence as this must pass + Upon me, I am silent: 'twas not this + For which you sent, I hope. + + 2 AVOC: Take him away. + + VOLP: Mosca! + + 3 AVOC: Let him be whipt. + + VOLP: Wilt thou betray me? + Cozen me? + + 3 AVOC: And taught to bear himself + Toward a person of his rank. + + 4 AVOC: Away. + + [THE OFFICERS SEIZE VOLPONE.] + + MOS: I humbly thank your fatherhoods. + + VOLP [ASIDE.]: Soft, soft: Whipt! + And lose all that I have! If I confess, + It cannot be much more. + + 4 AVOC: Sir, are you married? + + VOLP: They will be allied anon; I must be resolute: + The Fox shall here uncase. + [THROWS OFF HIS DISGUISE.] + + MOS: Patron! + + VOLP: Nay, now, + My ruins shall not come alone; your match + I'll hinder sure: my substance shall not glue you, + Nor screw you into a family. + + MOS: Why, patron! + + VOLP: I am Volpone, and this is my knave; + [POINTING TO MOSCA.] + This [TO VOLT.], his own knave; This [TO CORB.], avarice's fool; + This [TO CORV.], a chimera of wittol, fool, and knave: + And, reverend fathers, since we all can hope + Nought but a sentence, let's not now dispair it. + You hear me brief. + + CORV: May it please your fatherhoods-- + + COM: Silence. + + 1 AVOC: The knot is now undone by miracle. + + 2 AVOC: Nothing can be more clear. + + 3 AVOC: Or can more prove + These innocent. + + 1 AVOC: Give them their liberty. + + BON: Heaven could not long let such gross crimes be hid. + + 2 AVOC: If this be held the high-way to get riches, + May I be poor! + + 3 AVOC: This is not the gain, but torment. + + 1 AVOC: These possess wealth, as sick men possess fevers, + Which trulier may be said to possess them. + + 2 AVOC: Disrobe that parasite. + + CORV, MOS: Most honour'd fathers!-- + + 1 AVOC: Can you plead aught to stay the course of justice? + If you can, speak. + + CORV, VOLT: We beg favour, + + CEL: And mercy. + + 1 AVOC: You hurt your innocence, suing for the guilty. + Stand forth; and first the parasite: You appear + T'have been the chiefest minister, if not plotter, + In all these lewd impostures; and now, lastly, + Have with your impudence abused the court, + And habit of a gentleman of Venice, + Being a fellow of no birth or blood: + For which our sentence is, first, thou be whipt; + Then live perpetual prisoner in our gallies. + + VOLT: I thank you for him. + + MOS: Bane to thy wolvish nature! + + 1 AVOC: Deliver him to the saffi. + [MOSCA IS CARRIED OUT.] + --Thou, Volpone, + By blood and rank a gentleman, canst not fall + Under like censure; but our judgment on thee + Is, that thy substance all be straight confiscate + To the hospital of the Incurabili: + And, since the most was gotten by imposture, + By feigning lame, gout, palsy, and such diseases, + Thou art to lie in prison, cramp'd with irons, + Till thou be'st sick, and lame indeed.--Remove him. + + [HE IS TAKEN FROM THE BAR.] + + VOLP: This is call'd mortifying of a Fox. + + 1 AVOC: Thou, Voltore, to take away the scandal + Thou hast given all worthy men of thy profession, + Art banish'd from their fellowship, and our state. + Corbaccio!--bring him near--We here possess + Thy son of all thy state, and confine thee + To the monastery of San Spirito; + Where, since thou knewest not how to live well here, + Thou shalt be learn'd to die well. + + CORB: Ah! what said he? + + AND: You shall know anon, sir. + + 1 AVOC: Thou, Corvino, shalt + Be straight embark'd from thine own house, and row'd + Round about Venice, through the grand canale, + Wearing a cap, with fair long asses' ears, + Instead of horns; and so to mount, a paper + Pinn'd on thy breast, to the Berlina-- + + CORV: Yes, + And have mine eyes beat out with stinking fish, + Bruised fruit and rotten eggs--'Tis well. I am glad + I shall not see my shame yet. + + 1 AVOC: And to expiate + Thy wrongs done to thy wife, thou art to send her + Home to her father, with her dowry trebled: + And these are all your judgments. + + ALL: Honour'd fathers.-- + + 1 AVOC: Which may not be revoked. Now you begin, + When crimes are done, and past, and to be punish'd, + To think what your crimes are: away with them. + Let all that see these vices thus rewarded, + Take heart and love to study 'em! Mischiefs feed + Like beasts, till they be fat, and then they bleed. + + [EXEUNT.] + + [VOLPONE COMES FORWARD.] + + VOLPONE: The seasoning of a play, is the applause. + Now, though the Fox be punish'd by the laws, + He yet doth hope, there is no suffering due, + For any fact which he hath done 'gainst you; + If there be, censure him; here he doubtful stands: + If not, fare jovially, and clap your hands. + + + [EXIT.] + + + + + + +GLOSSARY + +ABATE, cast down, subdue. + +ABHORRING, repugnant (to), at variance. + +ABJECT, base, degraded thing, outcast. + +ABRASE, smooth, blank. + +ABSOLUTE(LY), faultless(ly). + +ABSTRACTED, abstract, abstruse. + +ABUSE, deceive, insult, dishonour, make ill use of. + +ACATER, caterer. + +ACATES, cates. + +ACCEPTIVE, willing, ready to accept, receive. + +ACCOMMODATE, fit, befitting. (The word was a fashionable one and used on +all occasions. See "Henry IV.," pt. 2, iii. 4). + +ACCOST, draw near, approach. + +ACKNOWN, confessedly acquainted with. + +ACME, full maturity. + +ADALANTADO, lord deputy or governor of a Spanish province. + +ADJECTION, addition. + +ADMIRATION, astonishment. + +ADMIRE, wonder, wonder at. + +ADROP, philosopher's stone, or substance from which obtained. + +ADSCRIVE, subscribe. + +ADULTERATE, spurious, counterfeit. + +ADVANCE, lift. + +ADVERTISE, inform, give intelligence. + +ADVERTISED, "be--," be it known to you. + +ADVERTISEMENT, intelligence. + +ADVISE, consider, bethink oneself, deliberate. + +ADVISED, informed, aware; "are you--?" have you found that out? + +AFFECT, love, like; aim at; move. + +AFFECTED, disposed; beloved. + +AFFECTIONATE, obstinate; prejudiced. + +AFFECTS, affections. + +AFFRONT, "give the--," face. + +AFFY, have confidence in; betroth. + +AFTER, after the manner of. + +AGAIN, AGAINST, in anticipation of. + +AGGRAVATE, increase, magnify, enlarge upon. + +AGNOMINATION. See Paranomasie. + +AIERY, nest, brood. + +AIM, guess. + +ALL HID, children's cry at hide-and-seek. + +ALL-TO, completely, entirely ("all-to-be-laden"). + +ALLOWANCE, approbation, recognition. + +ALMA-CANTARAS (astronomy), parallels of altitude. + +ALMAIN, name of a dance. + +ALMUTEN, planet of chief influence in the horoscope. + +ALONE, unequalled, without peer. + +ALUDELS, subliming pots. + +AMAZED, confused, perplexed. + +AMBER, AMBRE, ambergris. + +AMBREE, MARY, a woman noted for her valour at the siege of Ghent, 1458. + +AMES-ACE, lowest throw at dice. + +AMPHIBOLIES, ambiguities. + +AMUSED, bewildered, amazed. + +AN, if. + +ANATOMY, skeleton, or dissected body. + +ANDIRONS, fire-dogs. + +ANGEL, gold coin worth 10 shillings, stamped with the figure of the +archangel Michael. + +ANNESH CLEARE, spring known as Agnes le Clare. + +ANSWER, return hit in fencing. + +ANTIC, ANTIQUE, clown, buffoon. + +ANTIC, like a buffoon. + +ANTIPERISTASIS, an opposition which enhances the quality it opposes. + +APOZEM, decoction. + +APPERIL, peril. + +APPLE-JOHN, APPLE-SQUIRE, pimp, pander. + +APPLY, attach. + +APPREHEND, take into custody. + +APPREHENSIVE, quick of perception; able to perceive and appreciate. + +APPROVE, prove, confirm. + +APT, suit, adapt; train, prepare; dispose, incline. + +APT(LY), suitable(y), opportune(ly). + +APTITUDE, suitableness. + +ARBOR, "make the--," cut up the game (Gifford). + +ARCHES, Court of Arches. + +ARCHIE, Archibald Armstrong, jester to James I. and Charles I. + +ARGAILE, argol, crust or sediment in wine casks. + +ARGENT-VIVE, quicksilver. + +ARGUMENT, plot of a drama; theme, subject; matter in question; token, +proof. + +ARRIDE, please. + +ARSEDINE, mixture of copper and zinc, used as an imitation of gold-leaf. + +ARTHUR, PRINCE, reference to an archery show by a society who assumed +arms, etc., of Arthur's knights. + +ARTICLE, item. + +ARTIFICIALLY, artfully. + +ASCENSION, evaporation, distillation. + +ASPIRE, try to reach, obtain, long for. + +ASSALTO (Italian), assault. + +ASSAY, draw a knife along the belly of the deer, a ceremony of the +hunting-field. + +ASSOIL, solve. + +ASSURE, secure possession or reversion of. + +ATHANOR, a digesting furnace, calculated to keep up a constant heat. + +ATONE, reconcile. + +ATTACH, attack, seize. + +AUDACIOUS, having spirit and confidence. + +AUTHENTIC(AL), of authority, authorised, trustworthy, genuine. + +AVISEMENT, reflection, consideration. + +AVOID, begone! get rid of. + +AWAY WITH, endure. + +AZOCH, Mercurius Philosophorum. + +BABION, baboon. + +BABY, doll. + +BACK-SIDE, back premises. + +BAFFLE, treat with contempt. + +BAGATINE, Italian coin, worth about the third of a farthing. + +BAIARD, horse of magic powers known to old romance. + +BALDRICK, belt worn across the breast to support bugle, etc. + +BALE (of dice), pair. + +BALK, overlook, pass by, avoid. + +BALLACE, ballast. + +BALLOO, game at ball. + +BALNEUM (BAIN MARIE), a vessel for holding hot water in which other +vessels are stood for heating. + +BANBURY, "brother of--," Puritan. + +BANDOG, dog tied or chained up. + +BANE, woe, ruin. + +BANQUET, a light repast; dessert. + +BARB, to clip gold. + +BARBEL, fresh-water fish. + +BARE, meer; bareheaded; it was "a particular mark of state and grandeur +for the coachman to be uncovered" (Gifford). + +BARLEY-BREAK, game somewhat similar to base. + +BASE, game of prisoner's base. + +BASES, richly embroidered skirt reaching to the knees, or lower. + +BASILISK, fabulous reptile, believed to slay with its eye. + +BASKET, used for the broken provision collected for prisoners. + +BASON, basons, etc., were beaten by the attendant mob when bad +characters were "carted." + +BATE, be reduced; abate, reduce. + +BATOON, baton, stick. + +BATTEN, feed, grow fat. + +BAWSON, badger. + +BEADSMAN, prayer-man, one engaged to pray for another. + +BEAGLE, small hound; fig. spy. + +BEAR IN HAND, keep in suspense, deceive with false hopes. + +BEARWARD, bear leader. + +BEDPHERE. See Phere. + +BEDSTAFF, (?) wooden pin in the side of the bedstead for supporting +the bedclothes (Johnson); one of the sticks or "laths"; a stick used in +making a bed. + +BEETLE, heavy mallet. + +BEG, "I'd--him," the custody of minors and idiots was begged for; +likewise property fallen forfeit to the Crown ("your house had been +begged"). + +BELL-MAN, night watchman. + +BENJAMIN, an aromatic gum. + +BERLINA, pillory. + +BESCUMBER, defile. + +BESLAVE, beslabber. + +BESOGNO, beggar. + +BESPAWLE, bespatter. + +BETHLEHEM GABOR, Transylvanian hero, proclaimed King of Hungary. + +BEVER, drinking. + +BEVIS, SIR, knight of romance whose horse was equally celebrated. + +BEWRAY, reveal, make known. + +BEZANT, heraldic term: small gold circle. + +BEZOAR'S STONE, a remedy known by this name was a supposed antidote to +poison. + +BID-STAND, highwayman. + +BIGGIN, cap, similar to that worn by the Beguines; nightcap. + +BILIVE (belive), with haste. + +BILK, nothing, empty talk. + +BILL, kind of pike. + +BILLET, wood cut for fuel, stick. + +BIRDING, thieving. + +BLACK SANCTUS, burlesque hymn, any unholy riot. + +BLANK, originally a small French coin. + +BLANK, white. + +BLANKET, toss in a blanket. + +BLAZE, outburst of violence. + +BLAZE, (her.) blazon; publish abroad. + +BLAZON, armorial bearings; fig. all that pertains to good birth and +breeding. + +BLIN, "withouten--," without ceasing. + +BLOW, puff up. + +BLUE, colour of servants' livery, hence "--order," "--waiters." + +BLUSHET, blushing one. + +BOB, jest, taunt. + +BOB, beat, thump. + +BODGE, measure. + +BODKIN, dagger, or other short, pointed weapon; long pin with which the +women fastened up their hair. + +BOLT, roll (of material). + +BOLT, dislodge, rout out; sift (boulting-tub). + +BOLT'S-HEAD, long, straight-necked vessel for distillation. + +BOMBARD SLOPS, padded, puffed-out breeches. + +BONA ROBA, "good, wholesome, plum-cheeked wench" (Johnson) --not always +used in compliment. + +BONNY-CLABBER, sour butter-milk. + +BOOKHOLDER, prompter. + +BOOT, "to--," into the bargain; "no--," of no avail. + +BORACHIO, bottle made of skin. + +BORDELLO, brothel. + +BORNE IT, conducted, carried it through. + +BOTTLE (of hay), bundle, truss. + +BOTTOM, skein or ball of thread; vessel. + +BOURD, jest. + +BOVOLI, snails or cockles dressed in the Italian manner (Gifford). + +BOW-POT, flower vase or pot. + +BOYS, "terrible--," "angry--," roystering young bucks. (See Nares). + +BRABBLES (BRABBLESH), brawls. + +BRACH, bitch. + +BRADAMANTE, a heroine in "Orlando Furioso." + +BRADLEY, ARTHUR OF, a lively character commemorated in ballads. + +BRAKE, frame for confining a horse's feet while being shod, or strong +curb or bridle; trap. + +BRANCHED, with "detached sleeve ornaments, projecting from the shoulders +of the gown" (Gifford). + +BRANDISH, flourish of weapon. + +BRASH, brace. + +BRAVE, bravado, braggart speech. + +BRAVE (adv.), gaily, finely (apparelled). + +BRAVERIES, gallants. + +BRAVERY, extravagant gaiety of apparel. + +BRAVO, bravado, swaggerer. + +BRAZEN-HEAD, speaking head made by Roger Bacon. + +BREATHE, pause for relaxation; exercise. + +BREATH UPON, speak dispraisingly of. + +BREND, burn. + +BRIDE-ALE, wedding feast. + +BRIEF, abstract; (mus.) breve. + +BRISK, smartly dressed. + +BRIZE, breese, gadfly. + +BROAD-SEAL, state seal. + +BROCK, badger (term of contempt). + +BROKE, transact business as a broker. + +BROOK, endure, put up with. + +BROUGHTON, HUGH, an English divine and Hebrew scholar. + +BRUIT, rumour. + +BUCK, wash. + +BUCKLE, bend. + +BUFF, leather made of buffalo skin, used for military and serjeants' +coats, etc. + +BUFO, black tincture. + +BUGLE, long-shaped bead. + +BULLED, (?) bolled, swelled. + +BULLIONS, trunk hose. + +BULLY, term of familiar endearment. + +BUNGY, Friar Bungay, who had a familiar in the shape of a dog. + +BURDEN, refrain, chorus. + +BURGONET, closely-fitting helmet with visor. + +BURGULLION, braggadocio. + +BURN, mark wooden measures ("--ing of cans"). + +BURROUGH, pledge, security. + +BUSKIN, half-boot, foot gear reaching high up the leg. + +BUTT-SHAFT, barbless arrow for shooting at butts. + +BUTTER, NATHANIEL ("Staple of News"), a compiler of general news. (See +Cunningham). + +BUTTERY-HATCH, half-door shutting off the buttery, where provisions and +liquors were stored. + +BUY, "he bought me," formerly the guardianship of wards could be bought. + +BUZ, exclamation to enjoin silence. + +BUZZARD, simpleton. + +BY AND BY, at once. + +BY(E), "on the __," incidentally, as of minor or secondary importance; +at the side. + +BY-CHOP, by-blow, bastard. + +CADUCEUS, Mercury's wand. + +CALIVER, light kind of musket. + +CALLET, woman of ill repute. + +CALLOT, coif worn on the wigs of our judges or serjeants-at-law +(Gifford). + +CALVERED, crimped, or sliced and pickled. (See Nares). + +CAMOUCCIO, wretch, knave. + +CAMUSED, flat. + +CAN, knows. + +CANDLE-RENT, rent from house property. + +CANDLE-WASTER, one who studies late. + +CANTER, sturdy beggar. + +CAP OF MAINTENCE, an insignia of dignity, a cap of state borne before +kings at their coronation; also an heraldic term. + +CAPABLE, able to comprehend, fit to receive instruction, impression. + +CAPANEUS, one of the "Seven against Thebes." + +CARACT, carat, unit of weight for precious stones, etc.; value, worth. + +CARANZA, Spanish author of a book on duelling. + +CARCANET, jewelled ornament for the neck. + +CARE, take care; object. + +CAROSH, coach, carriage. + +CARPET, table-cover. + +CARRIAGE, bearing, behaviour. + +CARWHITCHET, quip, pun. + +CASAMATE, casemate, fortress. + +CASE, a pair. + +CASE, "in--," in condition. + +CASSOCK, soldier's loose overcoat. + +CAST, flight of hawks, couple. + +CAST, throw dice; vomit; forecast, calculate. + +CAST, cashiered. + +CASTING-GLASS, bottle for sprinkling perfume. + +CASTRIL, kestrel, falcon. + +CAT, structure used in sieges. + +CATAMITE, old form of "ganymede." + +CATASTROPHE, conclusion. + +CATCHPOLE, sheriff's officer. + +CATES, dainties, provisions. + +CATSO, rogue, cheat. + +CAUTELOUS, crafty, artful. + +CENSURE, criticism; sentence. + +CENSURE, criticise; pass sentence, doom. + +CERUSE, cosmetic containing white lead. + +CESS, assess. + +CHANGE, "hunt--," follow a fresh scent. + +CHAPMAN, retail dealer. + +CHARACTER, handwriting. + +CHARGE, expense. + +CHARM, subdue with magic, lay a spell on, silence. + +CHARMING, exercising magic power. + +CHARTEL, challenge. + +CHEAP, bargain, market. + +CHEAR, CHEER, comfort, encouragement; food, entertainment. + +CHECK AT, aim reproof at. + +CHEQUIN, gold Italian coin. + +CHEVRIL, from kidskin, which is elastic and pliable. + +CHIAUS, Turkish envoy; used for a cheat, swindler. + +CHILDERMASS DAY, Innocents' Day. + +CHOKE-BAIL, action which does not allow of bail. + +CHRYSOPOEIA, alchemy. + +CHRYSOSPERM, ways of producing gold. + +CIBATION, adding fresh substances to supply the waste of evaporation. + +CIMICI, bugs. + +CINOPER, cinnabar. + +CIOPPINI, chopine, lady's high shoe. + +CIRCLING BOY, "a species of roarer; one who in some way drew a man into +a snare, to cheat or rob him" (Nares). + +CIRCUMSTANCE, circumlocution, beating about the bush; ceremony, +everything pertaining to a certain condition; detail, particular. + +CITRONISE, turn citron colour. + +CITTERN, kind of guitar. + +CITY-WIRES, woman of fashion, who made use of wires for hair and dress. + +CIVIL, legal. + +CLAP, clack, chatter. + +CLAPPER-DUDGEON, downright beggar. + +CLAPS HIS DISH, a clap, or clack, dish (dish with a movable lid) was +carried by beggars and lepers to show that the vessel was empty, and to +give sound of their approach. + +CLARIDIANA, heroine of an old romance. + +CLARISSIMO, Venetian noble. + +CLEM, starve. + +CLICKET, latch. + +CLIM O' THE CLOUGHS, etc., wordy heroes of romance. + +CLIMATE, country. + +CLOSE, secret, private; secretive. + +CLOSENESS, secrecy. + +CLOTH, arras, hangings. + +CLOUT, mark shot at, bull's eye. + +CLOWN, countryman, clodhopper. + +COACH-LEAVES, folding blinds. + +COALS, "bear no--," submit to no affront. + +COAT-ARMOUR, coat of arms. + +COAT-CARD, court-card. + +COB-HERRING, HERRING-COB, a young herring. + +COB-SWAN, male swan. + +COCK-A-HOOP, denoting unstinted jollity; thought to be derived from +turning on the tap that all might drink to the full of the flowing +liquor. + +COCKATRICE, reptile supposed to be produced from a cock's egg and to +kill by its eye--used as a term of reproach for a woman. + +COCK-BRAINED, giddy, wild. + +COCKER, pamper. + +COCKSCOMB, fool's cap. + +COCKSTONE, stone said to be found in a cock's gizzard, and to possess +particular virtues. + +CODLING, softening by boiling. + +COFFIN, raised crust of a pie. + +COG, cheat, wheedle. + +COIL, turmoil, confusion, ado. + +COKELY, master of a puppet-show (Whalley). + +COKES, fool, gull. + +COLD-CONCEITED, having cold opinion of, coldly affected towards. + +COLE-HARBOUR, a retreat for people of all sorts. + +COLLECTION, composure; deduction. + +COLLOP, small slice, piece of flesh. + +COLLY, blacken. + +COLOUR, pretext. + +COLOURS, "fear no--," no enemy (quibble). + +COLSTAFF, cowlstaff, pole for carrying a cowl=tub. + +COME ABOUT, charge, turn round. + +COMFORTABLE BREAD, spiced gingerbread. + +COMING, forward, ready to respond, complaisant. + +COMMENT, commentary; "sometime it is taken for a lie or fayned tale" +(Bullokar, 1616). + +COMMODITY, "current for--," allusion to practice of money-lenders, who +forced the borrower to take part of the loan in the shape of worthless +goods on which the latter had to make money if he could. + +COMMUNICATE, share. + +COMPASS, "in--," within the range, sphere. + +COMPLEMENT, completion, completement; anything required for the +perfecting or carrying out of a person or affair; accomplishment. + +COMPLEXION, natural disposition, constitution. + +COMPLIMENT, See Complement. + +COMPLIMENTARIES, masters of accomplishments. + +COMPOSITION, constitution; agreement, contract. + +COMPOSURE, composition. + +COMPTER, COUNTER, debtors' prison. + +CONCEALMENT, a certain amount of church property had been retained at +the dissolution of the monasteries; Elizabeth sent commissioners to +search it out, and the courtiers begged for it. + +CONCEIT, idea, fancy, witty invention, conception, opinion. + +CONCEIT, apprehend. + +CONCEITED, fancifully, ingeniously devised or conceived; possessed of +intelligence, witty, ingenious (hence well conceited, etc.); disposed to +joke; of opinion, possessed of an idea. + +CONCEIVE, understand. + +CONCENT, harmony, agreement. + +CONCLUDE, infer, prove. + +CONCOCT, assimilate, digest. + +CONDEN'T, probably conducted. + +CONDUCT, escort, conductor. + +CONEY-CATCH, cheat. + +CONFECT, sweetmeat. + +CONFER, compare. + +CONGIES, bows. + +CONNIVE, give a look, wink, of secret intelligence. + +CONSORT, company, concert. + +CONSTANCY, fidelity, ardour, persistence. + +CONSTANT, confirmed, persistent, faithful. + +CONSTANTLY, firmly, persistently. + +CONTEND, strive. + +CONTINENT, holding together. + +CONTROL (the point), bear or beat down. + +CONVENT, assembly, meeting. + +CONVERT, turn (oneself). + +CONVEY, transmit from one to another. + +CONVINCE, evince, prove; overcome, overpower; convict. + +COP, head, top; tuft on head of birds; "a cop" may have reference to one +or other meaning; Gifford and others interpret as "conical, terminating +in a point." + +COPE-MAN, chapman. + +COPESMATE, companion. + +COPY (Lat. copia), abundance, copiousness. + +CORN ("powder--"), grain. + +COROLLARY, finishing part or touch. + +CORSIVE, corrosive. + +CORTINE, curtain, (arch.) wall between two towers, etc. + +CORYAT, famous for his travels, published as "Coryat's Crudities." + +COSSET, pet lamb, pet. + +COSTARD, head. + +COSTARD-MONGER, apple-seller, coster-monger. + +COSTS, ribs. + +COTE, hut. + +COTHURNAL, from "cothurnus," a particular boot worn by actors in Greek +tragedy. + +COTQUEAN, hussy. + +COUNSEL, secret. + +COUNTENANCE, means necessary for support; credit, standing. + +COUNTER. See Compter. + +COUNTER, pieces of metal or ivory for calculating at play. + +COUNTER, "hunt--," follow scent in reverse direction. + +COUNTERFEIT, false coin. + +COUNTERPANE, one part or counterpart of a deed or indenture. + +COUNTERPOINT, opposite, contrary point. + +COURT-DISH, a kind of drinking-cup (Halliwell); N.E.D. quotes from Bp. +Goodman's "Court of James I.": "The king... caused his carver to cut him +out a court-dish, that is, something of every dish, which he sent him as +part of his reversion," but this does not sound like short allowance or +small receptacle. + +COURT-DOR, fool. + +COURTEAU, curtal, small horse with docked tail. + +COURTSHIP, courtliness. + +COVETISE, avarice. + +COWSHARD, cow dung. + +COXCOMB, fool's cap, fool. + +COY, shrink; disdain. + +COYSTREL, low varlet. + +COZEN, cheat. + +CRACK, lively young rogue, wag. + +CRACK, crack up, boast; come to grief. + +CRAMBE, game of crambo, in which the players find rhymes for a given +word. + +CRANCH, craunch. + +CRANION, spider-like; also fairy appellation for a fly (Gifford, who +refers to lines in Drayton's "Nimphidia"). + +CRIMP, game at cards. + +CRINCLE, draw back, turn aside. + +CRISPED, with curled or waved hair. + +CROP, gather, reap. + +CROPSHIRE, a kind of herring. (See N.E.D.) + +CROSS, any piece of money, many coins being stamped with a cross. + +CROSS AND PILE, heads and tails. + +CROSSLET, crucible. + +CROWD, fiddle. + +CRUDITIES, undigested matter. + +CRUMP, curl up. + +CRUSADO, Portuguese gold coin, marked with a cross. + +CRY ("he that cried Italian"), "speak in a musical cadence," intone, or +declaim (?); cry up. + +CUCKING-STOOL, used for the ducking of scolds, etc. + +CUCURBITE, a gourd-shaped vessel used for distillation. + +CUERPO, "in--," in undress. + +CULLICE, broth. + +CULLION, base fellow, coward. + +CULLISEN, badge worn on their arm by servants. + +CULVERIN, kind of cannon. + +CUNNING, skill. + +CUNNING, skilful. + +CUNNING-MAN, fortune-teller. + +CURE, care for. + +CURIOUS(LY), scrupulous, particular; elaborate, elegant(ly), dainty(ly) +(hence "in curious"). + +CURST, shrewish, mischievous. + +CURTAL, dog with docked tail, of inferior sort. + +CUSTARD, "quaking--," "--politic," reference to a large custard which +formed part of a city feast and afforded huge entertainment, for the +fool jumped into it, and other like tricks were played. (See "All's +Well, etc." ii. 5, 40.) + +CUTWORK, embroidery, open-work. + +CYPRES (CYPRUS) (quibble), cypress (or cyprus) being a transparent +material, and when black used for mourning. + +DAGGER ("--frumety"), name of tavern. + +DARGISON, apparently some person known in ballad or tale. + +DAUPHIN MY BOY, refrain of old comic song. + +DAW, daunt. + +DEAD LIFT, desperate emergency. + +DEAR, applied to that which in any way touches us nearly. + +DECLINE, turn off from; turn away, aside. + +DEFALK, deduct, abate. + +DEFEND, forbid. + +DEGENEROUS, degenerate. + +DEGREES, steps. + +DELATE, accuse. + +DEMI-CULVERIN, cannon carrying a ball of about ten pounds. + +DENIER, the smallest possible coin, being the twelfth part of a sou. + +DEPART, part with. + +DEPENDANCE, ground of quarrel in duello language. + +DESERT, reward. + +DESIGNMENT, design. + +DESPERATE, rash, reckless. + +DETECT, allow to be detected, betray, inform against. + +DETERMINE, terminate. + +DETRACT, draw back, refuse. + +DEVICE, masque, show; a thing moved by wires, etc., puppet. + +DEVISE, exact in every particular. + +DEVISED, invented. + +DIAPASM, powdered aromatic herbs, made into balls of perfumed paste. +(See Pomander.) + +DIBBLE, (?) moustache (N.E.D.); (?) dagger (Cunningham). + +DIFFUSED, disordered, scattered, irregular. + +DIGHT, dressed. + +DILDO, refrain of popular songs; vague term of low meaning. + +DIMBLE, dingle, ravine. + +DIMENSUM, stated allowance. + +DISBASE, debase. + +DISCERN, distinguish, show a difference between. + +DISCHARGE, settle for. + +DISCIPLINE, reformation; ecclesiastical system. + +DISCLAIM, renounce all part in. + +DISCOURSE, process of reasoning, reasoning faculty. + +DISCOURTSHIP, discourtesy. + +DISCOVER, betray, reveal; display. + +DISFAVOUR, disfigure. + +DISPARAGEMENT, legal term applied to the unfitness in any way of a +marriage arranged for in the case of wards. + +DISPENSE WITH, grant dispensation for. + +DISPLAY, extend. + +DIS'PLE, discipline, teach by the whip. + +DISPOSED, inclined to merriment. + +DISPOSURE, disposal. + +DISPRISE, depreciate. + +DISPUNCT, not punctilious. + +DISQUISITION, search. + +DISSOLVED, enervated by grief. + +DISTANCE, (?) proper measure. + +DISTASTE, offence, cause of offence. + +DISTASTE, render distasteful. + +DISTEMPERED, upset, out of humour. + +DIVISION (mus.), variation, modulation. + +DOG-BOLT, term of contempt. + +DOLE, given in dole, charity. + +DOLE OF FACES, distribution of grimaces. + +DOOM, verdict, sentence. + +DOP, dip, low bow. + +DOR, beetle, buzzing insect, drone, idler. + +DOR, (?) buzz; "give the--," make a fool of. + +DOSSER, pannier, basket. + +DOTES, endowments, qualities. + +DOTTEREL, plover; gull, fool. + +DOUBLE, behave deceitfully. + +DOXY, wench, mistress. + +DRACHM, Greek silver coin. + +DRESS, groom, curry. + +DRESSING, coiffure. + +DRIFT, intention. + +DRYFOOT, track by mere scent of foot. + +DUCKING, punishment for minor offences. + +DUILL, grieve. + +DUMPS, melancholy, originally a mournful melody. + +DURINDANA, Orlando's sword. + +DWINDLE, shrink away, be overawed. + +EAN, yean, bring forth young. + +EASINESS, readiness. + +EBOLITION, ebullition. + +EDGE, sword. + +EECH, eke. + +EGREGIOUS, eminently excellent. + +EKE, also, moreover. + +E-LA, highest note in the scale. + +EGGS ON THE SPIT, important business on hand. + +ELF-LOCK, tangled hair, supposed to be the work of elves. + +EMMET, ant. + +ENGAGE, involve. + +ENGHLE. See Ingle. + +ENGHLE, cajole; fondle. + +ENGIN(E), device, contrivance; agent; ingenuity, wit. + +ENGINER, engineer, deviser, plotter. + +ENGINOUS, crafty, full of devices; witty, ingenious. + +ENGROSS, monopolise. + +ENS, an existing thing, a substance. + +ENSIGNS, tokens, wounds. + +ENSURE, assure. + +ENTERTAIN, take into service. + +ENTREAT, plead. + +ENTREATY, entertainment. + +ENTRY, place where a deer has lately passed. + +ENVOY, denouement, conclusion. + +ENVY, spite, calumny, dislike, odium. + +EPHEMERIDES, calendars. + +EQUAL, just, impartial. + +ERECTION, elevation in esteem. + +ERINGO, candied root of the sea-holly, formerly used as a sweetmeat and +aphrodisiac. + +ERRANT, arrant. + +ESSENTIATE, become assimilated. + +ESTIMATION, esteem. + +ESTRICH, ostrich. + +ETHNIC, heathen. + +EURIPUS, flux and reflux. + +EVEN, just equable. + +EVENT, fate, issue. + +EVENT(ED), issue(d). + +EVERT, overturn. + +EXACUATE, sharpen. + +EXAMPLESS, without example or parallel. + +EXCALIBUR, King Arthur's sword. + +EXEMPLIFY, make an example of. + +EXEMPT, separate, exclude. + +EXEQUIES, obsequies. + +EXHALE, drag out. + +EXHIBITION, allowance for keep, pocket-money. + +EXORBITANT, exceeding limits of propriety or law, inordinate. + +EXORNATION, ornament. + +EXPECT, wait. + +EXPIATE, terminate. + +EXPLICATE, explain, unfold. + +EXTEMPORAL, extempore, unpremeditated. + +EXTRACTION, essence. + +EXTRAORDINARY, employed for a special or temporary purpose. + +EXTRUDE, expel. + +EYE, "in--," in view. + +EYEBRIGHT, (?) a malt liquor in which the herb of this name was infused, +or a person who sold the same (Gifford). + +EYE-TINGE, least shade or gleam. + +FACE, appearance. + +FACES ABOUT, military word of command. + +FACINOROUS, extremely wicked. + +FACKINGS, faith. + +FACT, deed, act, crime. + +FACTIOUS, seditious, belonging to a party, given to party feeling. + +FAECES, dregs. + +FAGIOLI, French beans. + +FAIN, forced, necessitated. + +FAITHFUL, believing. + +FALL, ruff or band turned back on the shoulders; or, veil. + +FALSIFY, feign (fencing term). + +FAME, report. + +FAMILIAR, attendant spirit. + +FANTASTICAL, capricious, whimsical. + +FARCE, stuff. + +FAR-FET. See Fet. + +FARTHINGAL, hooped petticoat. + +FAUCET, tapster. + +FAULT, lack; loss, break in line of scent; "for--," in default of. + +FAUTOR, partisan. + +FAYLES, old table game similar to backgammon. + +FEAR(ED), affright(ed). + +FEAT, activity, operation; deed, action. + +FEAT, elegant, trim. + +FEE, "in--" by feudal obligation. + +FEIZE, beat, belabour. + +FELLOW, term of contempt. + +FENNEL, emblem of flattery. + +FERE, companion, fellow. + +FERN-SEED, supposed to have power of rendering invisible. + +FET, fetched. + +FETCH, trick. + +FEUTERER (Fr. vautrier), dog-keeper. + +FEWMETS, dung. + +FICO, fig. + +FIGGUM, (?) jugglery. + +FIGMENT, fiction, invention. + +FIRK, frisk, move suddenly, or in jerks; "--up," stir up, rouse; "firks +mad," suddenly behaves like a madman. + +FIT, pay one out, punish. + +FITNESS, readiness. + +FITTON (FITTEN), lie, invention. + +FIVE-AND-FIFTY, "highest number to stand on at primero" (Gifford). + +FLAG, to fly low and waveringly. + +FLAGON CHAIN, for hanging a smelling-bottle (Fr. flacon) round the neck +(?). (See N.E.D.). + +FLAP-DRAGON, game similar to snap-dragon. + +FLASKET, some kind of basket. + +FLAW, sudden gust or squall of wind. + +FLAWN, custard. + +FLEA, catch fleas. + +FLEER, sneer, laugh derisively. + +FLESH, feed a hawk or dog with flesh to incite it to the chase; initiate +in blood-shed; satiate. + +FLICKER-MOUSE, bat. + +FLIGHT, light arrow. + +FLITTER-MOUSE, bat. + +FLOUT, mock, speak and act contemptuously. + +FLOWERS, pulverised substance. + +FLY, familiar spirit. + +FOIL, weapon used in fencing; that which sets anything off to advantage. + +FOIST, cut-purse, sharper. + +FOND(LY), foolish(ly). + +FOOT-CLOTH, housings of ornamental cloth which hung down on either side +a horse to the ground. + +FOOTING, foothold; footstep; dancing. + +FOPPERY, foolery. + +FOR, "--failing," for fear of failing. + +FORBEAR, bear with; abstain from. + +FORCE, "hunt at--," run the game down with dogs. + +FOREHEAD, modesty; face, assurance, effrontery. + +FORESLOW, delay. + +FORESPEAK, bewitch; foretell. + +FORETOP, front lock of hair which fashion required to be worn upright. + +FORGED, fabricated. + +FORM, state formally. + +FORMAL, shapely; normal; conventional. + +FORTHCOMING, produced when required. + +FOUNDER, disable with over-riding. + +FOURM, form, lair. + +FOX, sword. + +FRAIL, rush basket in which figs or raisins were packed. + +FRAMPULL, peevish, sour-tempered. + +FRAPLER, blusterer, wrangler. + +FRAYING, "a stag is said to fray his head when he rubs it against a tree +to... cause the outward coat of the new horns to fall off" (Gifford). + +FREIGHT (of the gazetti), burden (of the newspapers). + +FREQUENT, full. + +FRICACE, rubbing. + +FRICATRICE, woman of low character. + +FRIPPERY, old clothes shop. + +FROCK, smock-frock. + +FROLICS, (?) humorous verses circulated at a feast (N.E.D.); couplets +wrapped round sweetmeats (Cunningham). + +FRONTLESS, shameless. + +FROTED, rubbed. + +FRUMETY, hulled wheat boiled in milk and spiced. + +FRUMP, flout, sneer. + +FUCUS, dye. + +FUGEAND, (?) figent: fidgety, restless (N.E.D.). + +FULLAM, false dice. + +FULMART, polecat. + +FULSOME, foul, offensive. + +FURIBUND, raging, furious. + +GALLEY-FOIST, city-barge, used on Lord Mayor's Day, when he was sworn +into his office at Westminster (Whalley). + +GALLIARD, lively dance in triple time. + +GAPE, be eager after. + +GARAGANTUA, Rabelais' giant. + +GARB, sheaf (Fr. gerbe); manner, fashion, behaviour. + +GARD, guard, trimming, gold or silver lace, or other ornament. + +GARDED, faced or trimmed. + +GARNISH, fee. + +GAVEL-KIND, name of a land-tenure existing chiefly in Kent; from +16th century often used to denote custom of dividing a deceased man's +property equally among his sons (N.E.D.). + +GAZETTE, small Venetian coin worth about three-farthings. + +GEANCE, jaunt, errand. + +GEAR (GEER), stuff, matter, affair. + +GELID, frozen. + +GEMONIES, steps from which the bodies of criminals were thrown into the +river. + +GENERAL, free, affable. + +GENIUS, attendant spirit. + +GENTRY, gentlemen; manners characteristic of gentry, good breeding. + +GIB-CAT, tom-cat. + +GIGANTOMACHIZE, start a giants' war. + +GIGLOT, wanton. + +GIMBLET, gimlet. + +GING, gang. + +GLASS ("taking in of shadows, etc."), crystal or beryl. + +GLEEK, card game played by three; party of three, trio; side glance. + +GLICK (GLEEK), jest, gibe. + +GLIDDER, glaze. + +GLORIOUSLY, of vain glory. + +GODWIT, bird of the snipe family. + +GOLD-END-MAN, a buyer of broken gold and silver. + +GOLL, hand. + +GONFALIONIER, standard-bearer, chief magistrate, etc. + +GOOD, sound in credit. + +GOOD-YEAR, good luck. + +GOOSE-TURD, colour of. (See Turd). + +GORCROW, carrion crow. + +GORGET, neck armour. + +GOSSIP, godfather. + +GOWKED, from "gowk," to stand staring and gaping like a fool. + +GRANNAM, grandam. + +GRASS, (?) grease, fat. + +GRATEFUL, agreeable, welcome. + +GRATIFY, give thanks to. + +GRATITUDE, gratuity. + +GRATULATE, welcome, congratulate. + +GRAVITY, dignity. + +GRAY, badger. + +GRICE, cub. + +GRIEF, grievance. + +GRIPE, vulture, griffin. + +GRIPE'S EGG, vessel in shape of. + +GROAT, fourpence. + +GROGRAN, coarse stuff made of silk and mohair, or of coarse silk. + +GROOM-PORTER, officer in the royal household. + +GROPE, handle, probe. + +GROUND, pit (hence "grounded judgments"). + +GUARD, caution, heed. + +GUARDANT, heraldic term: turning the head only. + +GUILDER, Dutch coin worth about 4d. + +GULES, gullet, throat; heraldic term for red. + +GULL, simpleton, dupe. + +GUST, taste. + +HAB NAB, by, on, chance. + +HABERGEON, coat of mail. + +HAGGARD, wild female hawk; hence coy, wild. + +HALBERD, combination of lance and battle-axe. + +HALL, "a--!" a cry to clear the room for the dancers. + +HANDSEL, first money taken. + +HANGER, loop or strap on a sword-belt from which the sword was +suspended. + +HAP, fortune, luck. + +HAPPILY, haply. + +HAPPINESS, appropriateness, fitness. + +HAPPY, rich. + +HARBOUR, track, trace (an animal) to its shelter. + +HARD-FAVOURED, harsh-featured. + +HARPOCRATES, Horus the child, son of Osiris, figured with a finger +pointing to his mouth, indicative of silence. + +HARRINGTON, a patent was granted to Lord H. for the coinage of tokens +(q.v.). + +HARROT, herald. + +HARRY NICHOLAS, founder of a community called the "Family of Love." + +HAY, net for catching rabbits, etc. + +HAY! (Ital. hai!), you have it (a fencing term). + +HAY IN HIS HORN, ill-tempered person. + +HAZARD, game at dice; that which is staked. + +HEAD, "first--," young deer with antlers first sprouting; fig. a +newly-ennobled man. + +HEADBOROUGH, constable. + +HEARKEN AFTER, inquire; "hearken out," find, search out. + +HEARTEN, encourage. + +HEAVEN AND HELL ("Alchemist"), names of taverns. + +HECTIC, fever. + +HEDGE IN, include. + +HELM, upper part of a retort. + +HER'NSEW, hernshaw, heron. + +HIERONIMO (JERONIMO), hero of Kyd's "Spanish Tragedy." + +HOBBY, nag. + +HOBBY-HORSE, imitation horse of some light material, fastened round the +waist of the morrice-dancer, who imitated the movements of a skittish +horse. + +HODDY-DODDY, fool. + +HOIDEN, hoyden, formerly applied to both sexes (ancient term for +leveret? Gifford). + +HOLLAND, name of two famous chemists. + +HONE AND HONERO, wailing expressions of lament or discontent. + +HOOD-WINK'D, blindfolded. + +HORARY, hourly. + +HORN-MAD, stark mad (quibble). + +HORN-THUMB, cut-purses were in the habit of wearing a horn shield on the +thumb. + +HORSE-BREAD-EATING, horses were often fed on coarse bread. + +HORSE-COURSER, horse-dealer. + +HOSPITAL, Christ's Hospital. + +HOWLEGLAS, Eulenspiegel, the hero of a popular German tale which relates +his buffooneries and knavish tricks. + +HUFF, hectoring, arrogance. + +HUFF IT, swagger. + +HUISHER (Fr. huissier), usher. + +HUM, beer and spirits mixed together. + +HUMANITIAN, humanist, scholar. + +HUMOROUS, capricious, moody, out of humour; moist. + +HUMOUR, a word used in and out of season in the time of Shakespeare and +Ben Jonson, and ridiculed by both. + +HUMOURS, manners. + +HUMPHREY, DUKE, those who were dinnerless spent the dinner-hour in a +part of St. Paul's where stood a monument said to be that of the duke's; +hence "dine with Duke Humphrey," to go hungry. + +HURTLESS, harmless. + +IDLE, useless, unprofitable. + +ILL-AFFECTED, ill-disposed. + +ILL-HABITED, unhealthy. + +ILLUSTRATE, illuminate. + +IMBIBITION, saturation, steeping. + +IMBROCATA, fencing term: a thrust in tierce. + +IMPAIR, impairment. + +IMPART, give money. + +IMPARTER, any one ready to be cheated and to part with his money. + +IMPEACH, damage. + +IMPERTINENCIES, irrelevancies. + +IMPERTINENT(LY), irrelevant(ly), without reason or purpose. + +IMPOSITION, duty imposed by. + +IMPOTENTLY, beyond power of control. + +IMPRESS, money in advance. + +IMPULSION, incitement. + +IN AND IN, a game played by two or three persons with four dice. + +INCENSE, incite, stir up. + +INCERATION, act of covering with wax; or reducing a substance to +softness of wax. + +INCH, "to their--es," according to their stature, capabilities. + +INCH-PIN, sweet-bread. + +INCONVENIENCE, inconsistency, absurdity. + +INCONY, delicate, rare (used as a term of affection). + +INCUBEE, incubus. + +INCUBUS, evil spirit that oppresses us in sleep, nightmare. + +INCURIOUS, unfastidious, uncritical. + +INDENT, enter into engagement. + +INDIFFERENT, tolerable, passable. + +INDIGESTED, shapeless, chaotic. + +INDUCE, introduce. + +INDUE, supply. + +INEXORABLE, relentless. + +INFANTED, born, produced. + +INFLAME, augment charge. + +INGENIOUS, used indiscriminantly for ingenuous; intelligent, talented. + +INGENUITY, ingenuousness. + +INGENUOUS, generous. + +INGINE. See Engin. + +INGINER, engineer. (See Enginer). + +INGLE, OR ENGHLE, bosom friend, intimate, minion. + +INHABITABLE, uninhabitable. + +INJURY, insult, affront. + +IN-MATE, resident, indwelling. + +INNATE, natural. + +INNOCENT, simpleton. + +INQUEST, jury, or other official body of inquiry. + +INQUISITION, inquiry. + +INSTANT, immediate. + +INSTRUMENT, legal document. + +INSURE, assure. + +INTEGRATE, complete, perfect. + +INTELLIGENCE, secret information, news. + +INTEND, note carefully, attend, give ear to, be occupied with. + +INTENDMENT, intention. + +INTENT, intention, wish. + +INTENTION, concentration of attention or gaze. + +INTENTIVE, attentive. + +INTERESSED, implicated. + +INTRUDE, bring in forcibly or without leave. + +INVINCIBLY, invisibly. + +INWARD, intimate. + +IRPE (uncertain), "a fantastic grimace, or contortion of the body: +(Gifford)." + +JACK, Jack o' the clock, automaton figure that strikes the hour; +Jack-a-lent, puppet thrown at in Lent. + +JACK, key of a virginal. + +JACOB'S STAFF, an instrument for taking altitudes and distances. + +JADE, befool. + +JEALOUSY, JEALOUS, suspicion, suspicious. + +JERKING, lashing. + +JEW'S TRUMP, Jew's harp. + +JIG, merry ballad or tune; a fanciful dialogue or light comic act +introduced at the end or during an interlude of a play. + +JOINED (JOINT)-STOOL, folding stool. + +JOLL, jowl. + +JOLTHEAD, blockhead. + +JUMP, agree, tally. + +JUST YEAR, no one was capable of the consulship until he was +forty-three. + +KELL, cocoon. + +KELLY, an alchemist. + +KEMB, comb. + +KEMIA, vessel for distillation. + +KIBE, chap, sore. + +KILDERKIN, small barrel. + +KILL, kiln. + +KIND, nature; species; "do one's--," act according to one's nature. + +KIRTLE, woman's gown of jacket and petticoat. + +KISS OR DRINK AFORE ME, "this is a familiar expression, employed +when what the speaker is just about to say is anticipated by another" +(Gifford). + +KIT, fiddle. + +KNACK, snap, click. + +KNIPPER-DOLING, a well-known Anabaptist. + +KNITTING CUP, marriage cup. + +KNOCKING, striking, weighty. + +KNOT, company, band; a sandpiper or robin snipe (Tringa canutus); +flower-bed laid out in fanciful design. + +KURSINED, KYRSIN, christened. + +LABOURED, wrought with labour and care. + +LADE, load(ed). + +LADING, load. + +LAID, plotted. + +LANCE-KNIGHT (Lanzknecht), a German mercenary foot-soldier. + +LAP, fold. + +LAR, household god. + +LARD, garnish. + +LARGE, abundant. + +LARUM, alarum, call to arms. + +LATTICE, tavern windows were furnished with lattices of various colours. + +LAUNDER, to wash gold in aqua regia, so as imperceptibly to extract some +of it. + +LAVE, ladle, bale. + +LAW, "give--," give a start (term of chase). + +LAXATIVE, loose. + +LAY ABOARD, run alongside generally with intent to board. + +LEAGUER, siege, or camp of besieging army. + +LEASING, lying. + +LEAVE, leave off, desist. + +LEER, leering or "empty, hence, perhaps, leer horse, a horse without +a rider; leer is an adjective meaning uncontrolled, hence 'leer +drunkards'" (Halliwell); according to Nares, a leer (empty) horse meant +also a led horse; leeward, left. + +LEESE, lose. + +LEGS, "make--," do obeisance. + +LEIGER, resident representative. + +LEIGERITY, legerdemain. + +LEMMA, subject proposed, or title of the epigram. + +LENTER, slower. + +LET, hinder. + +LET, hindrance. + +LEVEL COIL, a rough game... in which one hunted another from his seat. +Hence used for any noisy riot (Halliwell). + +LEWD, ignorant. + +LEYSTALLS, receptacles of filth. + +LIBERAL, ample. + +LIEGER, ledger, register. + +LIFT(ING), steal(ing); theft. + +LIGHT, alight. + +LIGHTLY, commonly, usually, often. + +LIKE, please. + +LIKELY, agreeable, pleasing. + +LIME-HOUND, leash-, blood-hound. + +LIMMER, vile, worthless. + +LIN, leave off. + +Line, "by--," by rule. + +LINSTOCK, staff to stick in the ground, with forked head to hold a +lighted match for firing cannon. + +LIQUID, clear. + +LIST, listen, hark; like, please. + +LIVERY, legal term, delivery of the possession, etc. + +LOGGET, small log, stick. + +LOOSE, solution; upshot, issue; release of an arrow. + +LOSE, give over, desist from; waste. + +LOUTING, bowing, cringing. + +LUCULENT, bright of beauty. + +LUDGATHIANS, dealers on Ludgate Hill. + +LURCH, rob, cheat. + +LUTE, to close a vessel with some kind of cement. + +MACK, unmeaning expletive. + +MADGE-HOWLET or OWL, barn-owl. + +MAIM, hurt, injury. + +MAIN, chief concern (used as a quibble on heraldic term for "hand"). + +MAINPRISE, becoming surety for a prisoner so as to procure his release. + +MAINTENANCE, giving aid, or abetting. + +MAKE, mate. + +MAKE, MADE, acquaint with business, prepare(d), instruct(ed). + +MALLANDERS, disease of horses. + +MALT HORSE, dray horse. + +MAMMET, puppet. + +MAMMOTHREPT, spoiled child. + +MANAGE, control (term used for breaking-in horses); handling, +administration. + +MANGO, slave-dealer. + +MANGONISE, polish up for sale. + +MANIPLES, bundles, handfuls. + +MANKIND, masculine, like a virago. + +MANKIND, humanity. + +MAPLE FACE, spotted face (N.E.D.). + +MARCHPANE, a confection of almonds, sugar, etc. + +MARK, "fly to the--," "generally said of a goshawk when, having 'put +in' a covey of partridges, she takes stand, marking the spot where they +disappeared from view until the falconer arrives to put them out to her" +(Harting, Bibl. Accip. Gloss. 226). + +MARLE, marvel. + +MARROW-BONE MAN, one often on his knees for prayer. + +MARRY! exclamation derived from the Virgin's name. + +MARRY GIP, "probably originated from By Mary Gipcy" = St. Mary of Egypt, +(N.E.D.). + +MARTAGAN, Turk's cap lily. + +MARYHINCHCO, stringhalt. + +MASORETH, Masora, correct form of the scriptural text according to +Hebrew tradition. + +MASS, abb. for master. + +MAUND, beg. + +MAUTHER, girl, maid. + +MEAN, moderation. + +MEASURE, dance, more especially a stately one. + +MEAT, "carry--in one's mouth," be a source of money or entertainment. + +MEATH, metheglin. + +MECHANICAL, belonging to mechanics, mean, vulgar. + +MEDITERRANEO, middle aisle of St. Paul's, a general resort for business +and amusement. + +MEET WITH, even with. + +MELICOTTON, a late kind of peach. + +MENSTRUE, solvent. + +MERCAT, market. + +MERD, excrement. + +MERE, undiluted; absolute, unmitigated. + +MESS, party of four. + +METHEGLIN, fermented liquor, of which one ingredient was honey. + +METOPOSCOPY, study of physiognomy. + +MIDDLING GOSSIP, go-between. + +MIGNIARD, dainty, delicate. + +MILE-END, training-ground of the city. + +MINE-MEN, sappers. + +MINION, form of cannon. + +MINSITIVE, (?) mincing, affected (N.E.D.). + +MISCELLANY MADAM, "a female trader in miscellaneous articles; a dealer +in trinkets or ornaments of various kinds, such as kept shops in the New +Exchange" (Nares). + +MISCELLINE, mixed grain; medley. + +MISCONCEIT, misconception. + +MISPRISE, MISPRISION, mistake, misunderstanding. + +MISTAKE AWAY, carry away as if by mistake. + +MITHRIDATE, an antidote against poison. + +MOCCINIGO, small Venetian coin, worth about ninepence. + +MODERN, in the mode; ordinary, commonplace. + +MOMENT, force or influence of value. + +MONTANTO, upward stroke. + +MONTH'S MIND, violent desire. + +MOORISH, like a moor or waste. + +MORGLAY, sword of Bevis of Southampton. + +MORRICE-DANCE, dance on May Day, etc., in which certain personages were +represented. + +MORTALITY, death. + +MORT-MAL, old sore, gangrene. + +MOSCADINO, confection flavoured with musk. + +MOTHER, Hysterica passio. + +MOTION, proposal, request; puppet, puppet-show; "one of the small +figures on the face of a large clock which was moved by the vibration of +the pendulum" (Whalley). + +MOTION, suggest, propose. + +MOTLEY, parti-coloured dress of a fool; hence used to signify pertaining +to, or like, a fool. + +MOTTE, motto. + +MOURNIVAL, set of four aces or court cards in a hand; a quartette. + +MOW, setord hay or sheaves of grain. + +MUCH! expressive of irony and incredulity. + +MUCKINDER, handkerchief. + +MULE, "born to ride on--," judges or serjeants-at-law formerly rode on +mules when going in state to Westminster (Whally). + +MULLETS, small pincers. + +MUM-CHANCE, game of chance, played in silence. + +MUN, must. + +MUREY, dark crimson red. + +MUSCOVY-GLASS, mica. + +MUSE, wonder. + +MUSICAL, in harmony. + +MUSS, mouse; scramble. + +MYROBOLANE, foreign conserve, "a dried plum, brought from the Indies." + +MYSTERY, art, trade, profession. + +NAIL, "to the--" (ad unguem), to perfection, to the very utmost. + +NATIVE, natural. + +NEAT, cattle. + +NEAT, smartly apparelled; unmixed; dainty. + +NEATLY, neatly finished. + +NEATNESS, elegance. + +NEIS, nose, scent. + +NEUF (NEAF, NEIF), fist. + +NEUFT, newt. + +NIAISE, foolish, inexperienced person. + +NICE, fastidious, trivial, finical, scrupulous. + +NICENESS, fastidiousness. + +NICK, exact amount; right moment; "set in the--," meaning uncertain. + +NICE, suit, fit; hit, seize the right moment, etc., exactly hit on, hit +off. + +NOBLE, gold coin worth 6s. 8d. + +NOCENT, harmful. + +NIL, not will. + +NOISE, company of musicians. + +NOMENTACK, an Indian chief from Virginia. + +NONES, nonce. + +NOTABLE, egregious. + +NOTE, sign, token. + +NOUGHT, "be--," go to the devil, be hanged, etc. + +NOWT-HEAD, blockhead. + +NUMBER, rhythm. + +NUPSON, oaf, simpleton. + +OADE, woad. + +OBARNI, preparation of mead. + +OBJECT, oppose; expose; interpose. + +OBLATRANT, barking, railing. + +OBNOXIOUS, liable, exposed; offensive. + +OBSERVANCE, homage, devoted service. + +OBSERVANT, attentive, obsequious. + +OBSERVE, show deference, respect. + +OBSERVER, one who shows deference, or waits upon another. + +OBSTANCY, legal phrase, "juridical opposition." + +OBSTREPEROUS, clamorous, vociferous. + +OBSTUPEFACT, stupefied. + +ODLING, (?) "must have some relation to tricking and cheating" (Nares). + +OMINOUS, deadly, fatal. + +ONCE, at once; for good and all; used also for additional emphasis. + +ONLY, pre-eminent, special. + +OPEN, make public; expound. + +OPPILATION, obstruction. + +OPPONE, oppose. + +OPPOSITE, antagonist. + +OPPRESS, suppress. + +ORIGINOUS, native. + +ORT, remnant, scrap. + +OUT, "to be--," to have forgotten one's part; not at one with each +other. + +OUTCRY, sale by auction. + +OUTRECUIDANCE, arrogance, presumption. + +OUTSPEAK, speak more than. + +OVERPARTED, given too difficult a part to play. + +OWLSPIEGEL. See Howleglass. + +OYEZ! (O YES!), hear ye! call of the public crier when about to make a +proclamation. + +PACKING PENNY, "give a--," dismiss, send packing. + +PAD, highway. + +PAD-HORSE, road-horse. + +PAINED (PANED) SLOPS, full breeches made of strips of different colour +and material. + +PAINFUL, diligent, painstaking. + +PAINT, blush. + +PALINODE, ode of recantation. + +PALL, weaken, dim, make stale. + +PALM, triumph. + +PAN, skirt of dress or coat. + +PANNEL, pad, or rough kind of saddle. + +PANNIER-ALLY, inhabited by tripe-sellers. + +PANNIER-MAN, hawker; a man employed about the inns of court to bring in +provisions, set the table, etc. + +PANTOFLE, indoor shoe, slipper. + +PARAMENTOS, fine trappings. + +PARANOMASIE, a play upon words. + +PARANTORY, (?) peremptory. + +PARCEL, particle, fragment (used contemptuously); article. + +PARCEL, part, partly. + +PARCEL-POET, poetaster. + +PARERGA, subordinate matters. + +PARGET, to paint or plaster the face. + +PARLE, parley. + +PARLOUS, clever, shrewd. + +PART, apportion. + +PARTAKE, participate in. + +PARTED, endowed, talented. + +PARTICULAR, individual person. + +PARTIZAN, kind of halberd. + +PARTRICH, partridge. + +PARTS, qualities, endowments. + +PASH, dash, smash. + +PASS, care, trouble oneself. + +PASSADO, fencing term: a thrust. + +PASSAGE, game at dice. + +PASSINGLY, exceedingly. + +PASSION, effect caused by external agency. + +PASSION, "in--," in so melancholy a tone, so pathetically. + +PATOUN, (?) Fr. Paton, pellet of dough; perhaps the "moulding of the +tobacco... for the pipe" (Gifford); (?) variant of Petun, South American +name of tobacco. + +PATRICO, the recorder, priest, orator of strolling beggars or gipsies. + +PATTEN, shoe with wooden sole; "go--," keep step with, accompany. + +PAUCA VERBA, few words. + +PAVIN, a stately dance. + +PEACE, "with my master's--," by leave, favour. + +PECULIAR, individual, single. + +PEDANT, teacher of the languages. + +PEEL, baker's shovel. + +PEEP, speak in a small or shrill voice. + +PEEVISH(LY), foolish(ly), capricious(ly); childish(ly). + +PELICAN, a retort fitted with tube or tubes, for continuous +distillation. + +PENCIL, small tuft of hair. + +PERDUE, soldier accustomed to hazardous service. + +PEREMPTORY, resolute, bold; imperious; thorough, utter, absolute(ly). + +PERIMETER, circumference of a figure. + +PERIOD, limit, end. + +PERK, perk up. + +PERPETUANA, "this seems to be that glossy kind of stuff now called +everlasting, and anciently worn by serjeants and other city officers" +(Gifford). + +PERSPECTIVE, a view, scene or scenery; an optical device which gave a +distortion to the picture unless seen from a particular point; a relief, +modelled to produce an optical illusion. + +PERSPICIL, optic glass. + +PERSTRINGE, criticise, censure. + +PERSUADE, inculcate, commend. + +PERSWAY, mitigate. + +PERTINACY, pertinacity. + +PESTLING, pounding, pulverising, like a pestle. + +PETASUS, broad-brimmed hat or winged cap worn by Mercury. + +PETITIONARY, supplicatory. + +PETRONEL, a kind of carbine or light gun carried by horsemen. + +PETULANT, pert, insolent. + +PHERE. See Fere. + +PHLEGMA, watery distilled liquor (old chem. "water"). + +PHRENETIC, madman. + +PICARDIL, stiff upright collar fastened on to the coat (Whalley). + +PICT-HATCH, disreputable quarter of London. + +PIECE, person, used for woman or girl; a gold coin worth in Jonson's +time 20s. or 22s. + +PIECES OF EIGHT, Spanish coin: piastre equal to eight reals. + +PIED, variegated. + +PIE-POUDRES (Fr. pied-poudreux, dusty-foot), court held at fairs to +administer justice to itinerant vendors and buyers. + +PILCHER, term of contempt; one who wore a buff or leather jerkin, as did +the serjeants of the counter; a pilferer. + +PILED, pilled, peeled, bald. + +PILL'D, polled, fleeced. + +PIMLICO, "sometimes spoken of as a person--perhaps master of a house +famous for a particular ale" (Gifford). + +PINE, afflict, distress. + +PINK, stab with a weapon; pierce or cut in scallops for ornament. + +PINNACE, a go-between in infamous sense. + +PISMIRE, ant. + +PISTOLET, gold coin, worth about 6s. + +PITCH, height of a bird of prey's flight. + +PLAGUE, punishment, torment. + +PLAIN, lament. + +PLAIN SONG, simple melody. + +PLAISE, plaice. + +PLANET, "struck with a--," planets were supposed to have powers of +blasting or exercising secret influences. + +PLAUSIBLE, pleasing. + +PLAUSIBLY, approvingly. + +PLOT, plan. + +PLY, apply oneself to. + +POESIE, posy, motto inside a ring. + +POINT IN HIS DEVICE, exact in every particular. + +POINTS, tagged laces or cords for fastening the breeches to the doublet. + +POINT-TRUSSER, one who trussed (tied) his master's points (q.v.). + +POISE, weigh, balance. + +POKING-STICK, stick used for setting the plaits of ruffs. + +POLITIC, politician. + +POLITIC, judicious, prudent, political. + +POLITICIAN, plotter, intriguer. + +POLL, strip, plunder, gain by extortion. + +POMANDER, ball of perfume, worn or hung about the person to prevent +infection, or for foppery. + +POMMADO, vaulting on a horse without the aid of stirrups. + +PONTIC, sour. + +POPULAR, vulgar, of the populace. + +POPULOUS, numerous. + +PORT, gate; print of a deer's foot. + +PORT, transport. + +PORTAGUE, Portuguese gold coin, worth over 3 or 4 pounds. + +PORTCULLIS, "--of coin," some old coins have a portcullis stamped on +their reverse (Whalley). + +PORTENT, marvel, prodigy; sinister omen. + +PORTENTOUS, prophesying evil, threatening. + +PORTER, references appear "to allude to Parsons, the king's porter, who +was... near seven feet high" (Whalley). + +POSSESS, inform, acquaint. + +POST AND PAIR, a game at cards. + +POSY, motto. (See Poesie). + +POTCH, poach. + +POULT-FOOT, club-foot. + +POUNCE, claw, talon. + +PRACTICE, intrigue, concerted plot. + +PRACTISE, plot, conspire. + +PRAGMATIC, an expert, agent. + +PRAGMATIC, officious, conceited, meddling. + +PRECEDENT, record of proceedings. + +PRECEPT, warrant, summons. + +PRECISIAN(ISM), Puritan(ism), preciseness. + +PREFER, recommend. + +PRESENCE, presence chamber. + +PRESENT(LY), immediate(ly), without delay; at the present time; +actually. + +PRESS, force into service. + +PREST, ready. + +PRETEND, assert, allege. + +PREVENT, anticipate. + +PRICE, worth, excellence. + +PRICK, point, dot used in the writing of Hebrew and other languages. + +PRICK, prick out, mark off, select; trace, track; "--away," make off +with speed. + +PRIMERO, game of cards. + +PRINCOX, pert boy. + +PRINT, "in--," to the letter, exactly. + +PRISTINATE, former. + +PRIVATE, private interests. + +PRIVATE, privy, intimate. + +PROCLIVE, prone to. + +PRODIGIOUS, monstrous, unnatural. + +PRODIGY, monster. + +PRODUCED, prolonged. + +PROFESS, pretend. + +PROJECTION, the throwing of the "powder of projection" into the crucible +to turn the melted metal into gold or silver. + +PROLATE, pronounce drawlingly. + +PROPER, of good appearance, handsome; own, particular. + +PROPERTIES, stage necessaries. + +PROPERTY, duty; tool. + +PRORUMPED, burst out. + +PROTEST, vow, proclaim (an affected word of that time); formally declare +non-payment, etc., of bill of exchange; fig. failure of personal credit, +etc. + +PROVANT, soldier's allowance--hence, of common make. + +PROVIDE, foresee. + +PROVIDENCE, foresight, prudence. + +PUBLICATION, making a thing public of common property (N.E.D.). + +PUCKFIST, puff-ball; insipid, insignificant, boasting fellow. + +PUFF-WING, shoulder puff. + +PUISNE, judge of inferior rank, a junior. + +PULCHRITUDE, beauty. + +PUMP, shoe. + +PUNGENT, piercing. + +PUNTO, point, hit. + +PURCEPT, precept, warrant. + +PURE, fine, capital, excellent. + +PURELY, perfectly, utterly. + +PURL, pleat or fold of a ruff. + +PURSE-NET, net of which the mouth is drawn together with a string. + +PURSUIVANT, state messenger who summoned the persecuted seminaries; +warrant officer. + +PURSY, PURSINESS, shortwinded(ness). + +PUT, make a push, exert yourself (N.E.D.). + +PUT OFF, excuse, shift. + +PUT ON, incite, encourage; proceed with, take in hand, try. + +QUACKSALVER, quack. + +QUAINT, elegant, elaborated, ingenious, clever. + +QUAR, quarry. + +QUARRIED, seized, or fed upon, as prey. + +QUEAN, hussy, jade. + +QUEASY, hazardous, delicate. + +QUELL, kill, destroy. + +QUEST, request; inquiry. + +QUESTION, decision by force of arms. + +QUESTMAN, one appointed to make official inquiry. + +QUIB, QUIBLIN, quibble, quip. + +QUICK, the living. + +QUIDDIT, quiddity, legal subtlety. + +QUIRK, clever turn or trick. + +QUIT, requite, repay; acquit, absolve; rid; forsake, leave. + +QUITTER-BONE, disease of horses. + +QUODLING, codling. + +QUOIT, throw like a quoit, chuck. + +QUOTE, take note, observe, write down. + +RACK, neck of mutton or pork (Halliwell). + +RAKE UP, cover over. + +RAMP, rear, as a lion, etc. + +RAPT, carry away. + +RAPT, enraptured. + +RASCAL, young or inferior deer. + +RASH, strike with a glancing oblique blow, as a boar with its tusk. + +RATSEY, GOMALIEL, a famous highwayman. + +RAVEN, devour. + +REACH, understand. + +REAL, regal. + +REBATU, ruff, turned-down collar. + +RECTOR, RECTRESS, director, governor. + +REDARGUE, confute. + +REDUCE, bring back. + +REED, rede, counsel, advice. + +REEL, run riot. + +REFEL, refute. + +REFORMADOES, disgraced or disbanded soldiers. + +REGIMENT, government. + +REGRESSION, return. + +REGULAR ("Tale of a Tub"), regular noun (quibble) (N.E.D.). + +RELIGION, "make--of," make a point of, scruple of. + +RELISH, savour. + +REMNANT, scrap of quotation. + +REMORA, species of fish. + +RENDER, depict, exhibit, show. + +REPAIR, reinstate. + +REPETITION, recital, narration. + +REREMOUSE, bat. + +RESIANT, resident. + +RESIDENCE, sediment. + +RESOLUTION, judgment, decision. + +RESOLVE, inform; assure; prepare, make up one's mind; dissolve; come to +a decision, be convinced; relax, set at ease. + +RESPECTIVE, worthy of respect; regardful, discriminative. + +RESPECTIVELY, with reverence. + +RESPECTLESS, regardless. + +RESPIRE, exhale; inhale. + +RESPONSIBLE, correspondent. + +REST, musket-rest. + +REST, "set up one's--," venture one's all, one's last stake (from game +of primero). + +REST, arrest. + +RESTIVE, RESTY, dull, inactive. + +RETCHLESS(NESS), reckless(ness). + +RETIRE, cause to retire. + +RETRICATO, fencing term. + +RETRIEVE, rediscovery of game once sprung. + +RETURNS, ventures sent abroad, for the safe return of which so much +money is received. + +REVERBERATE, dissolve or blend by reflected heat. + +REVERSE, REVERSO, back-handed thrust, etc., in fencing. + +REVISE, reconsider a sentence. + +RHEUM, spleen, caprice. + +RIBIBE, abusive term for an old woman. + +RID, destroy, do away with. + +RIFLING, raffling, dicing. + +RING, "cracked within the--," coins so cracked were unfit for currency. + +RISSE, risen, rose. + +RIVELLED, wrinkled. + +ROARER, swaggerer. + +ROCHET, fish of the gurnet kind. + +ROCK, distaff. + +RODOMONTADO, braggadocio. + +ROGUE, vagrant, vagabond. + +RONDEL, "a round mark in the score of a public-house" (Nares); roundel. + +ROOK, sharper; fool, dupe. + +ROSAKER, similar to ratsbane. + +ROSA-SOLIS, a spiced spirituous liquor. + +ROSES, rosettes. + +ROUND, "gentlemen of the--," officers of inferior rank. + +ROUND TRUNKS, trunk hose, short loose breeches reaching almost or quite +to the knees. + +ROUSE, carouse, bumper. + +ROVER, arrow used for shooting at a random mark at uncertain distance. + +ROWLY-POWLY, roly-poly. + +RUDE, RUDENESS, unpolished, rough(ness), coarse(ness). + +RUFFLE, flaunt, swagger. + +RUG, coarse frieze. + +RUG-GOWNS, gown made of rug. + +RUSH, reference to rushes with which the floors were then strewn. + +RUSHER, one who strewed the floor with rushes. + +RUSSET, homespun cloth of neutral or reddish-brown colour. + +SACK, loose, flowing gown. + +SADLY, seriously, with gravity. + +SAD(NESS), sober, serious(ness). + +SAFFI, bailiffs. + +ST. THOMAS A WATERINGS, place in Surrey where criminals were executed. + +SAKER, small piece of ordnance. + +SALT, leap. + +SALT, lascivious. + +SAMPSUCHINE, sweet marjoram. + +SARABAND, a slow dance. + +SATURNALS, began December 17. + +SAUCINESS, presumption, insolence. + +SAUCY, bold, impudent, wanton. + +SAUNA (Lat.), a gesture of contempt. + +SAVOUR, perceive; gratify, please; to partake of the nature. + +SAY, sample. + +SAY, assay, try. + +SCALD, word of contempt, implying dirt and disease. + +SCALLION, shalot, small onion. + +SCANDERBAG, "name which the Turks (in allusion to Alexander the Great) +gave to the brave Castriot, chief of Albania, with whom they had +continual wars. His romantic life had just been translated" (Gifford). + +SCAPE, escape. + +SCARAB, beetle. + +SCARTOCCIO, fold of paper, cover, cartouch, cartridge. + +SCONCE, head. + +SCOPE, aim. + +SCOT AND LOT, tax, contribution (formerly a parish assessment). + +SCOTOMY, dizziness in the head. + +SCOUR, purge. + +SCOURSE, deal, swap. + +SCRATCHES, disease of horses. + +SCROYLE, mean, rascally fellow. + +SCRUPLE, doubt. + +SEAL, put hand to the giving up of property or rights. + +SEALED, stamped as genuine. + +SEAM-RENT, ragged. + +SEAMING LACES, insertion or edging. + +SEAR UP, close by searing, burning. + +SEARCED, sifted. + +SECRETARY, able to keep a secret. + +SECULAR, worldly, ordinary, commonplace. + +SECURE, confident. + +SEELIE, happy, blest. + +SEISIN, legal term: possession. + +SELLARY, lewd person. + +SEMBLABLY, similarly. + +SEMINARY, a Romish priest educated in a foreign seminary. + +SENSELESS, insensible, without sense or feeling. + +SENSIBLY, perceptibly. + +SENSIVE, sensitive. + +SENSUAL, pertaining to the physical or material. + +SERENE, harmful dew of evening. + +SERICON, red tincture. + +SERVANT, lover. + +SERVICES, doughty deeds of arms. + +SESTERCE, Roman copper coin. + +SET, stake, wager. + +SET UP, drill. + +SETS, deep plaits of the ruff. + +SEWER, officer who served up the feast, and brought water for the hands +of the guests. + +SHAPE, a suit by way of disguise. + +SHIFT, fraud, dodge. + +SHIFTER, cheat. + +SHITTLE, shuttle; "shittle-cock," shuttlecock. + +SHOT, tavern reckoning. + +SHOT-CLOG, one only tolerated because he paid the shot (reckoning) for +the rest. + +SHOT-FREE, scot-free, not having to pay. + +SHOVE-GROAT, low kind of gambling amusement, perhaps somewhat of the +nature of pitch and toss. + +SHOT-SHARKS, drawers. + +SHREWD, mischievous, malicious, curst. + +SHREWDLY, keenly, in a high degree. + +SHRIVE, sheriff; posts were set up before his door for proclamations, or +to indicate his residence. + +SHROVING, Shrovetide, season of merriment. + +SIGILLA, seal, mark. + +SILENCED BRETHERN, MINISTERS, those of the Church or Nonconformists who +had been silenced, deprived, etc. + +SILLY, simple, harmless. + +SIMPLE, silly, witless; plain, true. + +SIMPLES, herbs. + +SINGLE, term of chase, signifying when the hunted stag is separated from +the herd, or forced to break covert. + +SINGLE, weak, silly. + +SINGLE-MONEY, small change. + +SINGULAR, unique, supreme. + +SI-QUIS, bill, advertisement. + +SKELDRING, getting money under false pretences; swindling. + +SKILL, "it--s not," matters not. + +SKINK(ER), pour, draw(er), tapster. + +SKIRT, tail. + +SLEEK, smooth. + +SLICE, fire shovel or pan (dial.). + +SLICK, sleek, smooth. + +'SLID, 'SLIGHT, 'SPRECIOUS, irreverent oaths. + +SLIGHT, sleight, cunning, cleverness; trick. + +SLIP, counterfeit coin, bastard. + +SLIPPERY, polished and shining. + +SLOPS, large loose breeches. + +SLOT, print of a stag's foot. + +SLUR, put a slur on; cheat (by sliding a die in some way). + +SMELT, gull, simpleton. + +SNORLE, "perhaps snarl, as Puppy is addressed" (Cunningham). + +SNOTTERIE, filth. + +SNUFF, anger, resentment; "take in--," take offence at. + +SNUFFERS, small open silver dishes for holding snuff, or receptacle for +placing snuffers in (Halliwell). + +SOCK, shoe worn by comic actors. + +SOD, seethe. + +SOGGY, soaked, sodden. + +SOIL, "take--," said of a hunted stag when he takes to the water for +safety. + +SOL, sou. + +SOLDADOES, soldiers. + +SOLICIT, rouse, excite to action. + +SOOTH, flattery, cajolery. + +SOOTHE, flatter, humour. + +SOPHISTICATE, adulterate. + +SORT, company, party; rank, degree. + +SORT, suit, fit; select. + +SOUSE, ear. + +SOUSED ("Devil is an Ass"), fol. read "sou't," which Dyce interprets +as "a variety of the spelling of "shu'd": to "shu" is to scare a bird +away." (See his "Webster," page 350). + +SOWTER, cobbler. + +SPAGYRICA, chemistry according to the teachings of Paracelsus. + +SPAR, bar. + +SPEAK, make known, proclaim. + +SPECULATION, power of sight. + +SPED, to have fared well, prospered. + +SPEECE, species. + +SPIGHT, anger, rancour. + +SPINNER, spider. + +SPINSTRY, lewd person. + +SPITTLE, hospital, lazar-house. + +SPLEEN, considered the seat of the emotions. + +SPLEEN, caprice, humour, mood. + +SPRUNT, spruce. + +SPURGE, foam. + +SPUR-RYAL, gold coin worth 15s. + +SQUIRE, square, measure; "by the--," exactly. + +STAGGERING, wavering, hesitating. + +STAIN, disparagement, disgrace. + +STALE, decoy, or cover, stalking-horse. + +STALE, make cheap, common. + +STALK, approach stealthily or under cover. + +STALL, forestall. + +STANDARD, suit. + +STAPLE, market, emporium. + +STARK, downright. + +STARTING-HOLES, loopholes of escape. + +STATE, dignity; canopied chair of state; estate. + +STATUMINATE, support vines by poles or stakes; used by Pliny (Gifford). + +STAY, gag. + +STAY, await; detain. + +STICKLER, second or umpire. + +STIGMATISE, mark, brand. + +STILL, continual(ly), constant(ly). + +STINKARD, stinking fellow. + +STINT, stop. + +STIPTIC, astringent. + +STOCCATA, thrust in fencing. + +STOCK-FISH, salted and dried fish. + +STOMACH, pride, valour. + +STOMACH, resent. + +STOOP, swoop down as a hawk. + +STOP, fill, stuff. + +STOPPLE, stopper. + +STOTE, stoat, weasel. + +STOUP, stoop, swoop=bow. + +STRAIGHT, straightway. + +STRAMAZOUN (Ital. stramazzone), a down blow, as opposed to the thrust. + +STRANGE, like a stranger, unfamiliar. + +STRANGENESS, distance of behaviour. + +STREIGHTS, OR BERMUDAS, labyrinth of alleys and courts in the Strand. + +STRIGONIUM, Grau in Hungary, taken from the Turks in 1597. + +STRIKE, balance (accounts). + +STRINGHALT, disease of horses. + +STROKER, smoother, flatterer. + +STROOK, p.p. of "strike." + +STRUMMEL-PATCHED, strummel is glossed in dialect dicts. as "a long, +loose and dishevelled head of hair." + +STUDIES, studious efforts. + +STYLE, title; pointed instrument used for writing on wax tablets. + +SUBTLE, fine, delicate, thin; smooth, soft. + +SUBTLETY (SUBTILITY), subtle device. + +SUBURB, connected with loose living. + +SUCCUBAE, demons in form of women. + +SUCK, extract money from. + +SUFFERANCE, suffering. + +SUMMED, term of falconry: with full-grown plumage. + +SUPER-NEGULUM, topers turned the cup bottom up when it was empty. + +SUPERSTITIOUS, over-scrupulous. + +SUPPLE, to make pliant. + +SURBATE, make sore with walking. + +SURCEASE, cease. + +SUR-REVERENCE, save your reverence. + +SURVISE, peruse. + +SUSCITABILITY, excitability. + +SUSPECT, suspicion. + +SUSPEND, suspect. + +SUSPENDED, held over for the present. + +SUTLER, victualler. + +SWAD, clown, boor. + +SWATH BANDS, swaddling clothes. + +SWINGE, beat. + +TABERD, emblazoned mantle or tunic worn by knights and heralds. + +TABLE(S), "pair of--," tablets, note-book. + +TABOR, small drum. + +TABRET, tabor. + +TAFFETA, silk; "tuft-taffeta," a more costly silken fabric. + +TAINT, "--a staff," break a lance at tilting in an unscientific or +dishonourable manner. + +TAKE IN, capture, subdue. + +TAKE ME WITH YOU, let me understand you. + +TAKE UP, obtain on credit, borrow. + +TALENT, sum or weight of Greek currency. + +TALL, stout, brave. + +TANKARD-BEARERS, men employed to fetch water from the conduits. + +TARLETON, celebrated comedian and jester. + +TARTAROUS, like a Tartar. + +TAVERN-TOKEN, "to swallow a--," get drunk. + +TELL, count. + +TELL-TROTH, truth-teller. + +TEMPER, modify, soften. + +TENDER, show regard, care for, cherish; manifest. + +TENT, "take--," take heed. + +TERSE, swept and polished. + +TERTIA, "that portion of an army levied out of one particular district +or division of a country" (Gifford). + +TESTON, tester, coin worth 6d. + +THIRDBOROUGH, constable. + +THREAD, quality. + +THREAVES, droves. + +THREE-FARTHINGS, piece of silver current under Elizabeth. + +THREE-PILED, of finest quality, exaggerated. + +THRIFTILY, carefully. + +THRUMS, ends of the weaver's warp; coarse yarn made from. + +THUMB-RING, familiar spirits were supposed capable of being carried +about in various ornaments or parts of dress. + +TIBICINE, player on the tibia, or pipe. + +TICK-TACK, game similar to backgammon. + +TIGHTLY, promptly. + +TIM, (?) expressive of a climax of nonentity. + +TIMELESS, untimely, unseasonable. + +TINCTURE, an essential or spiritual principle supposed by alchemists +to be transfusible into material things; an imparted characteristic or +tendency. + +TINK, tinkle. + +TIPPET, "turn--," change behaviour or way of life. + +TIPSTAFF, staff tipped with metal. + +TIRE, head-dress. + +TIRE, feed ravenously, like a bird of prey. + +TITILLATION, that which tickles the senses, as a perfume. + +TOD, fox. + +TOILED, worn out, harassed. + +TOKEN, piece of base metal used in place of very small coin, when this +was scarce. + +TONNELS, nostrils. + +TOP, "parish--," large top kept in villages for amusement and exercise +in frosty weather when people were out of work. + +TOTER, tooter, player on a wind instrument. + +TOUSE, pull, rend. + +TOWARD, docile, apt; on the way to; as regards; present, at hand. + +TOY, whim; trick; term of contempt. + +TRACT, attraction. + +TRAIN, allure, entice. + +TRANSITORY, transmittable. + +TRANSLATE, transform. + +TRAY-TRIP, game at dice (success depended on throwing a three) (Nares). + +TREACHOUR (TRECHER), traitor. + +TREEN, wooden. + +TRENCHER, serving-man who carved or served food. + +TRENDLE-TAIL, trundle-tail, curly-tailed. + +TRICK (TRICKING), term of heraldry: to draw outline of coat of arms, +etc., without blazoning. + +TRIG, a spruce, dandified man. + +TRILL, trickle. + +TRILLIBUB, tripe, any worthless, trifling thing. + +TRIPOLY, "come from--," able to perform feats of agility, a "jest +nominal," depending on the first part of the word (Gifford). + +TRITE, worn, shabby. + +TRIVIA, three-faced goddess (Hecate). + +TROJAN, familiar term for an equal or inferior; thief. + +TROLL, sing loudly. + +TROMP, trump, deceive. + +TROPE, figure of speech. + +TROW, think, believe, wonder. + +TROWLE, troll. + +TROWSES, breeches, drawers. + +TRUCHMAN, interpreter. + +TRUNDLE, JOHN, well-known printer. + +TRUNDLE, roll, go rolling along. + +TRUNDLING CHEATS, term among gipsies and beggars for carts or coaches +(Gifford). + +TRUNK, speaking-tube. + +TRUSS, tie the tagged laces that fastened the breeches to the doublet. + +TUBICINE, trumpeter. + +TUCKET (Ital. toccato), introductory flourish on the trumpet. + +TUITION, guardianship. + +TUMBLER, a particular kind of dog so called from the mode of his +hunting. + +TUMBREL-SLOP, loose, baggy breeches. + +TURD, excrement. + +TUSK, gnash the teeth (Century Dict.). + +TWIRE, peep, twinkle. + +TWOPENNY ROOM, gallery. + +TYRING-HOUSE, attiring-room. + +ULENSPIEGEL. See Howleglass. + +UMBRATILE, like or pertaining to a shadow. + +UMBRE, brown dye. + +UNBATED, unabated. + +UNBORED, (?) excessively bored. + +UNCARNATE, not fleshly, or of flesh. + +UNCOUTH, strange, unusual. + +UNDERTAKER, "one who undertook by his influence in the House of Commons +to carry things agreeably to his Majesty's wishes" (Whalley); one who +becomes surety for. + +UNEQUAL, unjust. + +UNEXCEPTED, no objection taken at. + +UNFEARED, unaffrighted. + +UNHAPPILY, unfortunately. + +UNICORN'S HORN, supposed antidote to poison. + +UNKIND(LY), unnatural(ly). + +UNMANNED, untamed (term in falconry). + +UNQUIT, undischarged. + +UNREADY, undressed. + +UNRUDE, rude to an extreme. + +UNSEASONED, unseasonable, unripe. + +UNSEELED, a hawk's eyes were "seeled" by sewing the eyelids together +with fine thread. + +UNTIMELY, unseasonably. + +UNVALUABLE, invaluable. + +UPBRAID, make a matter of reproach. + +UPSEE, heavy kind of Dutch beer (Halliwell); "--Dutch," in the Dutch +fashion. + +UPTAILS ALL, refrain of a popular song. + +URGE, allege as accomplice, instigator. + +URSHIN, URCHIN, hedgehog. + +USE, interest on money; part of sermon dealing with the practical +application of doctrine. + +USE, be in the habit of, accustomed to; put out to interest. + +USQUEBAUGH, whisky. + +USURE, usury. + +UTTER, put in circulation, make to pass current; put forth for sale. + +VAIL, bow, do homage. + +VAILS, tips, gratuities. + +VALL. See Vail. + +VALLIES (Fr. valise), portmanteau, bag. + +VAPOUR(S) (n. and v.), used affectedly, like "humour," in many senses, +often very vaguely and freely ridiculed by Jonson; humour, disposition, +whims, brag(ging), hector(ing), etc. + +VARLET, bailiff, or serjeant-at-mace. + +VAUT, vault. + +VEER (naut.), pay out. + +VEGETAL, vegetable; person full of life and vigour. + +VELLUTE, velvet. + +VELVET CUSTARD. Cf. "Taming of the Shrew," iv. 3, 82, "custard coffin," +coffin being the raised crust over a pie. + +VENT, vend, sell; give outlet to; scent, snuff up. + +VENUE, bout (fencing term). + +VERDUGO (Span.), hangman, executioner. + +VERGE, "in the--," within a certain distance of the court. + +VEX, agitate, torment. + +VICE, the buffoon of old moralities; some kind of machinery for moving a +puppet (Gifford). + +VIE AND REVIE, to hazard a certain sum, and to cover it with a larger +one. + +VINCENT AGAINST YORK, two heralds-at-arms. + +VINDICATE, avenge. + +VIRGE, wand, rod. + +VIRGINAL, old form of piano. + +VIRTUE, valour. + +VIVELY, in lifelike manner, livelily. + +VIZARD, mask. + +VOGUE, rumour, gossip. + +VOICE, vote. + +VOID, leave, quit. + +VOLARY, cage, aviary. + +VOLLEY, "at--," "o' the volee," at random (from a term of tennis). + +VORLOFFE, furlough. + +WADLOE, keeper of the Devil Tavern, where Jonson and his friends met in +the 'Apollo' room (Whalley). + +WAIGHTS, waits, night musicians, "band of musical watchmen" (Webster), +or old form of "hautboys." + +WANNION, "vengeance," "plague" (Nares). + +WARD, a famous pirate. + +WARD, guard in fencing. + +WATCHET, pale, sky blue. + +WEAL, welfare. + +WEED, garment. + +WEFT, waif. + +WEIGHTS, "to the gold--," to every minute particular. + +WELKIN, sky. + +WELL-SPOKEN, of fair speech. + +WELL-TORNED, turned and polished, as on a wheel. + +WELT, hem, border of fur. + +WHER, whether. + +WHETSTONE, GEORGE, an author who lived 1544(?) to 1587(?). + +WHIFF, a smoke, or drink; "taking the--," inhaling the tobacco smoke or +some such accomplishment. + +WHIGH-HIES, neighings, whinnyings. + +WHIMSY, whim, "humour." + +WHINILING, (?) whining, weakly. + +WHIT, (?) a mere jot. + +WHITEMEAT, food made of milk or eggs. + +WICKED, bad, clumsy. + +WICKER, pliant, agile. + +WILDING, esp. fruit of wild apple or crab tree (Webster). + +WINE, "I have the--for you," Prov.: I have the perquisites (of the +office) which you are to share (Cunningham). + +WINNY, "same as old word "wonne," to stay, etc." (Whalley). + +WISE-WOMAN, fortune-teller. + +WISH, recommend. + +WISS (WUSSE), "I--," certainly, of a truth. + +WITHOUT, beyond. + +WITTY, cunning, ingenious, clever. + +WOOD, collection, lot. + +WOODCOCK, term of contempt. + +WOOLSACK ("--pies"), name of tavern. + +WORT, unfermented beer. + +WOUNDY, great, extreme. + +WREAK, revenge. + +WROUGHT, wrought upon. + +WUSSE, interjection. (See Wiss). + +YEANLING, lamb, kid. + +ZANY, an inferior clown, who attended upon the chief fool and mimicked +his tricks. + + + + + + +End of the Project Gutenberg EBook of Volpone; Or, The Fox, by Ben Jonson + +*** END OF THIS PROJECT GUTENBERG EBOOK VOLPONE; OR, THE FOX *** + +***** This file should be named 4039.txt or 4039.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/4/0/3/4039/ + +Produced by Amy E Zelmer, Robert Prince, Sue Asscher + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/4039.zip b/4039.zip Binary files differnew file mode 100644 index 0000000..c5366c4 --- /dev/null +++ b/4039.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..5924ed0 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #4039 (https://www.gutenberg.org/ebooks/4039) diff --git a/old/vlpnr10.txt b/old/vlpnr10.txt new file mode 100644 index 0000000..244cee3 --- /dev/null +++ b/old/vlpnr10.txt @@ -0,0 +1,11226 @@ +The Project Gutenberg Etext of Volpone; Or, The Fox +by Ben Jonson +(#5 in our series by Ben Jonson) + +Copyright laws are changing all over the world, be sure to check +the laws for your country before redistributing these files!!! + +Please take a look at the important information in this header. +We encourage you to keep this file on your own disk, keeping an +electronic path open for the next readers. + +Please do not remove this. + +This should be the first thing seen when anyone opens the book. +Do not change or edit it without written permission. The words +are carefully chosen to provide users with the information they +need about what they can legally do with the texts. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**Etexts Readable By Both Humans and By Computers, Since 1971** + +*****These Etexts Are Prepared By Thousands of Volunteers!***** + +Information on contacting Project Gutenberg to get Etexts, and +further information is included below, including for donations. + +The Project Gutenberg Literary Archive Foundation is a 501(c)(3) +organization with EIN [Employee Identification Number] 64-6221541 + +Title: Volpone; Or, The Fox + +Author: Ben Jonson + +Release Date: May, 2003 [Etext #4039] +[Yes, we are about one year ahead of schedule] +[The actual date this file first posted = 10/19/01] + +Edition: 10 + +Language: English + +The Project Gutenberg Etext of Volpone; Or, The Fox +by Ben Jonson +******This file should be named vlpnr10.txt or vlpnr10.zip****** + +Corrected EDITIONS of our etexts get a new NUMBER, vlpnr11.txt +VERSIONS based on separate sources get new LETTER, vlpnr10a.txt + +This Project Gutenberg Etext Prepared by: +Amy E Zelmer <a.zelmer@cqu.edu.au> +Robert Prince <rkp277@msn.com> +Sue Asscher <asschers@dingoblue.net.au> + +Project Gutenberg Etexts are usually created from multiple editions, +all of which are in the Public Domain in the United States, unless a +copyright notice is included. Therefore, we usually do NOT keep any +of these books in compliance with any particular paper edition. + +We are now trying to release all our books one year in advance +of the official release dates, leaving time for better editing. +Please be encouraged to send us error messages even years after +the official publication date. + +Please note neither this listing nor its contents are final til +midnight of the last day of the month of any such announcement. +The official release date of all Project Gutenberg Etexts is at +Midnight, Central Time, of the last day of the stated month. A +preliminary version may often be posted for suggestion, comment +and editing by those who wish to do so. + +Most people start at our sites at: +http://gutenberg.net +http://promo.net/pg + + +Those of you who want to download any Etext before announcement +can surf to them as follows, and just download by date; this is +also a good way to get them instantly upon announcement, as the +indexes our cataloguers produce obviously take a while after an +announcement goes out in the Project Gutenberg Newsletter. + +http://www.ibiblio.org/gutenberg/etext03 +or +ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03 + +Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90 + +Just search by the first five letters of the filename you want, +as it appears in our Newsletters. + + +Information about Project Gutenberg (one page) + +We produce about two million dollars for each hour we work. The +time it takes us, a rather conservative estimate, is fifty hours +to get any etext selected, entered, proofread, edited, copyright +searched and analyzed, the copyright letters written, etc. This +projected audience is one hundred million readers. If our value +per text is nominally estimated at one dollar then we produce $2 +million dollars per hour this year as we release fifty new Etext +files per month, or 500 more Etexts in 2000 for a total of 3000+ +If they reach just 1-2% of the world's population then the total +should reach over 300 billion Etexts given away by year's end. + +The Goal of Project Gutenberg is to Give Away One Trillion Etext +Files by December 31, 2001. [10,000 x 100,000,000 = 1 Trillion] +This is ten thousand titles each to one hundred million readers, +which is only about 4% of the present number of computer users. + +At our revised rates of production, we will reach only one-third +of that goal by the end of 2001, or about 4,000 Etexts unless we +manage to get some real funding. + +The Project Gutenberg Literary Archive Foundation has been created +to secure a future for Project Gutenberg into the next millennium. + +We need your donations more than ever! + +As of July 12, 2001 contributions are only being solicited from people in: +Arkansas, Colorado, Connecticut, Delaware, Florida, Georgia, Hawaii, Idaho, +Illinois, Indiana, Iowa, Kansas, Louisiana, Maine, Massachusetts, Minnesota, +Missouri, Montana, Nebraska, New Mexico, Nevada, New Jersey, New York, North +Carolina, Ohio, Oklahoma, Oregon, Rhode Island, South Carolina, South Dakota, +Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, +Wisconsin, and Wyoming. + +We have filed in about 45 states now, but these are the only ones +that have responded. + +As the requirements for other states are met, +additions to this list will be made and fund raising +will begin in the additional states. Please feel +free to ask to check the status of your state. + +In answer to various questions we have received on this: + +We are constantly working on finishing the paperwork +to legally request donations in all 50 states. If +your state is not listed and you would like to know +if we have added it since the list you have, just ask. + +While we cannot solicit donations from people in +states where we are not yet registered, we know +of no prohibition against accepting donations +from donors in these states who approach us with +an offer to donate. + + +International donations are accepted, +but we don't know ANYTHING about how +to make them tax-deductible, or +even if they CAN be made deductible, +and don't have the staff to handle it +even if there are ways. + +All donations should be made to: + +Project Gutenberg Literary Archive Foundation +PMB 113 +1739 University Ave. +Oxford, MS 38655-4109 + + +The Project Gutenberg Literary Archive Foundation is a 501(c)(3) +organization with EIN [Employee Identification Number] 64-6221541, +and has been approved as a 501(c)(3) organization by the US Internal +Revenue Service (IRS). Donations are tax-deductible to the maximum +extent permitted by law. As the requirements for other states are met, +additions to this list will be made and fund raising will begin in the +additional states. + +We need your donations more than ever! + +You can get up to date donation information at: + +http://www.gutenberg.net/donation.html + + +*** + +If you can't reach Project Gutenberg, +you can always email directly to: + +Michael S. Hart <hart@pobox.com> + +hart@pobox.com forwards to hart@prairienet.org and archive.org +if your mail bounces from archive.org, I will still see it, if +it bounces from prairienet.org, better resend later on. . . . + +Prof. Hart will answer or forward your message. + +We would prefer to send you information by email. + + +*** + + +Example command-line FTP session: + +ftp ftp.ibiblio.org +login: anonymous +password: your@login +cd pub/docs/books/gutenberg +cd etext90 through etext99 or etext00 through etext02, etc. +dir [to see files] +get or mget [to get files. . .set bin for zip files] +GET GUTINDEX.?? [to get a year's listing of books, e.g., GUTINDEX.99] +GET GUTINDEX.ALL [to get a listing of ALL books] + + +**The Legal Small Print** + + +(Three Pages) + +***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START*** +Why is this "Small Print!" statement here? You know: lawyers. +They tell us you might sue us if there is something wrong with +your copy of this etext, even if you got it for free from +someone other than us, and even if what's wrong is not our +fault. So, among other things, this "Small Print!" statement +disclaims most of our liability to you. It also tells you how +you may distribute copies of this etext if you want to. + +*BEFORE!* YOU USE OR READ THIS ETEXT +By using or reading any part of this PROJECT GUTENBERG-tm +etext, you indicate that you understand, agree to and accept +this "Small Print!" statement. If you do not, you can receive +a refund of the money (if any) you paid for this etext by +sending a request within 30 days of receiving it to the person +you got it from. If you received this etext on a physical +medium (such as a disk), you must return it with your request. + +ABOUT PROJECT GUTENBERG-TM ETEXTS +This PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG-tm etexts, +is a "public domain" work distributed by Professor Michael S. Hart +through the Project Gutenberg Association (the "Project"). +Among other things, this means that no one owns a United States copyright +on or for this work, so the Project (and you!) can copy and +distribute it in the United States without permission and +without paying copyright royalties. Special rules, set forth +below, apply if you wish to copy and distribute this etext +under the "PROJECT GUTENBERG" trademark. + +Please do not use the "PROJECT GUTENBERG" trademark to market +any commercial products without permission. + +To create these etexts, the Project expends considerable +efforts to identify, transcribe and proofread public domain +works. Despite these efforts, the Project's etexts and any +medium they may be on may contain "Defects". Among other +things, Defects may take the form of incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged +disk or other etext medium, a computer virus, or computer +codes that damage or cannot be read by your equipment. + +LIMITED WARRANTY; DISCLAIMER OF DAMAGES +But for the "Right of Replacement or Refund" described below, +[1] Michael Hart and the Foundation (and any other party you may +receive this etext from as a PROJECT GUTENBERG-tm etext) disclaims +all liability to you for damages, costs and expenses, including +legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR +UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, +INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE +OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE +POSSIBILITY OF SUCH DAMAGES. + +If you discover a Defect in this etext within 90 days of +receiving it, you can receive a refund of the money (if any) +you paid for it by sending an explanatory note within that +time to the person you received it from. If you received it +on a physical medium, you must return it with your note, and +such person may choose to alternatively give you a replacement +copy. If you received it electronically, such person may +choose to alternatively give you a second opportunity to +receive it electronically. + +THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS +TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A +PARTICULAR PURPOSE. + +Some states do not allow disclaimers of implied warranties or +the exclusion or limitation of consequential damages, so the +above disclaimers and exclusions may not apply to you, and you +may have other legal rights. + +INDEMNITY +You will indemnify and hold Michael Hart, the Foundation, +and its trustees and agents, and any volunteers associated +with the production and distribution of Project Gutenberg-tm +texts harmless, from all liability, cost and expense, including +legal fees, that arise directly or indirectly from any of the +following that you do or cause: [1] distribution of this etext, +[2] alteration, modification, or addition to the etext, +or [3] any Defect. + +DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" +You may distribute copies of this etext electronically, or by +disk, book or any other medium if you either delete this +"Small Print!" and all other references to Project Gutenberg, +or: + +[1] Only give exact copies of it. Among other things, this + requires that you do not remove, alter or modify the + etext or this "small print!" statement. You may however, + if you wish, distribute this etext in machine readable + binary, compressed, mark-up, or proprietary form, + including any form resulting from conversion by word + processing or hypertext software, but only so long as + *EITHER*: + + [*] The etext, when displayed, is clearly readable, and + does *not* contain characters other than those + intended by the author of the work, although tilde + (~), asterisk (*) and underline (_) characters may + be used to convey punctuation intended by the + author, and additional characters may be used to + indicate hypertext links; OR + + [*] The etext may be readily converted by the reader at + no expense into plain ASCII, EBCDIC or equivalent + form by the program that displays the etext (as is + the case, for instance, with most word processors); + OR + + [*] You provide, or agree to also provide on request at + no additional cost, fee or expense, a copy of the + etext in its original plain ASCII form (or in EBCDIC + or other equivalent proprietary form). + +[2] Honor the etext refund and replacement provisions of this + "Small Print!" statement. + +[3] Pay a trademark license fee to the Foundation of 20% of the + gross profits you derive calculated using the method you + already use to calculate your applicable taxes. If you + don't derive profits, no royalty is due. Royalties are + payable to "Project Gutenberg Literary Archive Foundation" + the 60 days following each date you prepare (or were + legally required to prepare) your annual (or equivalent + periodic) tax return. Please contact us beforehand to + let us know your plans and to work out the details. + +WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? +Project Gutenberg is dedicated to increasing the number of +public domain and licensed works that can be freely distributed +in machine readable form. + +The Project gratefully accepts contributions of money, time, +public domain materials, or royalty free copyright licenses. +Money should be paid to the: +"Project Gutenberg Literary Archive Foundation." + +If you are interested in contributing scanning equipment or +software or other items, please contact Michael Hart at: +hart@pobox.com + +[Portions of this header are copyright (C) 2001 by Michael S. Hart +and may be reprinted only when these Etexts are free of all fees.] +[Project Gutenberg is a TradeMark and may not be used in any sales +of Project Gutenberg Etexts or other materials be they hardware or +software or any other related product without express permission.] + +*END THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.07/27/01*END* + + + + + + + + + + + +This Project Gutenberg Etext Prepared by: +Amy E Zelmer <a.zelmer@cqu.edu.au> +Robert Prince <rkp277@msn.com> +Sue Asscher <asschers@dingoblue.net.au> + + + + + +VOLPONE; OR, THE FOX + +BY BEN JONSON + + + + + +INTRODUCTION + + + + +The greatest of English dramatists except Shakespeare, the first +literary dictator and poet-laureate, a writer of verse, prose, +satire, and criticism who most potently of all the men of his time +affected the subsequent course of English letters: such was Ben +Jonson, and as such his strong personality assumes an interest to +us almost unparalleled, at least in his age. + +Ben Jonson came of the stock that was centuries after to give to +the world Thomas Carlyle; for Jonson's grandfather was of +Annandale, over the Solway, whence he migrated to England. +Jonson's father lost his estate under Queen Mary, "having been cast +into prison and forfeited." He entered the church, but died a +month before his illustrious son was born, leaving his widow and +child in poverty. Jonson's birthplace was Westminster, and the +time of his birth early in 1573. He was thus nearly ten years +Shakespeare's junior, and less well off, if a trifle better born. +But Jonson did not profit even by this slight advantage. His +mother married beneath her, a wright or bricklayer, and Jonson was +for a time apprenticed to the trade. As a youth he attracted the +attention of the famous antiquary, William Camden, then usher at +Westminster School, and there the poet laid the solid foundations +of his classical learning. Jonson always held Camden in +veneration, acknowledging that to him he owed, + +"All that I am in arts, all that I know;" + +and dedicating his first dramatic success, "Every Man in His +Humour," to him. It is doubtful whether Jonson ever went to either +university, though Fuller says that he was "statutably admitted +into St. John's College, Cambridge." He tells us that he took no +degree, but was later "Master of Arts in both the universities, by +their favour, not his study." When a mere youth Jonson enlisted as +a soldier, trailing his pike in Flanders in the protracted wars of +William the Silent against the Spanish. Jonson was a large and +raw-boned lad; he became by his own account in time exceedingly +bulky. In chat with his friend William Drummond of Hawthornden, +Jonson told how "in his service in the Low Countries he had, in the +face of both the camps, killed an enemy, and taken opima spolia +from him;" and how "since his coming to England, being appealed to +the fields, he had killed his adversary which had hurt him in the +arm and whose sword was ten inches longer than his." Jonson's +reach may have made up for the lack of his sword; certainly his +prowess lost nothing in the telling. Obviously Jonson was brave, +combative, and not averse to talking of himself and his doings. + +In 1592, Jonson returned from abroad penniless. Soon after he +married, almost as early and quite as imprudently as Shakespeare. +He told Drummond curtly that "his wife was a shrew, yet honest"; +for some years he lived apart from her in the household of Lord +Albany. Yet two touching epitaphs among Jonson's "Epigrams," "On +my first daughter," and "On my first son," attest the warmth of the +poet's family affections. The daughter died in infancy, the son of +the plague; another son grew up to manhood little credit to his +father whom he survived. We know nothing beyond this of Jonson's +domestic life. + +How soon Jonson drifted into what we now call grandly "the +theatrical profession" we do not know. In 1593, Marlowe made his +tragic exit from life, and Greene, Shakespeare's other rival on the +popular stage, had preceded Marlowe in an equally miserable death +the year before. Shakespeare already had the running to himself. +Jonson appears first in the employment of Philip Henslowe, the +exploiter of several troupes of players, manager, and father-in-law +of the famous actor, Edward Alleyn. From entries in "Henslowe's +Diary," a species of theatrical account book which has been handed +down to us, we know that Jonson was connected with the Admiral's +men; for he borrowed 4 pounds of Henslowe, July 28, 1597, paying +back 3s. 9d. on the same day on account of his "share" (in what is +not altogether clear); while later, on December 3, of the same +year, Henslowe advanced 20s. to him "upon a book which he showed +the plot unto the company which he promised to deliver unto the +company at Christmas next." In the next August Jonson was in +collaboration with Chettle and Porter in a play called "Hot Anger +Soon Cold." All this points to an association with Henslowe of +some duration, as no mere tyro would be thus paid in advance upon +mere promise. From allusions in Dekker's play, "Satiromastix," it +appears that Jonson, like Shakespeare, began life as an actor, and +that he "ambled in a leather pitch by a play-wagon" taking at one +time the part of Hieronimo in Kyd's famous play, "The Spanish +Tragedy." By the beginning of 1598, Jonson, though still in needy +circumstances, had begun to receive recognition. Francis Meres-- +well known for his "Comparative Discourse of our English Poets with +the Greek, Latin, and Italian Poets," printed in 1598, and for his +mention therein of a dozen plays of Shakespeare by title--accords +to Ben Jonson a place as one of "our best in tragedy," a matter of +some surprise, as no known tragedy of Jonson from so early a date +has come down to us. That Jonson was at work on tragedy, however, +is proved by the entries in Henslowe of at least three tragedies, +now lost, in which he had a hand. These are "Page of Plymouth," +"King Robert II. of Scotland," and "Richard Crookback." But all of +these came later, on his return to Henslowe, and range from August +1599 to June 1602. + +Returning to the autumn of 1598, an event now happened to sever for +a time Jonson's relations with Henslowe. In a letter to Alleyn, +dated September 26 of that year, Henslowe writes: "I have lost one +of my company that hurteth me greatly; that is Gabriel [Spencer], +for he is slain in Hogsden fields by the hands of Benjamin Jonson, +bricklayer." The last word is perhaps Henslowe's thrust at Jonson +in his displeasure rather than a designation of his actual +continuance at his trade up to this time. It is fair to Jonson to +remark however, that his adversary appears to have been a notorious +fire-eater who had shortly before killed one Feeke in a similar +squabble. Duelling was a frequent occurrence of the time among +gentlemen and the nobility; it was an impudent breach of the peace +on the part of a player. This duel is the one which Jonson +described years after to Drummond, and for it Jonson was duly +arraigned at Old Bailey, tried, and convicted. He was sent to +prison and such goods and chattels as he had "were forfeited." It +is a thought to give one pause that, but for the ancient law +permitting convicted felons to plead, as it was called, the benefit +of clergy, Jonson might have been hanged for this deed. The +circumstance that the poet could read and write saved him; and he +received only a brand of the letter "T," for Tyburn, on his left +thumb. While in jail Jonson became a Roman Catholic; but he +returned to the faith of the Church of England a dozen years later. + +On his release, in disgrace with Henslowe and his former +associates, Jonson offered his services as a playwright to +Henslowe's rivals, the Lord Chamberlain's company, in which +Shakespeare was a prominent shareholder. A tradition of long +standing, though not susceptible of proof in a court of law, +narrates that Jonson had submitted the manuscript of "Every Man in +His Humour" to the Chamberlain's men and had received from the +company a refusal; that Shakespeare called him back, read the play +himself, and at once accepted it. Whether this story is true or +not, certain it is that "Every Man in His Humour" was accepted by +Shakespeare's company and acted for the first time in 1598, with +Shakespeare taking a part. The evidence of this is contained in +the list of actors prefixed to the comedy in the folio of Jonson's +works, 1616. But it is a mistake to infer, because Shakespeare's +name stands first in the list of actors and the elder Kno'well +first in the dramatis personae, that Shakespeare took that +particular part. The order of a list of Elizabethan players was +generally that of their importance or priority as shareholders in +the company and seldom if ever corresponded to the list of +characters. + +"Every Man in His Humour" was an immediate success, and with it +Jonson's reputation as one of the leading dramatists of his time +was established once and for all. This could have been by no means +Jonson's earliest comedy, and we have just learned that he was +already reputed one of "our best in tragedy." Indeed, one of +Jonson's extant comedies, "The Case is Altered," but one never +claimed by him or published as his, must certainly have preceded +"Every Man in His Humour" on the stage. The former play may be +described as a comedy modelled on the Latin plays of Plautus. (It +combines, in fact, situations derived from the "Captivi" and the +"Aulularia" of that dramatist). But the pretty story of the +beggar-maiden, Rachel, and her suitors, Jonson found, not among the +classics, but in the ideals of romantic love which Shakespeare had +already popularised on the stage. Jonson never again produced so +fresh and lovable a feminine personage as Rachel, although in other +respects "The Case is Altered" is not a conspicuous play, and, save +for the satirising of Antony Munday in the person of Antonio +Balladino and Gabriel Harvey as well, is perhaps the least +characteristic of the comedies of Jonson. + +"Every Man in His Humour," probably first acted late in the summer +of 1598 and at the Curtain, is commonly regarded as an epoch-making +play; and this view is not unjustified. As to plot, it tells +little more than how an intercepted letter enabled a father to +follow his supposedly studious son to London, and there observe his +life with the gallants of the time. The real quality of this +comedy is in its personages and in the theory upon which they are +conceived. Ben Jonson had theories about poetry and the drama, and +he was neither chary in talking of them nor in experimenting with +them in his plays. This makes Jonson, like Dryden in his time, and +Wordsworth much later, an author to reckon with; particularly when +we remember that many of Jonson's notions came for a time +definitely to prevail and to modify the whole trend of English +poetry. First of all Jonson was a classicist, that is, he believed +in restraint and precedent in art in opposition to the prevalent +ungoverned and irresponsible Renaissance spirit. Jonson believed +that there was a professional way of doing things which might be +reached by a study of the best examples, and he found these +examples for the most part among the ancients. To confine our +attention to the drama, Jonson objected to the amateurishness and +haphazard nature of many contemporary plays, and set himself to do +something different; and the first and most striking thing that he +evolved was his conception and practice of the comedy of humours. + +As Jonson has been much misrepresented in this matter, let us quote +his own words as to "humour." A humour, according to Jonson, was a +bias of disposition, a warp, so to speak, in character by which + +"Some one peculiar quality +Doth so possess a man, that it doth draw +All his affects, his spirits, and his powers, +In their confluctions, all to run one way." + +But continuing, Jonson is careful to add: + +"But that a rook by wearing a pied feather, +The cable hat-band, or the three-piled ruff, +A yard of shoe-tie, or the Switzers knot +On his French garters, should affect a humour! +O, it is more than most ridiculous." + +Jonson's comedy of humours, in a word, conceived of stage +personages on the basis of a ruling trait or passion (a notable +simplification of actual life be it observed in passing); and, +placing these typified traits in juxtaposition in their conflict +and contrast, struck the spark of comedy. Downright, as his name +indicates, is "a plain squire"; Bobadill's humour is that of the +braggart who is incidentally, and with delightfully comic effect, a +coward; Brainworm's humour is the finding out of things to the end +of fooling everybody: of course he is fooled in the end himself. +But it was not Jonson's theories alone that made the success of +"Every Man in His Humour." The play is admirably written and each +character is vividly conceived, and with a firm touch based on +observation of the men of the London of the day. Jonson was +neither in this, his first great comedy (nor in any other play that +he wrote), a supine classicist, urging that English drama return to +a slavish adherence to classical conditions. He says as to the +laws of the old comedy (meaning by "laws," such matters as the +unities of time and place and the use of chorus): "I see not then, +but we should enjoy the same licence, or free power to illustrate +and heighten our invention as they [the ancients] did; and not be +tied to those strict and regular forms which the niceness of a few, +who are nothing but form, would thrust upon us." "Every Man in His +Humour" is written in prose, a novel practice which Jonson had of +his predecessor in comedy, John Lyly. Even the word "humour" seems +to have been employed in the Jonsonian sense by Chapman before +Jonson's use of it. Indeed, the comedy of humours itself is only a +heightened variety of the comedy of manners which represents life, +viewed at a satirical angle, and is the oldest and most persistent +species of comedy in the language. None the less, Jonson's comedy +merited its immediate success and marked out a definite course in +which comedy long continued to run. To mention only Shakespeare's +Falstaff and his rout, Bardolph, Pistol, Dame Quickly, and the +rest, whether in "Henry IV." or in "The Merry Wives of Windsor," +all are conceived in the spirit of humours. So are the captains, +Welsh, Scotch, and Irish of "Henry V.," and Malvolio especially +later; though Shakespeare never employed the method of humours for +an important personage. It was not Jonson's fault that many of his +successors did precisely the thing that he had reprobated, that is, +degrade "the humour: into an oddity of speech, an eccentricity of +manner, of dress, or cut of beard. There was an anonymous play +called "Every Woman in Her Humour." Chapman wrote "A Humourous +Day's Mirth," Day, "Humour Out of Breath," Fletcher later, "The +Humourous Lieutenant," and Jonson, besides "Every Man Out of His +Humour," returned to the title in closing the cycle of his comedies +in "The Magnetic Lady or Humours Reconciled." + +With the performance of "Every Man Out of His Humour" in 1599, by +Shakespeare's company once more at the Globe, we turn a new page in +Jonson's career. Despite his many real virtues, if there is one +feature more than any other that distinguishes Jonson, it is his +arrogance; and to this may be added his self-righteousness, +especially under criticism or satire. "Every Man Out of His +Humour" is the first of three "comical satires" which Jonson +contributed to what Dekker called the poetomachia or war of the +theatres as recent critics have named it. This play as a fabric of +plot is a very slight affair; but as a satirical picture of the +manners of the time, proceeding by means of vivid caricature, +couched in witty and brilliant dialogue and sustained by that +righteous indignation which must lie at the heart of all true +satire--as a realisation, in short, of the classical ideal of +comedy--there had been nothing like Jonson's comedy since the +days of Aristophanes. "Every Man in His Humour," like the two +plays that follow it, contains two kinds of attack, the critical or +generally satiric, levelled at abuses and corruptions in the +abstract; and the personal, in which specific application is made +of all this in the lampooning of poets and others, Jonson's +contemporaries. The method of personal attack by actual caricature +of a person on the stage is almost as old as the drama. +Aristophanes so lampooned Euripides in "The Acharnians" and +Socrates in "The Clouds," to mention no other examples; and in +English drama this kind of thing is alluded to again and again. +What Jonson really did, was to raise the dramatic lampoon to an +art, and make out of a casual burlesque and bit of mimicry a +dramatic satire of literary pretensions and permanency. With the +arrogant attitude mentioned above and his uncommon eloquence in +scorn, vituperation, and invective, it is no wonder that Jonson +soon involved himself in literary and even personal quarrels with +his fellow-authors. The circumstances of the origin of this +'poetomachia' are far from clear, and those who have written on the +topic, except of late, have not helped to make them clearer. The +origin of the "war" has been referred to satirical references, +apparently to Jonson, contained in "The Scourge of Villainy," a +satire in regular form after the manner of the ancients by John +Marston, a fellow playwright, subsequent friend and collaborator of +Jonson's. On the other hand, epigrams of Jonson have been +discovered (49, 68, and 100) variously charging "playwright" +(reasonably identified with Marston) with scurrility, cowardice, +and plagiarism; though the dates of the epigrams cannot be +ascertained with certainty. Jonson's own statement of the matter +to Drummond runs: "He had many quarrels with Marston, beat him, +and took his pistol from him, wrote his "Poetaster" on him; the +beginning[s] of them were that Marston represented him on the +stage."* + +[footnote] *The best account of this whole subject is to be found +in the edition of "Poetaster" and "Satiromastrix" by J. H. Penniman +in "Belles Lettres Series" shortly to appear. See also his earlier +work, "The War of the Theatres," 1892, and the excellent +contributions to the subject by H. C. Hart in "Notes and Queries," +and in his edition of Jonson, 1906. + +Here at least we are on certain ground; and the principals of the +quarrel are known. "Histriomastix," a play revised by Marston in +1598, has been regarded as the one in which Jonson was thus +"represented on the stage"; although the personage in question, +Chrisogonus, a poet, satirist, and translator, poor but proud, and +contemptuous of the common herd, seems rather a complimentary +portrait of Jonson than a caricature. As to the personages +actually ridiculed in "Every Man Out of His Humour," Carlo Buffone +was formerly thought certainly to be Marston, as he was described +as "a public, scurrilous, and profane jester," and elsewhere as the +grand scourge or second untruss [that is, satirist], of the time" +(Joseph Hall being by his own boast the first, and Marston's work +being entitled "The Scourge of Villainy"). Apparently we must now +prefer for Carlo a notorious character named Charles Chester, of +whom gossipy and inaccurate Aubrey relates that he was "a bold +impertinent fellow...a perpetual talker and made a noise like a +drum in a room. So one time at a tavern Sir Walter Raleigh beats +him and seals up his mouth (that is his upper and nether beard) +with hard wax. From him Ben Jonson takes his Carlo Buffone +['i.e.', jester] in "Every Man in His Humour" ['sic']." Is it +conceivable that after all Jonson was ridiculing Marston, and that +the point of the satire consisted in an intentional confusion of +"the grand scourge or second untruss" with "the scurrilous and +profane" Chester? + +We have digressed into detail in this particular case to exemplify +the difficulties of criticism in its attempts to identify the +allusions in these forgotten quarrels. We are on sounder ground of +fact in recording other manifestations of Jonson's enmity. In "The +Case is Altered" there is clear ridicule in the character Antonio +Balladino of Anthony Munday, pageant-poet of the city, translator +of romances and playwright as well. In "Every Man in His Humour" +there is certainly a caricature of Samuel Daniel, accepted poet of +the court, sonneteer, and companion of men of fashion. These men +held recognised positions to which Jonson felt his talents better +entitled him; they were hence to him his natural enemies. It seems +almost certain that he pursued both in the personages of his satire +through "Every Man Out of His Humour," and "Cynthia's Revels," +Daniel under the characters Fastidious Brisk and Hedon, Munday as +Puntarvolo and Amorphus; but in these last we venture on quagmire +once more. Jonson's literary rivalry of Daniel is traceable again +and again, in the entertainments that welcomed King James on his +way to London, in the masques at court, and in the pastoral drama. +As to Jonson's personal ambitions with respect to these two men, it +is notable that he became, not pageant-poet, but chronologer to the +City of London; and that, on the accession of the new king, he came +soon to triumph over Daniel as the accepted entertainer of royalty. + +"Cynthia's Revels," the second "comical satire," was acted in 1600, +and, as a play, is even more lengthy, elaborate, and impossible +than "Every Man Out of His Humour." Here personal satire seems to +have absorbed everything, and while much of the caricature is +admirable, especially in the detail of witty and trenchantly +satirical dialogue, the central idea of a fountain of self-love is +not very well carried out, and the persons revert at times to +abstractions, the action to allegory. It adds to our wonder that +this difficult drama should have been acted by the Children of +Queen Elizabeth's Chapel, among them Nathaniel Field with whom +Jonson read Horace and Martial, and whom he taught later how to +make plays. Another of these precocious little actors was +Salathiel Pavy, who died before he was thirteen, already famed for +taking the parts of old men. Him Jonson immortalised in one of the +sweetest of his epitaphs. An interesting sidelight is this on the +character of this redoubtable and rugged satirist, that he should +thus have befriended and tenderly remembered these little +theatrical waifs, some of whom (as we know) had been literally +kidnapped to be pressed into the service of the theatre and whipped +to the conning of their difficult parts. To the caricature of +Daniel and Munday in "Cynthia's Revels" must be added Anaides +(impudence), here assuredly Marston, and Asotus (the prodigal), +interpreted as Lodge or, more perilously, Raleigh. Crites, like +Asper-Macilente in "Every Man Out of His Humour," is Jonson's +self-complaisant portrait of himself, the just, wholly admirable, +and judicious scholar, holding his head high above the pack of the +yelping curs of envy and detraction, but careless of their puny +attacks on his perfections with only too mindful a neglect. + +The third and last of the "comical satires" is "Poetaster," acted, +once more, by the Children of the Chapel in 1601, and Jonson's only +avowed contribution to the fray. According to the author's own +account, this play was written in fifteen weeks on a report that +his enemies had entrusted to Dekker the preparation of +"Satiromastix, the Untrussing of the Humorous Poet," a dramatic +attack upon himself. In this attempt to forestall his enemies +Jonson succeeded, and "Poetaster" was an immediate and deserved +success. While hardly more closely knit in structure than its +earlier companion pieces, "Poetaster" is planned to lead up to the +ludicrous final scene in which, after a device borrowed from the +"Lexiphanes" of Lucian, the offending poetaster, Marston-Crispinus, +is made to throw up the difficult words with which he had +overburdened his stomach as well as overlarded his vocabulary. In +the end Crispinus with his fellow, Dekker-Demetrius, is bound over +to keep the peace and never thenceforward "malign, traduce, or +detract the person or writings of Quintus Horatius Flaccus [Jonson] +or any other eminent man transcending you in merit." One of the +most diverting personages in Jonson's comedy is Captain Tucca. +"His peculiarity" has been well described by Ward as "a buoyant +blackguardism which recovers itself instantaneously from the most +complete exposure, and a picturesqueness of speech like that of a +walking dictionary of slang." + +It was this character, Captain Tucca, that Dekker hit upon in his +reply, "Satiromastix," and he amplified him, turning his abusive +vocabulary back upon Jonson and adding "an immodesty to his +dialogue that did not enter into Jonson's conception." It has been +held, altogether plausibly, that when Dekker was engaged +professionally, so to speak, to write a dramatic reply to Jonson, +he was at work on a species of chronicle history, dealing with the +story of Walter Terill in the reign of William Rufus. This he +hurriedly adapted to include the satirical characters suggested by +"Poetaster," and fashioned to convey the satire of his reply. The +absurdity of placing Horace in the court of a Norman king is the +result. But Dekker's play is not without its palpable hits at the +arrogance, the literary pride, and self-righteousness of +Jonson-Horace, whose "ningle" or pal, the absurd Asinius Bubo, has +recently been shown to figure forth, in all likelihood, Jonson's +friend, the poet Drayton. Slight and hastily adapted as is +"Satiromastix," especially in a comparison with the better wrought +and more significant satire of "Poetaster," the town awarded the +palm to Dekker, not to Jonson; and Jonson gave over in consequence +his practice of "comical satire." Though Jonson was cited to +appear before the Lord Chief Justice to answer certain charges to +the effect that he had attacked lawyers and soldiers in +"Poetaster," nothing came of this complaint. It may be suspected +that much of this furious clatter and give-and-take was pure +playing to the gallery. The town was agog with the strife, and on +no less an authority than Shakespeare ("Hamlet," ii. 2), we learn +that the children's company (acting the plays of Jonson) did "so +berattle the common stages...that many, wearing rapiers, are afraid +of goose-quills, and dare scarce come thither." + +Several other plays have been thought to bear a greater or less +part in the war of the theatres. Among them the most important is +a college play, entitled "The Return from Parnassus," dating +1601-02. In it a much-quoted passage makes Burbage, as a +character, declare: "Why here's our fellow Shakespeare puts them +all down; aye and Ben Jonson, too. O that Ben Jonson is a +pestilent fellow; he brought up Horace, giving the poets a pill, +but our fellow Shakespeare hath given him a purge that made him +bewray his credit." Was Shakespeare then concerned in this war of +the stages? And what could have been the nature of this "purge"? +Among several suggestions, "Troilus and Cressida" has been thought +by some to be the play in which Shakespeare thus "put down" his +friend, Jonson. A wiser interpretation finds the "purge" in +"Satiromastix," which, though not written by Shakespeare, was +staged by his company, and therefore with his approval and under +his direction as one of the leaders of that company. + +The last years of the reign of Elizabeth thus saw Jonson recognised +as a dramatist second only to Shakespeare, and not second even to +him as a dramatic satirist. But Jonson now turned his talents to +new fields. Plays on subjects derived from classical story and +myth had held the stage from the beginning of the drama, so that +Shakespeare was making no new departure when he wrote his "Julius +Caesar" about 1600. Therefore when Jonson staged "Sejanus," three +years later and with Shakespeare's company once more, he was only +following in the elder dramatist's footsteps. But Jonson's idea of +a play on classical history, on the one hand, and Shakespeare's and +the elder popular dramatists, on the other, were very different. +Heywood some years before had put five straggling plays on the +stage in quick succession, all derived from stories in Ovid and +dramatised with little taste or discrimination. Shakespeare had a +finer conception of form, but even he was contented to take all his +ancient history from North's translation of Plutarch and dramatise +his subject without further inquiry. Jonson was a scholar and a +classical antiquarian. He reprobated this slipshod amateurishness, +and wrote his "Sejanus" like a scholar, reading Tacitus, Suetonius, +and other authorities, to be certain of his facts, his setting, and +his atmosphere, and somewhat pedantically noting his authorities in +the margin when he came to print. "Sejanus" is a tragedy of +genuine dramatic power in which is told with discriminating taste +the story of the haughty favourite of Tiberius with his tragical +overthrow. Our drama presents no truer nor more painstaking +representation of ancient Roman life than may be found in Jonson's +"Sejanus" and "Catiline his Conspiracy," which followed in 1611. A +passage in the address of the former play to the reader, in which +Jonson refers to a collaboration in an earlier version, has led to +the surmise that Shakespeare may have been that "worthier pen." +There is no evidence to determine the matter. + +In 1605, we find Jonson in active collaboration with Chapman and +Marston in the admirable comedy of London life entitled "Eastward +Hoe." In the previous year, Marston had dedicated his +"Malcontent," in terms of fervid admiration, to Jonson; so that the +wounds of the war of the theatres must have been long since healed. +Between Jonson and Chapman there was the kinship of similar +scholarly ideals. The two continued friends throughout life. +"Eastward Hoe" achieved the extraordinary popularity represented in +a demand for three issues in one year. But this was not due +entirely to the merits of the play. In its earliest version a +passage which an irritable courtier conceived to be derogatory to +his nation, the Scots, sent both Chapman and Jonson to jail; but +the matter was soon patched up, for by this time Jonson had +influence at court. + +With the accession of King James, Jonson began his long and +successful career as a writer of masques. He wrote more masques +than all his competitors together, and they are of an extraordinary +variety and poetic excellence. Jonson did not invent the masque; +for such premeditated devices to set and frame, so to speak, a +court ball had been known and practised in varying degrees of +elaboration long before his time. But Jonson gave dramatic value +to the masque, especially in his invention of the antimasque, a +comedy or farcical element of relief, entrusted to professional +players or dancers. He enhanced, as well, the beauty and dignity +of those portions of the masque in which noble lords and ladies +took their parts to create, by their gorgeous costumes and artistic +grouping and evolutions, a sumptuous show. On the mechanical and +scenic side Jonson had an inventive and ingenious partner in Inigo +Jones, the royal architect, who more than any one man raised the +standard of stage representation in the England of his day. Jonson +continued active in the service of the court in the writing of +masques and other entertainments far into the reign of King +Charles; but, towards the end, a quarrel with Jones embittered his +life, and the two testy old men appear to have become not only a +constant irritation to each other, but intolerable bores at court. +In "Hymenaei," "The Masque of Queens," "Love Freed from Ignorance," +"Lovers made Men," "Pleasure Reconciled to Virtue," and many more +will be found Jonson's aptitude, his taste, his poetry and +inventiveness in these by-forms of the drama; while in "The Masque +of Christmas," and "The Gipsies Metamorphosed" especially, is +discoverable that power of broad comedy which, at court as well as +in the city, was not the least element of Jonson's contemporary +popularity. + +But Jonson had by no means given up the popular stage when he +turned to the amusement of King James. In 1605 "Volpone" was +produced, "The Silent Woman" in 1609, "The Alchemist" in the +following year. These comedies, with "Bartholomew Fair," 1614, +represent Jonson at his height, and for constructive cleverness, +character successfully conceived in the manner of caricature, wit +and brilliancy of dialogue, they stand alone in English drama. +"Volpone, or the Fox," is, in a sense, a transition play from the +dramatic satires of the war of the theatres to the purer comedy +represented in the plays named above. Its subject is a struggle of +wit applied to chicanery; for among its dramatis personae, from +the villainous Fox himself, his rascally servant Mosca, Voltore +(the vulture), Corbaccio and Corvino (the big and the little +raven), to Sir Politic Would-be and the rest, there is scarcely a +virtuous character in the play. Question has been raised as to +whether a story so forbidding can be considered a comedy, for, +although the plot ends in the discomfiture and imprisonment of the +most vicious, it involves no mortal catastrophe. But Jonson was on +sound historical ground, for "Volpone" is conceived far more +logically on the lines of the ancients' theory of comedy than was +ever the romantic drama of Shakespeare, however repulsive we may +find a philosophy of life that facilely divides the world into the +rogues and their dupes, and, identifying brains with roguery and +innocence with folly, admires the former while inconsistently +punishing them. + +"The Silent Woman" is a gigantic farce of the most ingenious +construction. The whole comedy hinges on a huge joke, played by a +heartless nephew on his misanthropic uncle, who is induced to take +to himself a wife, young, fair, and warranted silent, but who, in +the end, turns out neither silent nor a woman at all. In "The +Alchemist," again, we have the utmost cleverness in construction, +the whole fabric building climax on climax, witty, ingenious, and +so plausibly presented that we forget its departures from the +possibilities of life. In "The Alchemist" Jonson represented, none +the less to the life, certain sharpers of the metropolis, revelling +in their shrewdness and rascality and in the variety of the +stupidity and wickedness of their victims. We may object to the +fact that the only person in the play possessed of a scruple of +honesty is discomfited, and that the greatest scoundrel of all is +approved in the end and rewarded. The comedy is so admirably +written and contrived, the personages stand out with such lifelike +distinctness in their several kinds, and the whole is animated with +such verve and resourcefulness that "The Alchemist" is a new marvel +every time it is read. Lastly of this group comes the tremendous +comedy, "Bartholomew Fair," less clear cut, less definite, and less +structurally worthy of praise than its three predecessors, but full +of the keenest and cleverest of satire and inventive to a degree +beyond any English comedy save some other of Jonson's own. It is +in "Bartholomew Fair" that we are presented to the immortal +caricature of the Puritan, Zeal-in-the-Land Busy, and the +Littlewits that group about him, and it is in this extraordinary +comedy that the humour of Jonson, always open to this danger, +loosens into the Rabelaisian mode that so delighted King James in +"The Gipsies Metamorphosed." Another comedy of less merit is "The +Devil is an Ass," acted in 1616. It was the failure of this play +that caused Jonson to give over writing for the public stage for a +period of nearly ten years. + +"Volpone" was laid as to scene in Venice. Whether because of the +success of "Eastward Hoe" or for other reasons, the other three +comedies declare in the words of the prologue to "The Alchemist": + +"Our scene is London, 'cause we would make known +No country's mirth is better than our own." + +Indeed Jonson went further when he came to revise his plays for +collected publication in his folio of 1616, he transferred the +scene of "Every Man in His Humour" from Florence to London also, +converting Signior Lorenzo di Pazzi to Old Kno'well, Prospero to +Master Welborn, and Hesperida to Dame Kitely "dwelling i' the Old +Jewry." + +In his comedies of London life, despite his trend towards +caricature, Jonson has shown himself a genuine realist, drawing +from the life about him with an experience and insight rare in any +generation. A happy comparison has been suggested between Ben +Jonson and Charles Dickens. Both were men of the people, lowly +born and hardly bred. Each knew the London of his time as few men +knew it; and each represented it intimately and in elaborate +detail. Both men were at heart moralists, seeking the truth by the +exaggerated methods of humour and caricature; perverse, even +wrong-headed at times, but possessed of a true pathos and largeness +of heart, and when all has been said--though the Elizabethan ran +to satire, the Victorian to sentimentality--leaving the world +better for the art that they practised in it. + +In 1616, the year of the death of Shakespeare, Jonson collected his +plays, his poetry, and his masques for publication in a collective +edition. This was an unusual thing at the time and had been +attempted by no dramatist before Jonson. This volume published, in +a carefully revised text, all the plays thus far mentioned, +excepting "The Case is Altered," which Jonson did not acknowledge, +"Bartholomew Fair," and "The Devil is an Ass," which was written +too late. It included likewise a book of some hundred and thirty +odd "Epigrams," in which form of brief and pungent writing Jonson +was an acknowledged master; "The Forest," a smaller collection of +lyric and occasional verse and some ten "Masques" and +"Entertainments." In this same year Jonson was made poet laureate +with a pension of one hundred marks a year. This, with his fees +and returns from several noblemen, and the small earnings of his +plays must have formed the bulk of his income. The poet appears to +have done certain literary hack-work for others, as, for example, +parts of the Punic Wars contributed to Raleigh's "History of the +World." We know from a story, little to the credit of either, that +Jonson accompanied Raleigh's son abroad in the capacity of a tutor. +In 1618 Jonson was granted the reversion of the office of Master of +the Revels, a post for which he was peculiarly fitted; but he did +not live to enjoy its perquisites. Jonson was honoured with +degrees by both universities, though when and under what +circumstances is not known. It has been said that he narrowly +escaped the honour of knighthood, which the satirists of the day +averred King James was wont to lavish with an indiscriminate hand. +Worse men were made knights in his day than worthy Ben Jonson. + +From 1616 to the close of the reign of King James, Jonson produced +nothing for the stage. But he "prosecuted" what he calls "his +wonted studies" with such assiduity that he became in reality, as +by report, one of the most learned men of his time. Jonson's +theory of authorship involved a wide acquaintance with books and +"an ability," as he put it, "to convert the substance or riches of +another poet to his own use." Accordingly Jonson read not only the +Greek and Latin classics down to the lesser writers, but he +acquainted himself especially with the Latin writings of his +learned contemporaries, their prose as well as their poetry, their +antiquities and curious lore as well as their more solid learning. +Though a poor man, Jonson was an indefatigable collector of books. +He told Drummond that "the Earl of Pembroke sent him 20 pounds every +first day of the new year to buy new books." Unhappily, in 1623, +his library was destroyed by fire, an accident serio-comically +described in his witty poem, "An Execration upon Vulcan." Yet even +now a book turns up from time to time in which is inscribed, in +fair large Italian lettering, the name, Ben Jonson. With respect +to Jonson's use of his material, Dryden said memorably of him: +"[He] was not only a professed imitator of Horace, but a learned +plagiary of all the others; you track him everywhere in their +snow....But he has done his robberies so openly that one sees he +fears not to be taxed by any law. He invades authors like a +monarch, and what would be theft in other poets is only victory in +him." And yet it is but fair to say that Jonson prided himself, +and justly, on his originality. In "Catiline," he not only uses +Sallust's account of the conspiracy, but he models some of the +speeches of Cicero on the Roman orator's actual words. In +"Poetaster," he lifts a whole satire out of Horace and dramatises +it effectively for his purposes. The sophist Libanius suggests the +situation of "The Silent Woman"; a Latin comedy of Giordano Bruno, +"Il Candelaio," the relation of the dupes and the sharpers in "The +Alchemist," the "Mostellaria" of Plautus, its admirable opening +scene. But Jonson commonly bettered his sources, and putting the +stamp of his sovereignty on whatever bullion he borrowed made it +thenceforward to all time current and his own. + +The lyric and especially the occasional poetry of Jonson has a +peculiar merit. His theory demanded design and the perfection of +literary finish. He was furthest from the rhapsodist and the +careless singer of an idle day; and he believed that Apollo could +only be worthily served in singing robes and laurel crowned. And +yet many of Jonson's lyrics will live as long as the language. Who +does not know "Queen and huntress, chaste and fair." "Drink to me +only with thine eyes," or "Still to be neat, still to be dressed"? +Beautiful in form, deft and graceful in expression, with not a word +too much or one that bears not its part in the total effect, there +is yet about the lyrics of Jonson a certain stiffness and +formality, a suspicion that they were not quite spontaneous and +unbidden, but that they were carved, so to speak, with +disproportionate labour by a potent man of letters whose habitual +thought is on greater things. It is for these reasons that Jonson +is even better in the epigram and in occasional verse where +rhetorical finish and pointed wit less interfere with the +spontaneity and emotion which we usually associate with lyrical +poetry. There are no such epitaphs as Ben Jonson's, witness the +charming ones on his own children, on Salathiel Pavy, the +child-actor, and many more; and this even though the rigid law of +mine and thine must now restore to William Browne of Tavistock the +famous lines beginning: "Underneath this sable hearse." Jonson is +unsurpassed, too, in the difficult poetry of compliment, seldom +falling into fulsome praise and disproportionate similitude, yet +showing again and again a generous appreciation of worth in others, +a discriminating taste and a generous personal regard. There was +no man in England of his rank so well known and universally beloved +as Ben Jonson. The list of his friends, of those to whom he had +written verses, and those who had written verses to him, includes +the name of every man of prominence in the England of King James. +And the tone of many of these productions discloses an affectionate +familiarity that speaks for the amiable personality and sound worth +of the laureate. In 1619, growing unwieldy through inactivity, +Jonson hit upon the heroic remedy of a journey afoot to Scotland. +On his way thither and back he was hospitably received at the +houses of many friends and by those to whom his friends had +recommended him. When he arrived in Edinburgh, the burgesses met +to grant him the freedom of the city, and Drummond, foremost of +Scottish poets, was proud to entertain him for weeks as his guest +at Hawthornden. Some of the noblest of Jonson's poems were +inspired by friendship. Such is the fine "Ode to the memory of Sir +Lucius Cary and Sir Henry Moryson," and that admirable piece of +critical insight and filial affection, prefixed to the first +Shakespeare folio, "To the memory of my beloved master, William +Shakespeare, and what he hath left us," to mention only these. Nor +can the earlier "Epode," beginning "Not to know vice at all," be +matched in stately gravity and gnomic wisdom in its own wise and +stately age. + +But if Jonson had deserted the stage after the publication of his +folio and up to the end of the reign of King James, he was far from +inactive; for year after year his inexhaustible inventiveness +continued to contribute to the masquing and entertainment at court. +In "The Golden Age Restored," Pallas turns the Iron Age with +its attendant evils into statues which sink out of sight; in +"Pleasure Reconciled to Virtue," Atlas figures represented as an +old man, his shoulders covered with snow, and Comus, "the god of +cheer or the belly," is one of the characters, a circumstance which +an imaginative boy of ten, named John Milton, was not to forget. +"Pan's Anniversary," late in the reign of James, proclaimed that +Jonson had not yet forgotten how to write exquisite lyrics, and +"The Gipsies Metamorphosed" displayed the old drollery and broad +humorous stroke still unimpaired and unmatchable. These, too, and +the earlier years of Charles were the days of the Apollo Room of +the Devil Tavern where Jonson presided, the absolute monarch of +English literary Bohemia. We hear of a room blazoned about with +Jonson's own judicious "Leges Convivales" in letters of gold, of a +company made up of the choicest spirits of the time, devotedly +attached to their veteran dictator, his reminiscences, opinions, +affections, and enmities. And we hear, too, of valorous potations; +but in the words of Herrick addressed to his master, Jonson, at the +Devil Tavern, as at the Dog, the Triple Tun, and at the Mermaid, + +"We such clusters had +As made us nobly wild, not mad, +And yet each verse of thine +Outdid the meat, outdid the frolic wine." + +But the patronage of the court failed in the days of King Charles, +though Jonson was not without royal favours; and the old poet +returned to the stage, producing, between 1625 and 1633, "The +Staple of News," "The New Inn," "The Magnetic Lady," and "The Tale +of a Tub," the last doubtless revised from a much earlier comedy. +None of these plays met with any marked success, although the +scathing generalisation of Dryden that designated them "Jonson's +dotages" is unfair to their genuine merits. Thus the idea of an +office for the gathering, proper dressing, and promulgation of news +(wild flight of the fancy in its time) was an excellent subject for +satire on the existing absurdities among newsmongers; although +as much can hardly be said for "The Magnetic Lady," who, in her +bounty, draws to her personages of differing humours to reconcile +them in the end according to the alternative title, or "Humours +Reconciled." These last plays of the old dramatist revert to +caricature and the hard lines of allegory; the moralist is more +than ever present, the satire degenerates into personal lampoon, +especially of his sometime friend, Inigo Jones, who appears +unworthily to have used his influence at court against the +broken-down old poet. And now disease claimed Jonson, and he was +bedridden for months. He had succeeded Middleton in 1628 as +Chronologer to the City of London, but lost the post for not +fulfilling its duties. King Charles befriended him, and even +commissioned him to write still for the entertainment of the court; +and he was not without the sustaining hand of noble patrons and +devoted friends among the younger poets who were proud to be +"sealed of the tribe of Ben." + +Jonson died, August 6, 1637, and a second folio of his works, which +he had been some time gathering, was printed in 1640, bearing in +its various parts dates ranging from 1630 to 1642. It included all +the plays mentioned in the foregoing paragraphs, excepting "The +Case is Altered;" the masques, some fifteen, that date between 1617 +and 1630; another collection of lyrics and occasional poetry called +"Underwoods, including some further entertainments; a translation +of "Horace's Art of Poetry" (also published in a vicesimo quarto in +1640), and certain fragments and ingatherings which the poet would +hardly have included himself. These last comprise the fragment +(less than seventy lines) of a tragedy called "Mortimer his Fall," +and three acts of a pastoral drama of much beauty and poetic +spirit, "The Sad Shepherd." There is also the exceedingly +interesting "English Grammar" "made by Ben Jonson for the benefit +of all strangers out of his observation of the English language now +spoken and in use," in Latin and English; and "Timber, or +Discoveries" "made upon men and matter as they have flowed out of +his daily reading, or had their reflux to his peculiar notion of +the times." The "Discoveries," as it is usually called, is a +commonplace book such as many literary men have kept, in which +their reading was chronicled, passages that took their fancy +translated or transcribed, and their passing opinions noted. Many +passages of Jonson's "Discoveries" are literal translations from the +authors he chanced to be reading, with the reference, noted or not, +as the accident of the moment prescribed. At times he follows the +line of Macchiavelli's argument as to the nature and conduct of +princes; at others he clarifies his own conception of poetry and +poets by recourse to Aristotle. He finds a choice paragraph on +eloquence in Seneca the elder and applies it to his own +recollection of Bacon's power as an orator; and another on facile +and ready genius, and translates it, adapting it to his +recollection of his fellow-playwright, Shakespeare. To call such +passages--which Jonson never intended for publication-- +plagiarism, is to obscure the significance of words. To disparage +his memory by citing them is a preposterous use of scholarship. +Jonson's prose, both in his dramas, in the descriptive comments of +his masques, and in the "Discoveries," is characterised by clarity +and vigorous directness, nor is it wanting in a fine sense of form +or in the subtler graces of diction. + +When Jonson died there was a project for a handsome monument to his +memory. But the Civil War was at hand, and the project failed. A +memorial, not insufficient, was carved on the stone covering his +grave in one of the aisles of Westminster Abbey: + +"O rare Ben Jonson." + +FELIX E. SCHELLING. + +THE COLLEGE, +PHILADELPHIA, U.S.A. + +The following is a complete list of his published works:-- + +DRAMAS: +Every Man in his Humour, 4to, 1601; +The Case is Altered, 4to, 1609; +Every Man out of his Humour, 4to, 1600; +Cynthia's Revels, 4to, 1601; +Poetaster, 4to, 1602; +Sejanus, 4to, 1605; +Eastward Ho (with Chapman and Marston), 4to, 1605; +Volpone, 4to, 1607; +Epicoene, or the Silent Woman, 4to, 1609 (?), fol., 1616; +The Alchemist, 4to, 1612; +Catiline, his Conspiracy, 4to, 1611; +Bartholomew Fayre, 4to, 1614 (?), fol., 1631; +The Divell is an Asse, fol., 1631; +The Staple of Newes, fol., 1631; +The New Sun, 8vo, 1631, fol., 1692; +The Magnetic Lady, or Humours Reconcild, fol., 1640; +A Tale of a Tub, fol., 1640; +The Sad Shepherd, or a Tale of Robin Hood, fol., 1641; +Mortimer his Fall (fragment), fol., 1640. + +To Jonson have also been attributed additions to Kyd's Jeronymo, +and collaboration in The Widow with Fletcher and Middleton, and +in the Bloody Brother with Fletcher. + +POEMS: +Epigrams, The Forrest, Underwoods, published in fols., 1616, 1640; +Selections: Execration against Vulcan, and Epigrams, 1640; +G. Hor. Flaccus his art of Poetry, Englished by Ben Jonson, 1640; +Leges Convivialis, fol., 1692. +Other minor poems first appeared in Gifford's edition of Works. + +PROSE: +Timber, or Discoveries made upon Men and Matter, fol., 1641; +The English Grammar, made by Ben Jonson for the benefit of +Strangers, fol., 1640. + +Masques and Entertainments were published in the early folios. + +WORKS: +Fol., 1616, volume. 2, 1640 (1631-41); +fol., 1692, 1716-19, 1729; +edited by P. Whalley, 7 volumes., 1756; +by Gifford (with Memoir), 9 volumes., 1816, 1846; +re-edited by F. Cunningham, 3 volumes., 1871; +in 9 volumes., 1875; +by Barry Cornwall (with Memoir), 1838; +by B. Nicholson (Mermaid Series), with Introduction by +C. H. Herford, 1893, etc.; +Nine Plays, 1904; +ed. H. C. Hart (Standard Library), 1906, etc; +Plays and Poems, with Introduction by H. Morley (Universal +Library), 1885; +Plays (7) and Poems (Newnes), 1905; +Poems, with Memoir by H. Bennett (Carlton Classics), 1907; +Masques and Entertainments, ed. by H. Morley, 1890. + +SELECTIONS: +J. A. Symonds, with Biographical and Critical Essay, +(Canterbury Poets), 1886; +Grosart, Brave Translunary Things, 1895; +Arber, Jonson Anthology, 1901; +Underwoods, Cambridge University Press, 1905; +Lyrics (Jonson, Beaumont and Fletcher), the Chap Books, +No. 4, 1906; +Songs (from Plays, Masques, etc.), with earliest known +setting, Eragny Press, 1906. + +LIFE: +See Memoirs affixed to Works; +J. A. Symonds (English Worthies), 1886; +Notes of Ben Jonson Conversations with Drummond of Hawthornden; +Shakespeare Society, 1842; +ed. with Introduction and Notes by P. Sidney, 1906; +Swinburne, A Study of Ben Jonson, 1889. + + + +*** + + + +BEN JONSON'S PLAYS + + + + +VOLPONE; OR, THE FOX + +BY + +BEN JONSON + + +TO THE MOST NOBLE AND MOST EQUAL SISTERS, + +THE TWO FAMOUS UNIVERSITIES, + +FOR THEIR LOVE AND ACCEPTANCE SHEWN TO HIS POEM IN THE +PRESENTATION, + +BEN JONSON, + +THE GRATEFUL ACKNOWLEDGER, + +DEDICATES BOTH IT AND HIMSELF. + +Never, most equal Sisters, had any man a wit so presently +excellent, as that it could raise itself; but there must come +both matter, occasion, commenders, and favourers to it. If +this be true, and that the fortune of all writers doth daily +prove it, it behoves the careful to provide well towards these +accidents; and, having acquired them, to preserve that part of +reputation most tenderly, wherein the benefit of a friend is +also defended. Hence is it, that I now render myself grateful, +and am studious to justify the bounty of your act; to which, +though your mere authority were satisfying, yet it being an +age wherein poetry and the professors of it hear so ill on all +sides, there will a reason be looked for in the subject. It is +certain, nor can it with any forehead be opposed, that the too +much license of poetasters in this time, hath much deformed +their mistress; that, every day, their manifold and manifest +ignorance doth stick unnatural reproaches upon her: but for +their petulancy, it were an act of the greatest injustice, +either to let the learned suffer, or so divine a skill (which +indeed should not be attempted with unclean hands) to fall +under the least contempt. For, if men will impartially, and +not asquint, look toward the offices and function of a poet, +they will easily conclude to themselves the impossibility of +any man's being the good poet, without first being a good man. +He that is said to be able to inform young men to all good +disciplines, inflame grown men to all great virtues, keep old +men in their best and supreme state, or, as they decline to +childhood, recover them to their first strength; that comes +forth the interpreter and arbiter of nature, a teacher of +things divine no less than human, a master in manners; and can +alone, or with a few, effect the business of mankind: this, I +take him, is no subject for pride and ignorance to exercise +their railing rhetoric upon. But it will here be hastily +answered, that the writers of these days are other things; +that not only their manners, but their natures, are inverted, +and nothing remaining with them of the dignity of poet, but +the abused name, which every scribe usurps; that now, +especially in dramatic, or, as they term it, stage-poetry, +nothing but ribaldry, profanation, blasphemy, all license of +offence to God and man is practised. I dare not deny a great +part of this, and am sorry I dare not, because in some men's +abortive features (and would they had never boasted the light) +it is over-true; but that all are embarked in this bold +adventure for hell, is a most uncharitable thought, and, +uttered, a more malicious slander. For my particular, I can, +and from a most clear conscience, affirm, that I have ever +trembled to think toward the least profaneness; have loathed +the use of such foul and unwashed bawdry, as is now made the +food of the scene: and, howsoever I cannot escape from some, +the imputation of sharpness, but that they will say, I have +taken a pride, or lust, to be bitter, and not my youngest +infant but hath come into the world with all his teeth; I +would ask of these supercilious politics, what nation, society, +or general order or state, I have provoked? What public person? +Whether I have not in all these preserved their dignity, as +mine own person, safe? My works are read, allowed, (I speak of +those that are intirely mine,) look into them, what broad +reproofs have I used? where have I been particular? where +personal? except to a mimic, cheater, bawd, or buffoon, +creatures, for their insolencies, worthy to be taxed? yet to +which of these so pointingly, as he might not either +ingenuously have confest, or wisely dissembled his disease? +But it is not rumour can make men guilty, much less entitle +me to other men's crimes. I know, that nothing can be so +innocently writ or carried, but may be made obnoxious to +construction; marry, whilst I bear mine innocence about me, I +fear it not. Application is now grown a trade with many; and +there are that profess to have a key for the decyphering of +every thing: but let wise and noble persons take heed how +they be too credulous, or give leave to these invading +interpreters to be over-familiar with their fames, who +cunningly, and often, utter their own virulent malice, under +other men's simplest meanings. As for those that will (by +faults which charity hath raked up, or common honesty +concealed) make themselves a name with the multitude, or, to +draw their rude and beastly claps, care not whose living +faces they intrench with their petulant styles, may they do +it without a rival, for me! I choose rather to live graved in +obscurity, than share with them in so preposterous a fame. +Nor can I blame the wishes of those severe and wise patriots, +who providing the hurts these licentious spirits may do in a +state, desire rather to see fools and devils, and those +antique relics of barbarism retrieved, with all other +ridiculous and exploded follies, than behold the wounds of +private men, of princes and nations: for, as Horace makes +Trebatius speak among these, + +"Sibi quisque timet, quanquam est intactus, et odit." + +And men may justly impute such rages, if continued, to the +writer, as his sports. The increase of which lust in liberty, +together with the present trade of the stage, in all their +miscelline interludes, what learned or liberal soul doth not +already abhor? where nothing but the filth of the time is +uttered, and with such impropriety of phrase, such plenty of +solecisms, such dearth of sense, so bold prolepses, so racked +metaphors, with brothelry, able to violate the ear of a pagan, +and blasphemy, to turn the blood of a Christian to water. I +cannot but be serious in a cause of this nature, wherein my +fame, and the reputation of divers honest and learned are the +question; when a name so full of authority, antiquity, and +all great mark, is, through their insolence, become the lowest +scorn of the age; and those men subject to the petulancy of +every vernaculous orator, that were wont to be the care of +kings and happiest monarchs. This it is that hath not only +rapt me to present indignation, but made me studious +heretofore, and by all my actions, to stand off from them; +which may most appear in this my latest work, which you, most +learned Arbitresses, have seen, judged, and to my crown, +approved; wherein I have laboured for their instruction and +amendment, to reduce not only the ancient forms, but manners +of the scene, the easiness, the propriety, the innocence, and +last, the doctrine, which is the principal end of poesie, to +inform men in the best reason of living. And though my +catastrophe may, in the strict rigour of comic law, meet with +censure, as turning back to my promise; I desire the learned +and charitable critic, to have so much faith in me, to think +it was done of industry: for, with what ease I could have +varied it nearer his scale (but that I fear to boast my own +faculty) I could here insert. But my special aim being to put +the snaffle in their mouths, that cry out, We never punish +vice in our interludes, etc., I took the more liberty; though +not without some lines of example, drawn even in the ancients +themselves, the goings out of whose comedies are not always +joyful, but oft times the bawds, the servants, the rivals, +yea, and the masters are mulcted; and fitly, it being the +office of a comic poet to imitate justice, and instruct to +life, as well as purity of language, or stir up gentle +affections; to which I shall take the occasion elsewhere to +speak. + +For the present, most reverenced Sisters, as I have cared to +be thankful for your affections past, and here made the +understanding acquainted with some ground of your favours; let +me not despair their continuance, to the maturing of some +worthier fruits; wherein, if my muses be true to me, I shall +raise the despised head of poetry again, and stripping her out +of those rotten and base rags wherewith the times have +adulterated her form, restore her to her primitive habit, +feature, and majesty, and render her worthy to be embraced and +kist of all the great and master-spirits of our world. As for +the vile and slothful, who never affected an act worthy of +celebration, or are so inward with their own vicious natures, +as they worthily fear her, and think it an high point of +policy to keep her in contempt, with their declamatory and +windy invectives; she shall out of just rage incite her +servants (who are genus irritabile) to spout ink in their +faces, that shall eat farther than their marrow into their +fames; and not Cinnamus the barber, with his art, shall be able +to take out the brands; but they shall live, and be read, till +the wretches die, as things worst deserving of themselves in +chief, and then of all mankind. + +From my House in the Black-Friars, +this 11th day of February, 1607. + + + +DRAMATIS PERSONAE + +VOLPONE, a Magnifico. + +MOSCA, his Parasite. + +VOLTORE, an Advocate. + +CORBACCIO, an old Gentleman. + +CORVINO, a Merchant. + +BONARIO, son to Corbaccio. + +SIR POLITICK WOULD-BE, a Knight. + +PEREGRINE, a Gentleman Traveller. + +NANO, a Dwarf. + +CASTRONE, an Eunuch. + +ANDROGYNO, an Hermaphrodite. + +GREGE (or Mob). + +COMMANDADORI, Officers of Justice. + +MERCATORI, three Merchants. + +AVOCATORI, four Magistrates. + +NOTARIO, the Register. + +LADY WOULD-BE, Sir Politick's Wife. + +CELIA, Corvino's Wife. + +SERVITORI, Servants, two Waiting-women, etc. + + +SCENE: VENICE. + + +THE ARGUMENT. + +V olpone, childless, rich, feigns sick, despairs, + +O ffers his state to hopes of several heirs, + +L ies languishing: his parasite receives + +P resents of all, assures, deludes; then weaves + +O ther cross plots, which ope themselves, are told. + +N ew tricks for safety are sought; they thrive: when bold, + +E ach tempts the other again, and all are sold. + + +PROLOGUE. + +Now, luck yet sends us, and a little wit +Will serve to make our play hit; +(According to the palates of the season) +Here is rhime, not empty of reason. +This we were bid to credit from our poet, +Whose true scope, if you would know it, +In all his poems still hath been this measure, +To mix profit with your pleasure; +And not as some, whose throats their envy failing, +Cry hoarsely, All he writes is railing: +And when his plays come forth, think they can flout them, +With saying, he was a year about them. +To this there needs no lie, but this his creature, +Which was two months since no feature; +And though he dares give them five lives to mend it, +'Tis known, five weeks fully penn'd it, +From his own hand, without a co-adjutor, +Novice, journey-man, or tutor. +Yet thus much I can give you as a token +Of his play's worth, no eggs are broken, +Nor quaking custards with fierce teeth affrighted, +Wherewith your rout are so delighted; +Nor hales he in a gull old ends reciting, +To stop gaps in his loose writing; +With such a deal of monstrous and forced action, +As might make Bethlem a faction: +Nor made he his play for jests stolen from each table, +But makes jests to fit his fable; +And so presents quick comedy refined, +As best critics have designed; +The laws of time, place, persons he observeth, +From no needful rule he swerveth. +All gall and copperas from his ink he draineth, +Only a little salt remaineth, +Wherewith he'll rub your cheeks, till red, with laughter, +They shall look fresh a week after. + + + +ACT 1. SCENE 1.1. + +A ROOM IN VOLPONE'S HOUSE. + +ENTER VOLPONE AND MOSCA. + +VOLP: Good morning to the day; and next, my gold: +Open the shrine, that I may see my Saint. +[MOSCA WITHDRAWS THE CURTAIN, AND DISCOVERS PILES OF GOLD, +PLATE, JEWELS, ETC.] +Hail the world's soul, and mine! more glad than is +The teeming earth to see the long'd-for sun +Peep through the horns of the celestial Ram, +Am I, to view thy splendour darkening his; +That lying here, amongst my other hoards, +Shew'st like a flame by night; or like the day +Struck out of chaos, when all darkness fled +Unto the centre. O thou son of Sol, +But brighter than thy father, let me kiss, +With adoration, thee, and every relick +Of sacred treasure, in this blessed room. +Well did wise poets, by thy glorious name, +Title that age which they would have the best; +Thou being the best of things: and far transcending +All style of joy, in children, parents, friends, +Or any other waking dream on earth: +Thy looks when they to Venus did ascribe, +They should have given her twenty thousand Cupids; +Such are thy beauties and our loves! Dear saint, +Riches, the dumb God, that giv'st all men tongues; +That canst do nought, and yet mak'st men do all things; +The price of souls; even hell, with thee to boot, +Is made worth heaven. Thou art virtue, fame, +Honour, and all things else. Who can get thee, +He shall be noble, valiant, honest, wise,-- + +MOS: And what he will, sir. Riches are in fortune +A greater good than wisdom is in nature. + +VOLP: True, my beloved Mosca. Yet I glory +More in the cunning purchase of my wealth, +Than in the glad possession; since I gain +No common way; I use no trade, no venture; +I wound no earth with plough-shares; fat no beasts, +To feed the shambles; have no mills for iron, +Oil, corn, or men, to grind them into powder: +I blow no subtle glass; expose no ships +To threat'nings of the furrow-faced sea; +I turn no monies in the public bank, +Nor usure private. + +MOS: No sir, nor devour +Soft prodigals. You shall have some will swallow +A melting heir as glibly as your Dutch +Will pills of butter, and ne'er purge for it; +Tear forth the fathers of poor families +Out of their beds, and coffin them alive +In some kind clasping prison, where their bones +May be forth-coming, when the flesh is rotten: +But your sweet nature doth abhor these courses; +You lothe the widdow's or the orphan's tears +Should wash your pavements, or their piteous cries +Ring in your roofs, and beat the air for vengeance. + +VOLP: Right, Mosca; I do lothe it. + +MOS: And besides, sir, +You are not like a thresher that doth stand +With a huge flail, watching a heap of corn, +And, hungry, dares not taste the smallest grain, +But feeds on mallows, and such bitter herbs; +Nor like the merchant, who hath fill'd his vaults +With Romagnia, and rich Candian wines, +Yet drinks the lees of Lombard's vinegar: +You will not lie in straw, whilst moths and worms +Feed on your sumptuous hangings and soft beds; +You know the use of riches, and dare give now +From that bright heap, to me, your poor observer, +Or to your dwarf, or your hermaphrodite, +Your eunuch, or what other household-trifle +Your pleasure allows maintenance. + +VOLP: Hold thee, Mosca, +[GIVES HIM MONEY.] +Take of my hand; thou strik'st on truth in all, +And they are envious term thee parasite. +Call forth my dwarf, my eunuch, and my fool, +And let them make me sport. +[EXIT MOS.] +What should I do, +But cocker up my genius, and live free +To all delights my fortune calls me to? +I have no wife, no parent, child, ally, +To give my substance to; but whom I make +Must be my heir: and this makes men observe me: +This draws new clients daily, to my house, +Women and men of every sex and age, +That bring me presents, send me plate, coin, jewels, +With hope that when I die (which they expect +Each greedy minute) it shall then return +Ten-fold upon them; whilst some, covetous +Above the rest, seek to engross me whole, +And counter-work the one unto the other, +Contend in gifts, as they would seem in love: +All which I suffer, playing with their hopes, +And am content to coin them into profit, +To look upon their kindness, and take more, +And look on that; still bearing them in hand, +Letting the cherry knock against their lips, +And draw it by their mouths, and back again.-- +How now! + +[RE-ENTER MOSCA WITH NANO, ANDROGYNO, AND CASTRONE.] + +NAN: Now, room for fresh gamesters, who do will you to know, +They do bring you neither play, nor university show; +And therefore do entreat you, that whatsoever they rehearse, +May not fare a whit the worse, for the false pace of the verse. +If you wonder at this, you will wonder more ere we pass, +For know, here is inclosed the soul of Pythagoras, +That juggler divine, as hereafter shall follow; +Which soul, fast and loose, sir, came first from Apollo, +And was breath'd into Aethalides; Mercurius his son, +Where it had the gift to remember all that ever was done. +From thence it fled forth, and made quick transmigration +To goldy-lock'd Euphorbus, who was killed in good fashion, +At the siege of old Troy, by the cuckold of Sparta. +Hermotimus was next (I find it in my charta) +To whom it did pass, where no sooner it was missing +But with one Pyrrhus of Delos it learn'd to go a fishing; +And thence did it enter the sophist of Greece. +From Pythagore, she went into a beautiful piece, +Hight Aspasia, the meretrix; and the next toss of her +Was again of a whore, she became a philosopher, +Crates the cynick, as it self doth relate it: +Since kings, knights, and beggars, knaves, lords and fools gat it, +Besides, ox and ass, camel, mule, goat, and brock, +In all which it hath spoke, as in the cobler's cock. +But I come not here to discourse of that matter, +Or his one, two, or three, or his greath oath, BY QUATER! +His musics, his trigon, his golden thigh, +Or his telling how elements shift, but I +Would ask, how of late thou best suffered translation, +And shifted thy coat in these days of reformation. + +AND: Like one of the reformed, a fool, as you see, +Counting all old doctrine heresy. + +NAN: But not on thine own forbid meats hast thou ventured? + +AND: On fish, when first a Carthusian I enter'd. + +NAN: Why, then thy dogmatical silence hath left thee? + +AND: Of that an obstreperous lawyer bereft me. + +NAN: O wonderful change, when sir lawyer forsook thee! +For Pythagore's sake, what body then took thee? + +AND: A good dull mule. + +NAN: And how! by that means +Thou wert brought to allow of the eating of beans? + +AND: Yes. + +NAN: But from the mule into whom didst thou pass? + +AND: Into a very strange beast, by some writers call'd an ass; +By others, a precise, pure, illuminate brother, +Of those devour flesh, and sometimes one another; +And will drop you forth a libel, or a sanctified lie, +Betwixt every spoonful of a nativity pie. + +NAN: Now quit thee, for heaven, of that profane nation; +And gently report thy next transmigration. + +AND: To the same that I am. + +NAN: A creature of delight, +And, what is more than a fool, an hermaphrodite! +Now, prithee, sweet soul, in all thy variation, +Which body would'st thou choose, to keep up thy station? + +AND: Troth, this I am in: even here would I tarry. + +NAN: 'Cause here the delight of each sex thou canst vary? + +AND: Alas, those pleasures be stale and forsaken; +No, 'tis your fool wherewith I am so taken, +The only one creature that I can call blessed: +For all other forms I have proved most distressed. + +NAN: Spoke true, as thou wert in Pythagoras still. +This learned opinion we celebrate will, +Fellow eunuch, as behoves us, with all our wit and art, +To dignify that whereof ourselves are so great and special a part. + +VOLP: Now, very, very pretty! Mosca, this +Was thy invention? + +MOS: If it please my patron, +Not else. + +VOLP: It doth, good Mosca. + +MOS: Then it was, sir. + +NANO AND CASTRONE [SING.]: Fools, they are the only nation +Worth men's envy, or admiration: +Free from care or sorrow-taking, +Selves and others merry making: +All they speak or do is sterling. +Your fool he is your great man's darling, +And your ladies' sport and pleasure; +Tongue and bauble are his treasure. +E'en his face begetteth laughter, +And he speaks truth free from slaughter; +He's the grace of every feast, +And sometimes the chiefest guest; +Hath his trencher and his stool, +When wit waits upon the fool: +O, who would not be +He, he, he? + +[KNOCKING WITHOUT.] + +VOLP: Who's that? Away! +[EXEUNT NANO AND CASTRONE.] +Look, Mosca. Fool, begone! +[EXIT ANDROGYNO.] + +MOS: 'Tis Signior Voltore, the advocate; +I know him by his knock. + +VOLP: Fetch me my gown, +My furs and night-caps; say, my couch is changing, +And let him entertain himself awhile +Without i' the gallery. +[EXIT MOSCA.] +Now, now, my clients +Begin their visitation! Vulture, kite, +Raven, and gorcrow, all my birds of prey, +That think me turning carcase, now they come; +I am not for them yet-- +[RE-ENTER MOSCA, WITH THE GOWN, ETC.] +How now! the news? + +MOS: A piece of plate, sir. + +VOLP: Of what bigness? + +MOS: Huge, +Massy, and antique, with your name inscribed, +And arms engraven. + +VOLP: Good! and not a fox +Stretch'd on the earth, with fine delusive sleights, +Mocking a gaping crow? ha, Mosca? + +MOS: Sharp, sir. + +VOLP: Give me my furs. +[PUTS ON HIS SICK DRESS.] +Why dost thou laugh so, man? + +MOS: I cannot choose, sir, when I apprehend +What thoughts he has without now, as he walks: +That this might be the last gift he should give; +That this would fetch you; if you died to-day, +And gave him all, what he should be to-morrow; +What large return would come of all his ventures; +How he should worship'd be, and reverenced; +Ride with his furs, and foot-cloths; waited on +By herds of fools, and clients; have clear way +Made for his mule, as letter'd as himself; +Be call'd the great and learned advocate: +And then concludes, there's nought impossible. + +VOLP: Yes, to be learned, Mosca. + +MOS: O no: rich +Implies it. Hood an ass with reverend purple, +So you can hide his two ambitious ears, +And he shall pass for a cathedral doctor. + +VOLP: My caps, my caps, good Mosca. Fetch him in. + +MOS: Stay, sir, your ointment for your eyes. + +VOLP: That's true; +Dispatch, dispatch: I long to have possession +Of my new present. + +MOS: That, and thousands more, +I hope, to see you lord of. + +VOLP: Thanks, kind Mosca. + +MOS: And that, when I am lost in blended dust, +And hundred such as I am, in succession-- + +VOLP: Nay, that were too much, Mosca. + +MOS: You shall live, +Still, to delude these harpies. + +VOLP: Loving Mosca! +'Tis well: my pillow now, and let him enter. +[EXIT MOSCA.] +Now, my fain'd cough, my pthisic, and my gout, +My apoplexy, palsy, and catarrhs, +Help, with your forced functions, this my posture, +Wherein, this three year, I have milk'd their hopes. +He comes; I hear him--Uh! [COUGHING.] uh! uh! uh! O-- + +[RE-ENTER MOSCA, INTRODUCING VOLTORE, WITH A PIECE OF PLATE.] + +MOS: You still are what you were, sir. Only you, +Of all the rest, are he commands his love, +And you do wisely to preserve it thus, +With early visitation, and kind notes +Of your good meaning to him, which, I know, +Cannot but come most grateful. Patron! sir! +Here's signior Voltore is come-- + +VOLP [FAINTLY.]: What say you? + +MOS: Sir, signior Voltore is come this morning +To visit you. + +VOLP: I thank him. + +MOS: And hath brought +A piece of antique plate, bought of St Mark, +With which he here presents you. + +VOLP: He is welcome. +Pray him to come more often. + +MOS: Yes. + +VOLT: What says he? + +MOS: He thanks you, and desires you see him often. + +VOLP: Mosca. + +MOS: My patron! + +VOLP: Bring him near, where is he? +I long to feel his hand. + +MOS: The plate is here, sir. + +VOLT: How fare you, sir? + +VOLP: I thank you, signior Voltore; +Where is the plate? mine eyes are bad. + +VOLT [PUTTING IT INTO HIS HANDS.]: I'm sorry, +To see you still thus weak. + +MOS [ASIDE.]: That he's not weaker. + +VOLP: You are too munificent. + +VOLT: No sir; would to heaven, +I could as well give health to you, as that plate! + +VOLP: You give, sir, what you can: I thank you. Your love +Hath taste in this, and shall not be unanswer'd: +I pray you see me often. + +VOLT: Yes, I shall sir. + +VOLP: Be not far from me. + +MOS: Do you observe that, sir? + +VOLP: Hearken unto me still; it will concern you. + +MOS: You are a happy man, sir; know your good. + +VOLP: I cannot now last long-- + +MOS: You are his heir, sir. + +VOLT: Am I? + +VOLP: I feel me going; Uh! uh! uh! uh! +I'm sailing to my port, Uh! uh! uh! uh! +And I am glad I am so near my haven. + +MOS: Alas, kind gentleman! Well, we must all go-- + +VOLT: But, Mosca-- + +MOS: Age will conquer. + +VOLT: 'Pray thee hear me: +Am I inscribed his heir for certain? + +MOS: Are you! +I do beseech you, sir, you will vouchsafe +To write me in your family. All my hopes +Depend upon your worship: I am lost, +Except the rising sun do shine on me. + +VOLT: It shall both shine, and warm thee, Mosca. + +MOS: Sir, +I am a man, that hath not done your love +All the worst offices: here I wear your keys, +See all your coffers and your caskets lock'd, +Keep the poor inventory of your jewels, +Your plate and monies; am your steward, sir. +Husband your goods here. + +VOLT: But am I sole heir? + +MOS: Without a partner, sir; confirm'd this morning: +The wax is warm yet, and the ink scarce dry +Upon the parchment. + +VOLT: Happy, happy, me! +By what good chance, sweet Mosca? + +MOS: Your desert, sir; +I know no second cause. + +VOLT: Thy modesty +Is not to know it; well, we shall requite it. + +MOS: He ever liked your course sir; that first took him. +I oft have heard him say, how he admired +Men of your large profession, that could speak +To every cause, and things mere contraries, +Till they were hoarse again, yet all be law; +That, with most quick agility, could turn, +And [re-] return; [could] make knots, and undo them; +Give forked counsel; take provoking gold +On either hand, and put it up: these men, +He knew, would thrive with their humility. +And, for his part, he thought he should be blest +To have his heir of such a suffering spirit, +So wise, so grave, of so perplex'd a tongue, +And loud withal, that would not wag, nor scarce +Lie still, without a fee; when every word +Your worship but lets fall, is a chequin!-- +[LOUD KNOCKING WITHOUT.] +Who's that? one knocks; I would not have you seen, sir. +And yet--pretend you came, and went in haste: +I'll fashion an excuse.--and, gentle sir, +When you do come to swim in golden lard, +Up to the arms in honey, that your chin +Is born up stiff, with fatness of the flood, +Think on your vassal; but remember me: +I have not been your worst of clients. + +VOLT: Mosca!-- + +MOS: When will you have your inventory brought, sir? +Or see a coppy of the will?--Anon!-- +I will bring them to you, sir. Away, be gone, +Put business in your face. + +[EXIT VOLTORE.] + +VOLP [SPRINGING UP.]: Excellent Mosca! +Come hither, let me kiss thee. + +MOS: Keep you still, sir. +Here is Corbaccio. + +VOLP: Set the plate away: +The vulture's gone, and the old raven's come! + +MOS: Betake you to your silence, and your sleep: +Stand there and multiply. +[PUTTING THE PLATE TO THE REST.] +Now, shall we see +A wretch who is indeed more impotent +Than this can feign to be; yet hopes to hop +Over his grave.-- +[ENTER CORBACCIO.] +Signior Corbaccio! +You're very welcome, sir. + +CORB: How does your patron? + +MOS: Troth, as he did, sir; no amends. + +CORB: What! mends he? + +MOS: No, sir: he's rather worse. + +CORB: That's well. Where is he? + +MOS: Upon his couch sir, newly fall'n asleep. + +CORB: Does he sleep well? + +MOS: No wink, sir, all this night. +Nor yesterday; but slumbers. + +CORB: Good! he should take +Some counsel of physicians: I have brought him +An opiate here, from mine own doctor. + +MOS: He will not hear of drugs. + +CORB: Why? I myself +Stood by while it was made; saw all the ingredients: +And know, it cannot but most gently work: +My life for his, 'tis but to make him sleep. + +VOLP [ASIDE.]: Ay, his last sleep, if he would take it. + +MOS: Sir, +He has no faith in physic. + +CORB: 'Say you? 'say you? + +MOS: He has no faith in physic: he does think +Most of your doctors are the greater danger, +And worse disease, to escape. I often have +Heard him protest, that your physician +Should never be his heir. + +CORB: Not I his heir? + +MOS: Not your physician, sir. + +CORB: O, no, no, no, +I do not mean it. + +MOS: No, sir, nor their fees +He cannot brook: he says, they flay a man, +Before they kill him. + +CORB: Right, I do conceive you. + +MOS: And then they do it by experiment; +For which the law not only doth absolve them, +But gives them great reward: and he is loth +To hire his death, so. + +CORB: It is true, they kill, +With as much license as a judge. + +MOS: Nay, more; +For he but kills, sir, where the law condemns, +And these can kill him too. + +CORB: Ay, or me; +Or any man. How does his apoplex? +Is that strong on him still? + +MOS: Most violent. +His speech is broken, and his eyes are set, +His face drawn longer than 'twas wont-- + +CORB: How! how! +Stronger then he was wont? + +MOS: No, sir: his face +Drawn longer than 'twas wont. + +CORB: O, good! + +MOS: His mouth +Is ever gaping, and his eyelids hang. + +CORB: Good. + +MOS: A freezing numbness stiffens all his joints, +And makes the colour of his flesh like lead. + +CORB: 'Tis good. + +MOS: His pulse beats slow, and dull. + +CORB: Good symptoms, still. + +MOS: And from his brain-- + +CORB: I conceive you; good. + +MOS: Flows a cold sweat, with a continual rheum, +Forth the resolved corners of his eyes. + +CORB: Is't possible? yet I am better, ha! +How does he, with the swimming of his head? + +B: O, sir, 'tis past the scotomy; he now +Hath lost his feeling, and hath left to snort: +You hardly can perceive him, that he breathes. + +CORB: Excellent, excellent! sure I shall outlast him: +This makes me young again, a score of years. + +MOS: I was a coming for you, sir. + +CORB: Has he made his will? +What has he given me? + +MOS: No, sir. + +CORB: Nothing! ha? + +MOS: He has not made his will, sir. + +CORB: Oh, oh, oh! +But what did Voltore, the Lawyer, here? + +MOS: He smelt a carcase, sir, when he but heard +My master was about his testament; +As I did urge him to it for your good-- + +CORB: He came unto him, did he? I thought so. + +MOS: Yes, and presented him this piece of plate. + +CORB: To be his heir? + +MOS: I do not know, sir. + +CORB: True: +I know it too. + +MOS [ASIDE.]: By your own scale, sir. + +CORB: Well, +I shall prevent him, yet. See, Mosca, look, +Here, I have brought a bag of bright chequines, +Will quite weigh down his plate. + +MOS [TAKING THE BAG.]: Yea, marry, sir. +This is true physic, this your sacred medicine, +No talk of opiates, to this great elixir! + +CORB: 'Tis aurum palpabile, if not potabile. + +MOS: It shall be minister'd to him, in his bowl. + +CORB: Ay, do, do, do. + +MOS: Most blessed cordial! +This will recover him. + +CORB: Yes, do, do, do. + +MOS: I think it were not best, sir. + +CORB: What? + +MOS: To recover him. + +CORB: O, no, no, no; by no means. + +MOS: Why, sir, this +Will work some strange effect, if he but feel it. + +CORB: 'Tis true, therefore forbear; I'll take my venture: +Give me it again. + +MOS: At no hand; pardon me: +You shall not do yourself that wrong, sir. I +Will so advise you, you shall have it all. + +CORB: How? + +MOS: All, sir; 'tis your right, your own; no man +Can claim a part: 'tis yours, without a rival, +Decreed by destiny. + +CORB: How, how, good Mosca? + +MOS: I'll tell you sir. This fit he shall recover. + +CORB: I do conceive you. + +MOS: And, on first advantage +Of his gain'd sense, will I re-importune him +Unto the making of his testament: +And shew him this. +[POINTING TO THE MONEY.] + +CORB: Good, good. + +MOS: 'Tis better yet, +If you will hear, sir. + +CORB: Yes, with all my heart. + +MOS: Now, would I counsel you, make home with speed; +There, frame a will; whereto you shall inscribe +My master your sole heir. + +CORB: And disinherit +My son! + +MOS: O, sir, the better: for that colour +Shall make it much more taking. + +CORB: O, but colour? + +MOS: This will sir, you shall send it unto me. +Now, when I come to inforce, as I will do, +Your cares, your watchings, and your many prayers, +Your more than many gifts, your this day's present, +And last, produce your will; where, without thought, +Or least regard, unto your proper issue, +A son so brave, and highly meriting, +The stream of your diverted love hath thrown you +Upon my master, and made him your heir: +He cannot be so stupid, or stone-dead, +But out of conscience, and mere gratitude-- + +CORB: He must pronounce me his? + +MOS: 'Tis true. + +CORB: This plot +Did I think on before. + +MOS: I do believe it. + +CORB: Do you not believe it? + +MOS: Yes, sir. + +CORB: Mine own project. + +MOS: Which, when he hath done, sir. + +CORB: Publish'd me his heir? + +MOS: And you so certain to survive him-- + +CORB: Ay. + +MOS: Being so lusty a man-- + +CORB: 'Tis true. + +MOS: Yes, sir-- + +CORB: I thought on that too. See, how he should be +The very organ to express my thoughts! + +MOS: You have not only done yourself a good-- + +CORB: But multiplied it on my son. + +MOS: 'Tis right, sir. + +CORB: Still, my invention. + +MOS: 'Las, sir! heaven knows, +It hath been all my study, all my care, +(I e'en grow gray withal,) how to work things-- + +CORB: I do conceive, sweet Mosca. + +MOS: You are he, +For whom I labour here. + +CORB: Ay, do, do, do: +I'll straight about it. +[GOING.] + +MOS: Rook go with you, raven! + +CORB: I know thee honest. + +MOS [ASIDE.]: You do lie, sir! + +CORB: And-- + +MOS: Your knowledge is no better than your ears, sir. + +CORB: I do not doubt, to be a father to thee. + +MOS: Nor I to gull my brother of his blessing. + +CORB: I may have my youth restored to me, why not? + +MOS: Your worship is a precious ass! + +CORB: What say'st thou? + +MOS: I do desire your worship to make haste, sir. + +CORB: 'Tis done, 'tis done, I go. +[EXIT.] + +VOLP [LEAPING FROM HIS COUCH.]: O, I shall burst! +Let out my sides, let out my sides-- + +MOS: Contain +Your flux of laughter, sir: you know this hope +Is such a bait, it covers any hook. + +VOLP: O, but thy working, and thy placing it! +I cannot hold; good rascal, let me kiss thee: +I never knew thee in so rare a humour. + +MOS: Alas sir, I but do as I am taught; +Follow your grave instructions; give them words; +Pour oil into their ears, and send them hence. + +VOLP: 'Tis true, 'tis true. What a rare punishment +Is avarice to itself! + +MOS: Ay, with our help, sir. + +VOLP: So many cares, so many maladies, +So many fears attending on old age, +Yea, death so often call'd on, as no wish +Can be more frequent with them, their limbs faint, +Their senses dull, their seeing, hearing, going, +All dead before them; yea, their very teeth, +Their instruments of eating, failing them: +Yet this is reckon'd life! nay, here was one; +Is now gone home, that wishes to live longer! +Feels not his gout, nor palsy; feigns himself +Younger by scores of years, flatters his age +With confident belying it, hopes he may, +With charms, like Aeson, have his youth restored: +And with these thoughts so battens, as if fate +Would be as easily cheated on, as he, +And all turns air! +[KNOCKING WITHIN.] +Who's that there, now? a third? + +MOS: Close, to your couch again; I hear his voice: +It is Corvino, our spruce merchant. + +VOLP [LIES DOWN AS BEFORE.]: Dead. + +MOS: Another bout, sir, with your eyes. +[ANOINTING THEM.] +--Who's there? +[ENTER CORVINO.] +Signior Corvino! come most wish'd for! O, +How happy were you, if you knew it, now! + +CORV: Why? what? wherein? + +MOS: The tardy hour is come, sir. + +CORV: He is not dead? + +MOS: Not dead, sir, but as good; +He knows no man. + +CORV: How shall I do then? + +MOS: Why, sir? + +CORV: I have brought him here a pearl. + +MOS: Perhaps he has +So much remembrance left, as to know you, sir: +He still calls on you; nothing but your name +Is in his mouth: Is your pearl orient, sir? + +CORV: Venice was never owner of the like. + +VOLP [FAINTLY.]: Signior Corvino. + +MOS: Hark. + +VOLP: Signior Corvino! + +MOS: He calls you; step and give it him.--He's here, sir, +And he has brought you a rich pearl. + +CORV: How do you, sir? +Tell him, it doubles the twelfth caract. + +MOS: Sir, +He cannot understand, his hearing's gone; +And yet it comforts him to see you-- + +CORV: Say, +I have a diamond for him, too. + +MOS: Best shew it, sir; +Put it into his hand; 'tis only there +He apprehends: he has his feeling, yet. +See how he grasps it! + +CORV: 'Las, good gentleman! +How pitiful the sight is! + +MOS: Tut! forget, sir. +The weeping of an heir should still be laughter +Under a visor. + +CORV: Why, am I his heir? + +MOS: Sir, I am sworn, I may not shew the will, +Till he be dead; but, here has been Corbaccio, +Here has been Voltore, here were others too, +I cannot number 'em, they were so many; +All gaping here for legacies: but I, +Taking the vantage of his naming you, +"Signior Corvino, Signior Corvino," took +Paper, and pen, and ink, and there I asked him, +Whom he would have his heir? "Corvino." Who +Should be executor? "Corvino." And, +To any question he was silent too, +I still interpreted the nods he made, +Through weakness, for consent: and sent home th' others, +Nothing bequeath'd them, but to cry and curse. + +CORV: O, my dear Mosca! +[THEY EMBRACE.] +Does he not perceive us? + +MOS: No more than a blind harper. He knows no man, +No face of friend, nor name of any servant, +Who 'twas that fed him last, or gave him drink: +Not those he hath begotten, or brought up, +Can he remember. + +CORV: Has he children? + +MOS: Bastards, +Some dozen, or more, that he begot on beggars, +Gipsies, and Jews, and black-moors, when he was drunk. +Knew you not that, sir? 'tis the common fable. +The dwarf, the fool, the eunuch, are all his; +He's the true father of his family, +In all, save me:--but he has giv'n them nothing. + +CORV: That's well, that's well. Art sure he does not hear us? + +MOS: Sure, sir! why, look you, credit your own sense. +[SHOUTS IN VOL.'S EAR.] +The pox approach, and add to your diseases, +If it would send you hence the sooner, sir, +For your incontinence, it hath deserv'd it +Thoroughly, and thoroughly, and the plague to boot!-- +You may come near, sir.--Would you would once close +Those filthy eyes of yours, that flow with slime, +Like two frog-pits; and those same hanging cheeks, +Cover'd with hide, instead of skin--Nay help, sir-- +That look like frozen dish-clouts, set on end! + +CORV [ALOUD.]: Or like an old smoked wall, on which the rain +Ran down in streaks! + +MOS: Excellent! sir, speak out: +You may be louder yet: A culverin +Discharged in his ear would hardly bore it. + +CORV: His nose is like a common sewer, still running. + +MOS: 'Tis good! And what his mouth? + +CORV: A very draught. + +MOS: O, stop it up-- + +CORV: By no means. + +MOS: 'Pray you, let me. +Faith I could stifle him, rarely with a pillow, +As well as any woman that should keep him. + +CORV: Do as you will: but I'll begone. + +MOS: Be so: +It is your presence makes him last so long. + +CORV: I pray you, use no violence. + +MOS: No, sir! why? +Why should you be thus scrupulous, pray you, sir? + +CORV: Nay, at your discretion. + +MOS: Well, good sir, begone. + +CORV: I will not trouble him now, to take my pearl. + +MOS: Puh! nor your diamond. What a needless care +Is this afflicts you? Is not all here yours? +Am not I here, whom you have made your creature? +That owe my being to you? + +CORV: Grateful Mosca! +Thou art my friend, my fellow, my companion, +My partner, and shalt share in all my fortunes. + +MOS: Excepting one. + +CORV: What's that? + +MOS: Your gallant wife, sir,-- +[EXIT CORV.] +Now is he gone: we had no other means +To shoot him hence, but this. + +VOLP: My divine Mosca! +Thou hast to-day outgone thyself. +[KNOCKING WITHIN.] +--Who's there? +I will be troubled with no more. Prepare +Me music, dances, banquets, all delights; +The Turk is not more sensual in his pleasures, +Than will Volpone. +[EXIT MOS.] +Let me see; a pearl! +A diamond! plate! chequines! Good morning's purchase, +Why, this is better than rob churches, yet; +Or fat, by eating, once a month, a man. +[RE-ENTER MOSCA.] +Who is't? + +MOS: The beauteous lady Would-be, sir. +Wife to the English knight, Sir Politick Would-be, +(This is the style, sir, is directed me,) +Hath sent to know how you have slept to-night, +And if you would be visited? + +VOLP: Not now: +Some three hours hence-- + +MOS: I told the squire so much. + +VOLP: When I am high with mirth and wine; then, then: +'Fore heaven, I wonder at the desperate valour +Of the bold English, that they dare let loose +Their wives to all encounters! + +MOS: Sir, this knight +Had not his name for nothing, he is politick, +And knows, howe'er his wife affect strange airs, +She hath not yet the face to be dishonest: +But had she signior Corvino's wife's face-- + +VOLP: Has she so rare a face? + +MOS: O, sir, the wonder, +The blazing star of Italy! a wench +Of the first year! a beauty ripe as harvest! +Whose skin is whiter than a swan all over, +Than silver, snow, or lilies! a soft lip, +Would tempt you to eternity of kissing! +And flesh that melteth in the touch to blood! +Bright as your gold, and lovely as your gold! + +VOLP: Why had not I known this before? + +MOS: Alas, sir, +Myself but yesterday discover'd it. + +VOLP: How might I see her? + +MOS: O, not possible; +She's kept as warily as is your gold; +Never does come abroad, never takes air, +But at a window. All her looks are sweet, +As the first grapes or cherries, and are watch'd +As near as they are. + +VOLP: I must see her. + +MOS: Sir, +There is a guard of spies ten thick upon her, +All his whole household; each of which is set +Upon his fellow, and have all their charge, +When he goes out, when he comes in, examined. + +VOLP: I will go see her, though but at her window. + +MOS: In some disguise, then. + +VOLP: That is true; I must +Maintain mine own shape still the same: we'll think. + +[EXEUNT.] + + +ACT 2. SCENE 2.1. + +ST. MARK'S PLACE; A RETIRED CORNER BEFORE CORVINO'S HOUSE. + +ENTER SIR POLITICK WOULD-BE, AND PEREGRINE. + +SIR P: Sir, to a wise man, all the world's his soil: +It is not Italy, nor France, nor Europe, +That must bound me, if my fates call me forth. +Yet, I protest, it is no salt desire +Of seeing countries, shifting a religion, +Nor any disaffection to the state +Where I was bred, and unto which I owe +My dearest plots, hath brought me out; much less, +That idle, antique, stale, gray-headed project +Of knowing men's minds, and manners, with Ulysses! +But a peculiar humour of my wife's +Laid for this height of Venice, to observe, +To quote, to learn the language, and so forth-- +I hope you travel, sir, with license? + +PER: Yes. + +SIR P: I dare the safelier converse--How long, sir, +Since you left England? + +PER: Seven weeks. + +SIR P: So lately! +You have not been with my lord ambassador? + +PER: Not yet, sir. + +SIR P: Pray you, what news, sir, vents our climate? +I heard last night a most strange thing reported +By some of my lord's followers, and I long +To hear how 'twill be seconded. + +PER: What was't, sir? + +SIR P: Marry, sir, of a raven that should build +In a ship royal of the king's. + +PER [ASIDE.]: This fellow, +Does he gull me, trow? or is gull'd? +--Your name, sir. + +SIR P: My name is Politick Would-be. + +PER [ASIDE.]: O, that speaks him. +--A knight, sir? + +SIR P: A poor knight, sir. + +PER: Your lady +Lies here in Venice, for intelligence +Of tires, and fashions, and behaviour, +Among the courtezans? the fine lady Would-be? + +SIR P: Yes, sir; the spider and the bee, ofttimes, +Suck from one flower. + +PER: Good Sir Politick, +I cry you mercy; I have heard much of you: +'Tis true, sir, of your raven. + +SIR P: On your knowledge? + +PER: Yes, and your lion's whelping, in the Tower. + +SIR P: Another whelp! + +PER: Another, sir. + +SIR P: Now heaven! +What prodigies be these? The fires at Berwick! +And the new star! these things concurring, strange, +And full of omen! Saw you those meteors? + +PER: I did, sir. + +SIR P: Fearful! Pray you, sir, confirm me, +Were there three porpoises seen above the bridge, +As they give out? + +PER: Six, and a sturgeon, sir. + +SIR P: I am astonish'd. + +PER: Nay, sir, be not so; +I'll tell you a greater prodigy than these. + +SIR P: What should these things portend? + +PER: The very day +(Let me be sure) that I put forth from London, +There was a whale discover'd in the river, +As high as Woolwich, that had waited there, +Few know how many months, for the subversion +Of the Stode fleet. + +SIR P: Is't possible? believe it, +'Twas either sent from Spain, or the archdukes: +Spinola's whale, upon my life, my credit! +Will they not leave these projects? Worthy sir, +Some other news. + +PER: Faith, Stone the fool is dead; +And they do lack a tavern fool extremely. + +SIR P: Is Mass Stone dead? + +PER: He's dead sir; why, I hope +You thought him not immortal? +[ASIDE.] +--O, this knight, +Were he well known, would be a precious thing +To fit our English stage: he that should write +But such a fellow, should be thought to feign +Extremely, if not maliciously. + +SIR P: Stone dead! + +PER: Dead.--Lord! how deeply sir, you apprehend it? +He was no kinsman to you? + +SIR P: That I know of. +Well! that same fellow was an unknown fool. + +PER: And yet you knew him, it seems? + +SIR P: I did so. Sir, +I knew him one of the most dangerous heads +Living within the state, and so I held him. + +PER: Indeed, sir? + +SIR P: While he lived, in action. +He has received weekly intelligence, +Upon my knowledge, out of the Low Countries, +For all parts of the world, in cabbages; +And those dispensed again to ambassadors, +In oranges, musk-melons, apricocks, +Lemons, pome-citrons, and such-like: sometimes +In Colchester oysters, and your Selsey cockles. + +PER: You make me wonder. + +SIR P: Sir, upon my knowledge. +Nay, I've observed him, at your public ordinary, +Take his advertisement from a traveller +A conceal'd statesman, in a trencher of meat; +And instantly, before the meal was done, +Convey an answer in a tooth-pick. + +PER: Strange! +How could this be, sir? + +SIR P: Why, the meat was cut +So like his character, and so laid, as he +Must easily read the cipher. + +PER: I have heard, +He could not read, sir. + +SIR P: So 'twas given out, +In policy, by those that did employ him: +But he could read, and had your languages, +And to't, as sound a noddle-- + +PER: I have heard, sir, +That your baboons were spies, and that they were +A kind of subtle nation near to China: + +SIR P: Ay, ay, your Mamuluchi. Faith, they had +Their hand in a French plot or two; but they +Were so extremely given to women, as +They made discovery of all: yet I +Had my advices here, on Wednesday last. +From one of their own coat, they were return'd, +Made their relations, as the fashion is, +And now stand fair for fresh employment. + +PER: 'Heart! +[ASIDE.] +This sir Pol will be ignorant of nothing. +--It seems, sir, you know all? + +SIR P: Not all sir, but +I have some general notions. I do love +To note and to observe: though I live out, +Free from the active torrent, yet I'd mark +The currents and the passages of things, +For mine own private use; and know the ebbs, +And flows of state. + +PER: Believe it, sir, I hold +Myself in no small tie unto my fortunes, +For casting me thus luckily upon you, +Whose knowledge, if your bounty equal it, +May do me great assistance, in instruction +For my behaviour, and my bearing, which +Is yet so rude and raw. + +SIR P: Why, came you forth +Empty of rules, for travel? + +PER: Faith, I had +Some common ones, from out that vulgar grammar, +Which he that cried Italian to me, taught me. + +SIR P: Why this it is, that spoils all our brave bloods, +Trusting our hopeful gentry unto pedants, +Fellows of outside, and mere bark. You seem +To be a gentleman, of ingenuous race:-- +I not profess it, but my fate hath been +To be, where I have been consulted with, +In this high kind, touching some great men's sons, +Persons of blood, and honour.-- + +[ENTER MOSCA AND NANO DISGUISED, FOLLOWED BY PERSONS WITH +MATERIALS FOR ERECTING A STAGE.] + +PER: Who be these, sir? + +MOS: Under that window, there 't must be. The same. + +SIR P: Fellows, to mount a bank. Did your instructor +In the dear tongues, never discourse to you +Of the Italian mountebanks? + +PER: Yes, sir. + +SIR P: Why, +Here shall you see one. + +PER: They are quacksalvers; +Fellows, that live by venting oils and drugs. + +SIR P: Was that the character he gave you of them? + +PER: As I remember. + +SIR P: Pity his ignorance. +They are the only knowing men of Europe! +Great general scholars, excellent physicians, +Most admired statesmen, profest favourites, +And cabinet counsellors to the greatest princes; +The only languaged men of all the world! + +PER: And, I have heard, they are most lewd impostors; +Made all of terms and shreds; no less beliers +Of great men's favours, than their own vile med'cines; +Which they will utter upon monstrous oaths: +Selling that drug for two-pence, ere they part, +Which they have valued at twelve crowns before. + +SIR P: Sir, calumnies are answer'd best with silence. +Yourself shall judge.--Who is it mounts, my friends? + +MOS: Scoto of Mantua, sir. + +SIR P: Is't he? Nay, then +I'll proudly promise, sir, you shall behold +Another man than has been phant'sied to you. +I wonder yet, that he should mount his bank, +Here in this nook, that has been wont t'appear +In face of the Piazza!--Here, he comes. + +[ENTER VOLPONE, DISGUISED AS A MOUNTEBANK DOCTOR, AND +FOLLOWED BY A CROWD OF PEOPLE.] + +VOLP [TO NANO.]: Mount zany. + +MOB: Follow, follow, follow, follow! + +SIR P: See how the people follow him! he's a man +May write ten thousand crowns in bank here. Note, +[VOLPONE MOUNTS THE STAGE.] +Mark but his gesture:--I do use to observe +The state he keeps in getting up. + +PER: 'Tis worth it, sir. + +VOLP: Most noble gentlemen, and my worthy patrons! It may seem +strange, that I, your Scoto Mantuano, who was ever wont to fix +my bank in face of the public Piazza, near the shelter of the +Portico to the Procuratia, should now, after eight months' +absence from this illustrious city of Venice, humbly retire +myself into an obscure nook of the Piazza. + +SIR P: Did not I now object the same? + +PER: Peace, sir. + +VOLP: Let me tell you: I am not, as your Lombard proverb saith, +cold on my feet; or content to part with my commodities at a +cheaper rate, than I accustomed: look not for it. Nor that the +calumnious reports of that impudent detractor, and shame to our +profession, (Alessandro Buttone, I mean,) who gave out, in +public, I was condemn'd a sforzato to the galleys, for +poisoning the cardinal Bembo's--cook, hath at all attached, +much less dejected me. No, no, worthy gentlemen; to tell you +true, I cannot endure to see the rabble of these ground +ciarlitani, that spread their cloaks on the pavement, as if +they meant to do feats of activity, and then come in lamely, +with their mouldy tales out of Boccacio, like stale Tabarine, +the fabulist: some of them discoursing their travels, and of +their tedious captivity in the Turks' galleys, when, indeed, +were the truth known, they were the Christians' galleys, where +very temperately they eat bread, and drunk water, as a +wholesome penance, enjoined them by their confessors, for base +pilferies. + +SIR P: Note but his bearing, and contempt of these. + +VOLP: These turdy-facy-nasty-paty-lousy-fartical rogues, with +one poor groat's-worth of unprepared antimony, finely wrapt up +in several scartoccios, are able, very well, to kill their +twenty a week, and play; yet, these meagre, starved spirits, +who have half stopt the organs of their minds with earthy +oppilations, want not their favourers among your shrivell'd +sallad-eating artizans, who are overjoyed that they may have +their half-pe'rth of physic; though it purge them into another +world, it makes no matter. + +SIR P: Excellent! have you heard better language, sir? + +VOLP: Well, let them go. And, gentlemen, honourable gentlemen, +know, that for this time, our bank, being thus removed from the +clamours of the canaglia, shall be the scene of pleasure and +delight; for I have nothing to sell, little or nothing to sell. + +SIR P: I told you, sir, his end. + +PER: You did so, sir. + +VOLP: I protest, I, and my six servants, are not able to make +of this precious liquor, so fast as it is fetch'd away from my +lodging by gentlemen of your city; strangers of the Terra-firma; +worshipful merchants; ay, and senators too: who, ever since my +arrival, have detained me to their uses, by their splendidous +liberalities. And worthily; for, what avails your rich man to +have his magazines stuft with moscadelli, or of the purest +grape, when his physicians prescribe him, on pain of death, +to drink nothing but water cocted with aniseeds? O health! +health! the blessing of the rich, the riches of the poor! who +can buy thee at too dear a rate, since there is no enjoying +this world without thee? Be not then so sparing of your purses, +honourable gentlemen, as to abridge the natural course of life-- + +PER: You see his end. + +SIR P: Ay, is't not good? + +VOLP: For, when a humid flux, or catarrh, by the mutability of +air, falls from your head into an arm or shoulder, or any other +part; take you a ducat, or your chequin of gold, and apply to +the place affected: see what good effect it can work. No, no, +'tis this blessed unguento, this rare extraction, that hath +only power to disperse all malignant humours, that proceed +either of hot, cold, moist, or windy causes-- + +PER: I would he had put in dry too. + +SIR P: 'Pray you, observe. + +VOLP: To fortify the most indigest and crude stomach, ay, were +it of one, that, through extreme weakness, vomited blood, +applying only a warm napkin to the place, after the unction +and fricace;--for the vertigine in the head, putting but a drop +into your nostrils, likewise behind the ears; a most sovereign +and approved remedy. The mal caduco, cramps, convulsions, +paralysies, epilepsies, tremor-cordia, retired nerves, ill +vapours of the spleen, stopping of the liver, the stone, the +strangury, hernia ventosa, iliaca passio; stops a disenteria +immediately; easeth the torsion of the small guts: and cures +melancholia hypocondriaca, being taken and applied according to +my printed receipt. +[POINTING TO HIS BILL AND HIS VIAL.] +For, this is the physician, this the medicine; this counsels, +this cures; this gives the direction, this works the effect; +and, in sum, both together may be termed an abstract of the +theorick and practick in the Aesculapian art. 'Twill cost you +eight crowns. And,--Zan Fritada, prithee sing a verse extempore +in honour of it. + +SIR P: How do you like him, sir? + +PER: Most strangely, I! + +SIR P: Is not his language rare? + +PER: But alchemy, +I never heard the like: or Broughton's books. + +NANO [SINGS.]: Had old Hippocrates, or Galen, +That to their books put med'cines all in, +But known this secret, they had never +(Of which they will be guilty ever) +Been murderers of so much paper, +Or wasted many a hurtless taper; +No Indian drug had e'er been famed, +Tabacco, sassafras not named; +Ne yet, of guacum one small stick, sir, +Nor Raymund Lully's great elixir. +Ne had been known the Danish Gonswart, +Or Paracelsus, with his long-sword. + +PER: All this, yet, will not do, eight crowns is high. + +VOLP: No more.--Gentlemen, if I had but time to discourse to you +the miraculous effects of this my oil, surnamed Oglio del Scoto; +with the countless catalogue of those I have cured of the +aforesaid, and many more diseases; the pattents and privileges of +all the princes and commonwealths of Christendom; or but the +depositions of those that appeared on my part, before the signiory +of the Sanita and most learned College of Physicians; where I was +authorised, upon notice taken of the admirable virtues of my +medicaments, and mine own excellency in matter of rare and unknown +secrets, not only to disperse them publicly in this famous city, +but in all the territories, that happily joy under the government +of the most pious and magnificent states of Italy. But may some +other gallant fellow say, O, there be divers that make profession +to have as good, and as experimented receipts as yours: indeed, +very many have assayed, like apes, in imitation of that, which is +really and essentially in me, to make of this oil; bestowed great +cost in furnaces, stills, alembecks, continual fires, and +preparation of the ingredients, (as indeed there goes to it six +hundred several simples, besides some quantity of human fat, for +the conglutination, which we buy of the anatomists,) but, when +these practitioners come to the last decoction, blow, blow, puff, +puff, and all flies in fumo: ha, ha, ha! Poor wretches! I rather +pity their folly and indiscretion, than their loss of time and +money; for these may be recovered by industry: but to be a fool +born, is a disease incurable. +For myself, I always from my youth have endeavoured to get the +rarest secrets, and book them, either in exchange, or for money; +I spared nor cost nor labour, where any thing was worthy to be +learned. And gentlemen, honourable gentlemen, I will undertake, +by virtue of chemical art, out of the honourable hat that covers +your head, to extract the four elements; that is to say, the +fire, air, water, and earth, and return you your felt without +burn or stain. For, whilst others have been at the Balloo, I +have been at my book; and am now past the craggy paths of study, +and come to the flowery plains of honour and reputation. + +SIR P: I do assure you, sir, that is his aim. + +VOLP: But, to our price-- + +PER: And that withal, sir Pol. + +VOLP: You all know, honourable gentlemen, I never valued this +ampulla, or vial, at less than eight crowns, but for this time, +I am content, to be deprived of it for six; six crowns is the +price; and less, in courtesy I know you cannot offer me; take it, +or leave it, howsoever, both it and I am at your service. I ask +you not as the value of the thing, for then I should demand of +you a thousand crowns, so the cardinals Montalto, Fernese, the +great Duke of Tuscany, my gossip, with divers other princes, have +given me; but I despise money. Only to shew my affection to you, +honourable gentlemen, and your illustrious State here, I have +neglected the messages of these princes, mine own offices, +framed my journey hither, only to present you with the fruits of +my travels.--Tune your voices once more to the touch of your +instruments, and give the honourable assembly some delightful +recreation. + +PER: What monstrous and most painful circumstance +Is here, to get some three or four gazettes, +Some three-pence in the whole! for that 'twill come to. + +NANO [SINGS.]: You that would last long, list to my song, +Make no more coil, but buy of this oil. +Would you be ever fair and young? +Stout of teeth, and strong of tongue? +Tart of palate? quick of ear? +Sharp of sight? of nostril clear? +Moist of hand? and light of foot? +Or, I will come nearer to't, +Would you live free from all diseases? +Do the act your mistress pleases; +Yet fright all aches from your bones? +Here's a med'cine, for the nones. + +VOLP: Well, I am in a humour at this time to make a present of +the small quantity my coffer contains; to the rich, in +courtesy, and to the poor for God's sake. Wherefore now mark: +I ask'd you six crowns, and six crowns, at other times, you +have paid me; you shall not give me six crowns, nor five, nor +four, nor three, nor two, nor one; nor half a ducat; no, nor a +moccinigo. Sixpence it will cost you, or six hundred pound-- +expect no lower price, for, by the banner of my front, I will +not bate a bagatine, that I will have, only, a pledge of your +loves, to carry something from amongst you, to shew I am not +contemn'd by you. Therefore, now, toss your handkerchiefs, +cheerfully, cheerfully; and be advertised, that the first +heroic spirit that deignes to grace me with a handkerchief, I +will give it a little remembrance of something, beside, shall +please it better, than if I had presented it with a double +pistolet. + +PER: Will you be that heroic spark, sir Pol? +[CELIA AT A WINDOW ABOVE, THROWS DOWN HER HANDKERCHIEF.] +O see! the window has prevented you. + +VOLP: Lady, I kiss your bounty; and for this timely grace you +have done your poor Scoto of Mantua, I will return you, over and +above my oil, a secret of that high and inestimable nature, +shall make you for ever enamour'd on that minute, wherein your +eye first descended on so mean, yet not altogether to be +despised, an object. Here is a powder conceal'd in this paper, +of which, if I should speak to the worth, nine thousand volumes +were but as one page, that page as a line, that line as a word; +so short is this pilgrimage of man (which some call life) to the +expressing of it. Would I reflect on the price? why, the whole +world is but as an empire, that empire as a province, that +province as a bank, that bank as a private purse to the purchase +of it. I will only tell you; it is the powder that made Venus a +goddess (given her by Apollo,) that kept her perpetually young, +clear'd her wrinkles, firm'd her gums, fill'd her skin, colour'd +her hair; from her deriv'd to Helen, and at the sack of Troy +unfortunately lost: till now, in this our age, it was as happily +recovered, by a studious antiquary, out of some ruins of Asia, +who sent a moiety of it to the court of France, (but much +sophisticated,) wherewith the ladies there, now, colour their +hair. The rest, at this present, remains with me; extracted to a +quintessence: so that, whereever it but touches, in youth it +perpetually preserves, in age restores the complexion; seats your +teeth, did they dance like virginal jacks, firm as a wall; makes +them white as ivory, that were black, as-- + +[ENTER CORVINO.] + +COR: Spight o' the devil, and my shame! come down here; +Come down;--No house but mine to make your scene? +Signior Flaminio, will you down, sir? down? +What, is my wife your Franciscina, sir? +No windows on the whole Piazza, here, +To make your properties, but mine? but mine? +[BEATS AWAY VOLPONE, NANO, ETC.] +Heart! ere to-morrow, I shall be new-christen'd, +And call'd the Pantalone di Besogniosi, +About the town. + +PER: What should this mean, sir Pol? + +SIR P: Some trick of state, believe it. I will home. + +PER: It may be some design on you: + +SIR P: I know not. +I'll stand upon my guard. + +PER: It is your best, sir. + +SIR P: This three weeks, all my advices, all my letters, +They have been intercepted. + +PER: Indeed, sir! +Best have a care. + +SIR P: Nay, so I will. + +PER: This knight, +I may not lose him, for my mirth, till night. + +[EXEUNT.] + +SCENE 2.2. + +A ROOM IN VOLPONE'S HOUSE. + +ENTER VOLPONE AND MOSCA. + +VOLP: O, I am wounded! + +MOS: Where, sir? + +VOLP: Not without; +Those blows were nothing: I could bear them ever. +But angry Cupid, bolting from her eyes, +Hath shot himself into me like a flame; +Where, now, he flings about his burning heat, +As in a furnace an ambitious fire, +Whose vent is stopt. The fight is all within me. +I cannot live, except thou help me, Mosca; +My liver melts, and I, without the hope +Of some soft air, from her refreshing breath, +Am but a heap of cinders. + +MOS: 'Las, good sir, +Would you had never seen her! + +VOLP: Nay, would thou +Had'st never told me of her! + +MOS: Sir 'tis true; +I do confess I was unfortunate, +And you unhappy: but I'm bound in conscience, +No less than duty, to effect my best +To your release of torment, and I will, sir. + +VOLP: Dear Mosca, shall I hope? + +MOS: Sir, more than dear, +I will not bid you to dispair of aught +Within a human compass. + +VOLP: O, there spoke +My better angel. Mosca, take my keys, +Gold, plate, and jewels, all's at thy devotion; +Employ them how thou wilt; nay, coin me too: +So thou, in this, but crown my longings, Mosca. + +MOS: Use but your patience. + +VOLP: So I have. + +MOS: I doubt not +To bring success to your desires. + +VOLP: Nay, then, +I not repent me of my late disguise. + +MOS: If you can horn him, sir, you need not. + +VOLP: True: +Besides, I never meant him for my heir.-- +Is not the colour of my beard and eyebrows, +To make me known? + +MOS: No jot. + +VOLP: I did it well. + +MOS: So well, would I could follow you in mine, +With half the happiness! +[ASIDE.] +--and yet I would +Escape your Epilogue. + +VOLP: But were they gull'd +With a belief that I was Scoto? + +MOS: Sir, +Scoto himself could hardly have distinguish'd! +I have not time to flatter you now; we'll part; +And as I prosper, so applaud my art. + +[EXEUNT.] + + +SCENE 2.3. + +A ROOM IN CORVINO'S HOUSE. + +ENTER CORVINO, WITH HIS SWORD IN HIS HAND, DRAGGING +IN CELIA. + +CORV: Death of mine honour, with the city's fool! +A juggling, tooth-drawing, prating mountebank! +And at a public window! where, whilst he, +With his strain'd action, and his dole of faces, +To his drug-lecture draws your itching ears, +A crew of old, unmarried, noted letchers, +Stood leering up like satyrs; and you smile +Most graciously, and fan your favours forth, +To give your hot spectators satisfaction! +What; was your mountebank their call? their whistle? +Or were you enamour'd on his copper rings, +His saffron jewel, with the toad-stone in't, +Or his embroider'd suit, with the cope-stitch, +Made of a herse-cloth? or his old tilt-feather? +Or his starch'd beard? Well; you shall have him, yes! +He shall come home, and minister unto you +The fricace for the mother. Or, let me see, +I think you'd rather mount; would you not mount? +Why, if you'll mount, you may; yes truly, you may: +And so you may be seen, down to the foot. +Get you a cittern, lady Vanity, +And be a dealer with the virtuous man; +Make one: I'll but protest myself a cuckold, +And save your dowry. I'm a Dutchman, I! +For, if you thought me an Italian, +You would be damn'd, ere you did this, you whore! +Thou'dst tremble, to imagine, that the murder +Of father, mother, brother, all thy race, +Should follow, as the subject of my justice. + +CEL: Good sir, have pacience. + +CORV: What couldst thou propose +Less to thyself, than in this heat of wrath +And stung with my dishonour, I should strike +This steel into thee, with as many stabs, +As thou wert gaz'd upon with goatish eyes? + +CEL: Alas, sir, be appeas'd! I could not think +My being at the window should more now +Move your impatience, than at other times. + +CORV: No! not to seek and entertain a parley +With a known knave, before a multitude! +You were an actor with your handkerchief; +Which he most sweetly kist in the receipt, +And might, no doubt, return it with a letter, +And point the place where you might meet: your sister's, +Your mother's, or your aunt's might serve the turn. + +CEL: Why, dear sir, when do I make these excuses, +Or ever stir abroad, but to the church? +And that so seldom-- + +CORV: Well, it shall be less; +And thy restraint before was liberty, +To what I now decree: and therefore mark me. +First, I will have this bawdy light damm'd up; +And till't be done, some two or three yards off, +I'll chalk a line: o'er which if thou but chance +To set thy desperate foot; more hell, more horror +More wild remorseless rage shall seize on thee, +Than on a conjurer, that had heedless left +His circle's safety ere his devil was laid. +Then here's a lock which I will hang upon thee; +And, now I think on't, I will keep thee backwards; +Thy lodging shall be backwards; thy walks backwards; +Thy prospect, all be backwards; and no pleasure, +That thou shalt know but backwards: nay, since you force +My honest nature, know, it is your own, +Being too open, makes me use you thus: +Since you will not contain your subtle nostrils +In a sweet room, but they must snuff the air +Of rank and sweaty passengers. +[KNOCKING WITHIN.] +--One knocks. +Away, and be not seen, pain of thy life; +Nor look toward the window: if thou dost-- +Nay, stay, hear this--let me not prosper, whore, +But I will make thee an anatomy, +Dissect thee mine own self, and read a lecture +Upon thee to the city, and in public. +Away! +[EXIT CELIA.] +[ENTER SERVANT.] +Who's there? + +SERV: 'Tis signior Mosca, sir. + +CORV: Let him come in. +[EXIT SERVANT.] +His master's dead: There's yet +Some good to help the bad.-- +[ENTER MOSCA.] +My Mosca, welcome! +I guess your news. + +MOS: I fear you cannot, sir. + +CORV: Is't not his death? + +MOS: Rather the contrary. + +CORV: Not his recovery? + +MOS: Yes, sir, + +CORV: I am curs'd, +I am bewitch'd, my crosses meet to vex me. +How? how? how? how? + +MOS: Why, sir, with Scoto's oil; +Corbaccio and Voltore brought of it, +Whilst I was busy in an inner room-- + +CORV: Death! that damn'd mountebank; but for the law +Now, I could kill the rascal: it cannot be, +His oil should have that virtue. Have not I +Known him a common rogue, come fidling in +To the osteria, with a tumbling whore, +And, when he has done all his forced tricks, been glad +Of a poor spoonful of dead wine, with flies in't? +It cannot be. All his ingredients +Are a sheep's gall, a roasted bitch's marrow, +Some few sod earwigs pounded caterpillars, +A little capon's grease, and fasting spittle: +I know them to a dram. + +MOS: I know not, sir, +But some on't, there, they pour'd into his ears, +Some in his nostrils, and recover'd him; +Applying but the fricace. + +CORV: Pox o' that fricace. + +MOS: And since, to seem the more officious +And flatt'ring of his health, there, they have had, +At extreme fees, the college of physicians +Consulting on him, how they might restore him; +Where one would have a cataplasm of spices, +Another a flay'd ape clapp'd to his breast, +A third would have it a dog, a fourth an oil, +With wild cats' skins: at last, they all resolved +That, to preserve him, was no other means, +But some young woman must be straight sought out, +Lusty, and full of juice, to sleep by him; +And to this service, most unhappily, +And most unwillingly, am I now employ'd, +Which here I thought to pre-acquaint you with, +For your advice, since it concerns you most; +Because, I would not do that thing might cross +Your ends, on whom I have my whole dependance, sir: +Yet, if I do it not, they may delate +My slackness to my patron, work me out +Of his opinion; and there all your hopes, +Ventures, or whatsoever, are all frustrate! +I do but tell you, sir. Besides, they are all +Now striving, who shall first present him; therefore-- +I could entreat you, briefly conclude somewhat; +Prevent them if you can. + +CORV: Death to my hopes, +This is my villainous fortune! Best to hire +Some common courtezan. + +MOS: Ay, I thought on that, sir; +But they are all so subtle, full of art-- +And age again doting and flexible, +So as--I cannot tell--we may, perchance, +Light on a quean may cheat us all. + +CORV: 'Tis true. + +MOS: No, no: it must be one that has no tricks, sir, +Some simple thing, a creature made unto it; +Some wench you may command. Have you no kinswoman? +Odso--Think, think, think, think, think, think, think, sir. +One o' the doctors offer'd there his daughter. + +CORV: How! + +MOS: Yes, signior Lupo, the physician. + +CORV: His daughter! + +MOS: And a virgin, sir. Why? alas, +He knows the state of's body, what it is; +That nought can warm his blood sir, but a fever; +Nor any incantation raise his spirit: +A long forgetfulness hath seized that part. +Besides sir, who shall know it? some one or two-- + +CORV: I prithee give me leave. +[WALKS ASIDE.] +If any man +But I had had this luck--The thing in't self, +I know, is nothing--Wherefore should not I +As well command my blood and my affections, +As this dull doctor? In the point of honour, +The cases are all one of wife and daughter. + +MOS [ASIDE.]: I hear him coming. + +CORV: She shall do't: 'tis done. +Slight! if this doctor, who is not engaged, +Unless 't be for his counsel, which is nothing, +Offer his daughter, what should I, that am +So deeply in? I will prevent him: Wretch! +Covetous wretch!--Mosca, I have determined. + +MOS: How, sir? + +CORV: We'll make all sure. The party you wot of +Shall be mine own wife, Mosca. + +MOS: Sir, the thing, +But that I would not seem to counsel you, +I should have motion'd to you, at the first: +And make your count, you have cut all their throats. +Why! 'tis directly taking a possession! +And in his next fit, we may let him go. +'Tis but to pull the pillow from his head, +And he is throttled: it had been done before, +But for your scrupulous doubts. + +CORV: Ay, a plague on't, +My conscience fools my wit! Well, I'll be brief, +And so be thou, lest they should be before us: +Go home, prepare him, tell him with what zeal +And willingness I do it; swear it was +On the first hearing, as thou mayst do, truly, +Mine own free motion. + +MOS: Sir, I warrant you, +I'll so possess him with it, that the rest +Of his starv'd clients shall be banish'd all; +And only you received. But come not, sir, +Until I send, for I have something else +To ripen for your good, you must not know't. + +CORV: But do not you forget to send now. + +MOS: Fear not. + +[EXIT.] + +CORV: Where are you, wife? my Celia? wife? +[RE-ENTER CELIA.] +--What, blubbering? +Come, dry those tears. I think thou thought'st me in earnest; +Ha! by this light I talk'd so but to try thee: +Methinks the lightness of the occasion +Should have confirm'd thee. Come, I am not jealous. + +CEL: No! + +CORV: Faith I am not I, nor never was; +It is a poor unprofitable humour. +Do not I know, if women have a will, +They'll do 'gainst all the watches of the world, +And that the feircest spies are tamed with gold? +Tut, I am confident in thee, thou shalt see't; +And see I'll give thee cause too, to believe it. +Come kiss me. Go, and make thee ready, straight, +In all thy best attire, thy choicest jewels, +Put them all on, and, with them, thy best looks: +We are invited to a solemn feast, +At old Volpone's, where it shall appear +How far I am free from jealousy or fear. + +[exeunt.] + +ACT 3. SCENE 3.1. + +A STREET. + +ENTER MOSCA. + +MOS: I fear, I shall begin to grow in love +With my dear self, and my most prosperous parts, +They do so spring and burgeon; I can feel +A whimsy in my blood: I know not how, +Success hath made me wanton. I could skip +Out of my skin, now, like a subtle snake, +I am so limber. O! your parasite +Is a most precious thing, dropt from above, +Not bred 'mongst clods, and clodpoles, here on earth. +I muse, the mystery was not made a science, +It is so liberally profest! almost +All the wise world is little else, in nature, +But parasites, or sub-parasites.--And yet, +I mean not those that have your bare town-art, +To know who's fit to feed them; have no house, +No family, no care, and therefore mould +Tales for men's ears, to bait that sense; or get +Kitchen-invention, and some stale receipts +To please the belly, and the groin; nor those, +With their court dog-tricks, that can fawn and fleer, +Make their revenue out of legs and faces, +Echo my lord, and lick away a moth: +But your fine elegant rascal, that can rise, +And stoop, almost together, like an arrow; +Shoot through the air as nimbly as a star; +Turn short as doth a swallow; and be here, +And there, and here, and yonder, all at once; +Present to any humour, all occasion; +And change a visor, swifter than a thought! +This is the creature had the art born with him; +Toils not to learn it, but doth practise it +Out of most excellent nature: and such sparks +Are the true parasites, others but their zanis. + +[ENTER BONARIO.] + +MOS: Who's this? Bonario, old Corbaccio's son? +The person I was bound to seek.--Fair sir, +You are happily met. + +BON: That cannot be by thee. + +MOS: Why, sir? + +BON: Nay, pray thee know thy way, and leave me: +I would be loth to interchange discourse +With such a mate as thou art + +MOS: Courteous sir, +Scorn not my poverty. + +BON: Not I, by heaven; +But thou shalt give me leave to hate thy baseness. + +MOS: Baseness! + +BON: Ay; answer me, is not thy sloth +Sufficient argument? thy flattery? +Thy means of feeding? + +MOS: Heaven be good to me! +These imputations are too common, sir, +And easily stuck on virtue when she's poor. +You are unequal to me, and however, +Your sentence may be righteous, yet you are not +That, ere you know me, thus proceed in censure: +St. Mark bear witness 'gainst you, 'tis inhuman. +[WEEPS.] + +BON [ASIDE.]: What! does he weep? the sign is soft and good; +I do repent me that I was so harsh. + +MOS: 'Tis true, that, sway'd by strong necessity, +I am enforced to eat my careful bread +With too much obsequy; 'tis true, beside, +That I am fain to spin mine own poor raiment +Out of my mere observance, being not born +To a free fortune: but that I have done +Base offices, in rending friends asunder, +Dividing families, betraying counsels, +Whispering false lies, or mining men with praises, +Train'd their credulity with perjuries, +Corrupted chastity, or am in love +With mine own tender ease, but would not rather +Prove the most rugged, and laborious course, +That might redeem my present estimation, +Let me here perish, in all hope of goodness. + +BON [ASIDE.]: This cannot be a personated passion.-- +I was to blame, so to mistake thy nature; +Prithee, forgive me: and speak out thy business. + +MOS: Sir, it concerns you; and though I may seem, +At first to make a main offence in manners, +And in my gratitude unto my master; +Yet, for the pure love, which I bear all right, +And hatred of the wrong, I must reveal it. +This very hour your father is in purpose +To disinherit you-- + +BON: How! + +MOS: And thrust you forth, +As a mere stranger to his blood; 'tis true, sir: +The work no way engageth me, but, as +I claim an interest in the general state +Of goodness and true virtue, which I hear +To abound in you: and, for which mere respect, +Without a second aim, sir, I have done it. + +BON: This tale hath lost thee much of the late trust +Thou hadst with me; it is impossible: +I know not how to lend it any thought, +My father should be so unnatural. + +MOS: It is a confidence that well becomes +Your piety; and form'd, no doubt, it is +From your own simple innocence: which makes +Your wrong more monstrous, and abhorr'd. But, sir, +I now will tell you more. This very minute, +It is, or will be doing; and, if you +Shall be but pleas'd to go with me, I'll bring you, +I dare not say where you shall see, but where +Your ear shall be a witness of the deed; +Hear yourself written bastard; and profest +The common issue of the earth. + +BON: I am amazed! + +MOS: Sir, if I do it not, draw your just sword, +And score your vengeance on my front and face; +Mark me your villain: you have too much wrong, +And I do suffer for you, sir. My heart +Weeps blood in anguish-- + +BON: Lead; I follow thee. + +[EXEUNT.] + +SCENE 3.2. + +A ROOM IN VOLPONE'S HOUSE. + +ENTER VOLPONE. + +VOLP: Mosca stays long, methinks. Bring forth your sports, +And help to make the wretched time more sweet. + +[ENTER NANO, ANDROGYNO, AND CASTRONE.] + +NAN: Dwarf, fool, and eunuch, well met here we be. +A question it were now, whether of us three, +Being all the known delicates of a rich man, +In pleasing him, claim the precedency can? + +CAS: I claim for myself. + +AND: And so doth the fool. + +NAN: 'Tis foolish indeed: let me set you both to school. +First for your dwarf, he's little and witty, +And every thing, as it is little, is pretty; +Else why do men say to a creature of my shape, +So soon as they see him, It's a pretty little ape? +And why a pretty ape, but for pleasing imitation +Of greater men's actions, in a ridiculous fashion? +Beside, this feat body of mine doth not crave +Half the meat, drink, and cloth, one of your bulks will have. +Admit your fool's face be the mother of laughter, +Yet, for his brain, it must always come after: +And though that do feed him, 'tis a pitiful case, +His body is beholding to such a bad face. + +[KNOCKING WITHIN.] + +VOLP: Who's there? my couch; away! look! Nano, see: +[EXE. AND. AND CAS.] +Give me my caps, first--go, enquire. +[EXIT NANO.] +--Now, Cupid +Send it be Mosca, and with fair return! + +NAN [WITHIN.]: It is the beauteous madam-- + +VOLP: Would-be?--is it? + +NAN: The same. + +VOLP: Now torment on me! Squire her in; +For she will enter, or dwell here for ever: +Nay, quickly. +[RETIRES TO HIS COUCH.] +--That my fit were past! I fear +A second hell too, that my lothing this +Will quite expel my appetite to the other: +Would she were taking now her tedious leave. +Lord, how it threats me what I am to suffer! + +[RE-ENTER NANO, WITH LADY POLITICK WOULD-BE.] + +LADY P: I thank you, good sir. 'Pray you signify +Unto your patron, I am here.--This band +Shews not my neck enough.--I trouble you, sir; +Let me request you, bid one of my women +Come hither to me.--In good faith, I, am drest +Most favorably, to-day! It is no matter: +'Tis well enough.-- +[ENTER 1 WAITING-WOMAN.] +Look, see, these petulant things, +How they have done this! + +VOLP [ASIDE.]: I do feel the fever +Entering in at mine ears; O, for a charm, +To fright it hence. + +LADY P: Come nearer: Is this curl +In his right place, or this? Why is this higher +Then all the rest? You have not wash'd your eyes, yet! +Or do they not stand even in your head? +Where is your fellow? call her. + +[EXIT 1 WOMAN.] + +NAN: Now, St. Mark +Deliver us! anon, she will beat her women, +Because her nose is red. + +[RE-ENTER 1 WITH 2 WOMAN.] + +LADY P: I pray you, view +This tire, forsooth; are all things apt, or no? + +1 WOM: One hair a little, here, sticks out, forsooth. + +LADY P: Does't so, forsooth? and where was your dear sight, +When it did so, forsooth! What now! bird-eyed? +And you too? 'Pray you, both approach and mend it. +Now, by that light, I muse you are not ashamed! +I, that have preach'd these things so oft unto you, +Read you the principles, argued all the grounds, +Disputed every fitness, every grace, +Call'd you to counsel of so frequent dressings-- + +NAN [ASIDE.]: More carefully than of your fame or honour. + +LADY P: Made you acquainted, what an ample dowry +The knowledge of these things would be unto you, +Able, alone, to get you noble husbands +At your return: and you thus to neglect it! +Besides you seeing what a curious nation +The Italians are, what will they say of me? +"The English lady cannot dress herself." +Here's a fine imputation to our country: +Well, go your ways, and stay, in the next room. +This fucus was too course too, it's no matter.-- +Good-sir, you will give them entertainment? + +[EXEUNT NANO AND WAITING-WOMEN.] + +VOLP: The storm comes toward me. + +LADY P [GOES TO THE COUCH.]: How does my Volpone? + +VOLP: Troubled with noise, I cannot sleep; I dreamt +That a strange fury enter'd, now, my house, +And, with the dreadful tempest of her breath, +Did cleave my roof asunder. + +LADY P: Believe me, and I +Had the most fearful dream, could I remember't-- + +VOLP [ASIDE.]: Out on my fate! I have given her the occasion +How to torment me: she will tell me hers. + +LADY P: Me thought, the golden mediocrity, +Polite and delicate-- + +VOLP: O, if you do love me, +No more; I sweat, and suffer, at the mention +Of any dream: feel, how I tremble yet. + +LADY P: Alas, good soul! the passion of the heart. +Seed-pearl were good now, boil'd with syrup of apples, +Tincture of gold, and coral, citron-pills, +Your elicampane root, myrobalanes-- + +VOLP [ASIDE.]: Ah me, I have ta'en a grass-hopper by the wing! + +LADY P: Burnt silk, and amber: you have muscadel +Good in the house-- + +VOLP: You will not drink, and part? + +LADY P: No, fear not that. I doubt, we shall not get +Some English saffron, half a dram would serve; +Your sixteen cloves, a little musk, dried mints, +Bugloss, and barley-meal-- + +VOLP [ASIDE.]: She's in again! +Before I fain'd diseases, now I have one. + +LADY P: And these applied with a right scarlet cloth. + +VOLP [ASIDE.]: Another flood of words! a very torrent! + +LADY P: Shall I, sir, make you a poultice? + +VOLP: No, no, no; +I am very well: you need prescribe no more. + +LADY P: I have a little studied physic; but now, +I'm all for music, save, in the forenoons, +An hour or two for painting. I would have +A lady, indeed, to have all, letters, and arts, +Be able to discourse, to write, to paint, +But principal, as Plato holds, your music, +And, so does wise Pythagoras, I take it, +Is your true rapture: when there is concent +In face, in voice, and clothes: and is, indeed, +Our sex's chiefest ornament. + +VOLP: The poet +As old in time as Plato, and as knowing, +Says that your highest female grace is silence. + +LADY P: Which of your poets? Petrarch, or Tasso, or Dante? +Guarini? Ariosto? Aretine? +Cieco di Hadria? I have read them all. + +VOLP [ASIDE.]: Is every thing a cause to my distruction? + +LADY P: I think I have two or three of them about me. + +VOLP [ASIDE.]: The sun, the sea will sooner both stand still, +Then her eternal tongue; nothing can 'scape it. + +LADY P: Here's pastor Fido-- + +VOLP [ASIDE.]: Profess obstinate silence, +That's now my safest. + +LADY P: All our English writers, +I mean such as are happy in the Italian, +Will deign to steal out of this author, mainly: +Almost as much, as from Montagnie; +He has so modern and facile a vein, +Fitting the time, and catching the court-ear! +Your Petrarch is more passionate, yet he, +In days of sonetting, trusted them with much: +Dante is hard, and few can understand him. +But, for a desperate wit, there's Aretine; +Only, his pictures are a little obscene-- +You mark me not. + +VOLP: Alas, my mind is perturb'd. + +LADY P: Why, in such cases, we must cure ourselves, +Make use of our philosophy-- + +VOLP: Oh me! + +LADY P: And as we find our passions do rebel, +Encounter them with reason, or divert them, +By giving scope unto some other humour +Of lesser danger: as, in politic bodies, +There's nothing more doth overwhelm the judgment, +And cloud the understanding, than too much +Settling and fixing, and, as 'twere, subsiding +Upon one object. For the incorporating +Of these same outward things, into that part, +Which we call mental, leaves some certain faeces +That stop the organs, and as Plato says, +Assassinate our Knowledge. + +VOLP [ASIDE.]: Now, the spirit +Of patience help me! + +LADY P: Come, in faith, I must +Visit you more a days; and make you well: +Laugh and be lusty. + +VOLP [ASIDE.]: My good angel save me! + +LADY P: There was but one sole man in all the world, +With whom I e'er could sympathise; and he +Would lie you, often, three, four hours together +To hear me speak; and be sometimes so rapt, +As he would answer me quite from the purpose, +Like you, and you are like him, just. I'll discourse, +An't be but only, sir, to bring you asleep, +How we did spend our time and loves together, +For some six years. + +VOLP: Oh, oh, oh, oh, oh, oh! + +LADY P: For we were coaetanei, and brought up-- + +VOLP: Some power, some fate, some fortune rescue me! + +[ENTER MOSCA.] + +MOS: God save you, madam! + +LADY P: Good sir. + +VOLP: Mosca? welcome, +Welcome to my redemption. + +MOS: Why, sir? + +VOLP: Oh, +Rid me of this my torture, quickly, there; +My madam, with the everlasting voice: +The bells, in time of pestilence, ne'er made +Like noise, or were in that perpetual motion! +The Cock-pit comes not near it. All my house, +But now, steam'd like a bath with her thick breath. +A lawyer could not have been heard; nor scarce +Another woman, such a hail of words +She has let fall. For hell's sake, rid her hence. + +MOS: Has she presented? + +VOLP: O, I do not care; +I'll take her absence, upon any price, +With any loss. + +MOS: Madam-- + +LADY P: I have brought your patron +A toy, a cap here, of mine own work. + +MOS: 'Tis well. +I had forgot to tell you, I saw your knight, +Where you would little think it.-- + +LADY P: Where? + +MOS: Marry, +Where yet, if you make haste, you may apprehend, +Rowing upon the water in a gondole, +With the most cunning courtezan of Venice. + +LADY P: Is't true? + +MOS: Pursue them, and believe your eyes; +Leave me, to make your gift. +[EXIT LADY P. HASTILY.] +--I knew 'twould take: +For, lightly, they, that use themselves most license, +Are still most jealous. + +VOLP: Mosca, hearty thanks, +For thy quick fiction, and delivery of me. +Now to my hopes, what say'st thou? + +[RE-ENTER LADY P. WOULD-BE.] + +LADY P: But do you hear, sir?-- + +VOLP: Again! I fear a paroxysm. + +LADY P: Which way +Row'd they together? + +MOS: Toward the Rialto. + +LADY P: I pray you lend me your dwarf. + +MOS: I pray you, take him.-- +[EXIT LADY P.] +Your hopes, sir, are like happy blossoms, fair, +And promise timely fruit, if you will stay +But the maturing; keep you at your couch, +Corbaccio will arrive straight, with the Will; +When he is gone, I'll tell you more. + +[EXIT.] + +VOLP: My blood, +My spirits are return'd; I am alive: +And like your wanton gamester, at primero, +Whose thought had whisper'd to him, not go less, +Methinks I lie, and draw--for an encounter. + +[THE SCENE CLOSES UPON VOLPONE.] + +SCENE 3.3 + +THE PASSAGE LEADING TO VOLPONE'S CHAMBER. + +ENTER MOSCA AND BONARIO. + +MOS: Sir, here conceal'd, +[SHEWS HIM A CLOSET.] +you may here all. But, pray you, +Have patience, sir; +[KNOCKING WITHIN.] +--the same's your father knocks: +I am compell'd to leave you. + +[EXIT.] + +BON: Do so.--Yet, +Cannot my thought imagine this a truth. + +[GOES INTO THE CLOSET.] + +SCENE 3.4. + +ANOTHER PART OF THE SAME. + +ENTER MOSCA AND CORVINO, CELIA FOLLOWING. + +MOS: Death on me! you are come too soon, what meant you? +Did not I say, I would send? + +CORV: Yes, but I fear'd +You might forget it, and then they prevent us. + +MOS [ASIDE.]: Prevent! did e'er man haste so, for his horns? +A courtier would not ply it so, for a place. +--Well, now there's no helping it, stay here; +I'll presently return. + +[EXIT.] + +CORV: Where are you, Celia? +You know not wherefore I have brought you hither? + +CEL: Not well, except you told me. + +CORV: Now, I will: +Hark hither. + +[EXEUNT.] + +SCENE 3.5. + +A CLOSET OPENING INTO A GALLERY. + +ENTER MOSCA AND BONARIO. + +MOS: Sir, your father hath sent word, +It will be half an hour ere he come; +And therefore, if you please to walk the while +Into that gallery--at the upper end, +There are some books to entertain the time: +And I'll take care no man shall come unto you, sir. + +BON: Yes, I will stay there. +[ASIDE.]--I do doubt this fellow. + +[EXIT.] + +MOS [LOOKING AFTER HIM.]: There; he is far enough; +he can hear nothing: +And, for his father, I can keep him off. + +[EXIT.] + +SCENE 3.6. + +VOLPONE'S CHAMBER.--VOLPONE ON HIS COUCH. +MOSCA SITTING BY HIM. + +ENTER CORVINO, FORCING IN CELIA. + +CORV: Nay, now, there is no starting back, and therefore, +Resolve upon it: I have so decreed. +It must be done. Nor would I move't, afore, +Because I would avoid all shifts and tricks, +That might deny me. + +CEL: Sir, let me beseech you, +Affect not these strange trials; if you doubt +My chastity, why, lock me up for ever: +Make me the heir of darkness. Let me live, +Where I may please your fears, if not your trust. + +CORV: Believe it, I have no such humour, I. +All that I speak I mean; yet I'm not mad; +Nor horn-mad, see you? Go to, shew yourself +Obedient, and a wife. + +CEL: O heaven! + +CORV: I say it, +Do so. + +CEL: Was this the train? + +CORV: I've told you reasons; +What the physicians have set down; how much +It may concern me; what my engagements are; +My means; and the necessity of those means, +For my recovery: wherefore, if you be +Loyal, and mine, be won, respect my venture. + +CEL: Before your honour? + +CORV: Honour! tut, a breath: +There's no such thing, in nature: a mere term +Invented to awe fools. What is my gold +The worse, for touching, clothes for being look'd on? +Why, this is no more. An old decrepit wretch, +That has no sense, no sinew; takes his meat +With others' fingers; only knows to gape, +When you do scald his gums; a voice; a shadow; +And, what can this man hurt you? + +CEL [ASIDE.]: Lord! what spirit +Is this hath enter'd him? + +CORV: And for your fame, +That's such a jig; as if I would go tell it, +Cry it on the Piazza! who shall know it, +But he that cannot speak it, and this fellow, +Whose lips are in my pocket? save yourself, +(If you'll proclaim't, you may,) I know no other, +Shall come to know it. + +CEL: Are heaven and saints then nothing? +Will they be blind or stupid? + +CORV: How! + +CEL: Good sir, +Be jealous still, emulate them; and think +What hate they burn with toward every sin. + +CORV: I grant you: if I thought it were a sin, +I would not urge you. Should I offer this +To some young Frenchman, or hot Tuscan blood +That had read Aretine, conn'd all his prints, +Knew every quirk within lust's labyrinth, +And were professed critic in lechery; +And I would look upon him, and applaud him, +This were a sin: but here, 'tis contrary, +A pious work, mere charity for physic, +And honest polity, to assure mine own. + +CEL: O heaven! canst thou suffer such a change? + +VOLP: Thou art mine honour, Mosca, and my pride, +My joy, my tickling, my delight! Go bring them. + +MOS [ADVANCING.]: Please you draw near, sir. + +CORV: Come on, what-- +You will not be rebellious? by that light-- + +MOS: Sir, +Signior Corvino, here, is come to see you. + +VOLP: Oh! + +MOS: And hearing of the consultation had, +So lately, for your health, is come to offer, +Or rather, sir, to prostitute-- + +CORV: Thanks, sweet Mosca. + +MOS: Freely, unask'd, or unintreated-- + +CORV: Well. + +MOS: As the true fervent instance of his love, +His own most fair and proper wife; the beauty, +Only of price in Venice-- + +CORV: 'Tis well urged. + +MOS: To be your comfortress, and to preserve you. + +VOLP: Alas, I am past, already! Pray you, thank him +For his good care and promptness; but for that, +'Tis a vain labour e'en to fight 'gainst heaven; +Applying fire to stone-- +[COUGHING.] uh, uh, uh, uh! +Making a dead leaf grow again. I take +His wishes gently, though; and you may tell him, +What I have done for him: marry, my state is hopeless. +Will him to pray for me; and to use his fortune +With reverence, when he comes to't. + +MOS: Do you hear, sir? +Go to him with your wife. + +CORV: Heart of my father! +Wilt thou persist thus? come, I pray thee, come. +Thou seest 'tis nothing, Celia. By this hand, +I shall grow violent. Come, do't, I say. + +CEL: Sir, kill me, rather: I will take down poison, +Eat burning coals, do any thing.-- + +CORV: Be damn'd! +Heart, I'll drag thee hence, home, by the hair; +Cry thee a strumpet through the streets; rip up +Thy mouth unto thine ears; and slit thy nose, +Like a raw rotchet!--Do not tempt me; come, +Yield, I am loth--Death! I will buy some slave +Whom I will kill, and bind thee to him, alive; +And at my window hang you forth: devising +Some monstrous crime, which I, in capital letters, +Will eat into thy flesh with aquafortis, +And burning corsives, on this stubborn breast. +Now, by the blood thou hast incensed, I'll do it! + +CEL: Sir, what you please, you may, I am your martyr. + +CORV: Be not thus obstinate, I have not deserved it: +Think who it is intreats you. 'Prithee, sweet;-- +Good faith, thou shalt have jewels, gowns, attires, +What thou wilt think, and ask. Do but go kiss him. +Or touch him, but. For my sake.--At my suit.-- +This once.--No! not! I shall remember this. +Will you disgrace me thus? Do you thirst my undoing? + +MOS: Nay, gentle lady, be advised. + +CORV: No, no. +She has watch'd her time. Ods precious, this is scurvy, +'Tis very scurvy: and you are-- + +MOS: Nay, good, sir. + +CORV: An arrant Locust, by heaven, a locust! +Whore, crocodile, that hast thy tears prepared, +Expecting how thou'lt bid them flow-- + +MOS: Nay, 'Pray you, sir! +She will consider. + +CEL: Would my life would serve +To satisfy-- + +CORV: S'death! if she would but speak to him, +And save my reputation, it were somewhat; +But spightfully to affect my utter ruin! + +MOS: Ay, now you have put your fortune in her hands. +Why i'faith, it is her modesty, I must quit her. +If you were absent, she would be more coming; +I know it: and dare undertake for her. +What woman can before her husband? 'pray you, +Let us depart, and leave her here. + +CORV: Sweet Celia, +Thou may'st redeem all, yet; I'll say no more: +If not, esteem yourself as lost,--Nay, stay there. + +[SHUTS THE DOOR, AND EXIT WITH MOSCA.] + +CEL: O God, and his good angels! whither, whither, +Is shame fled human breasts? that with such ease, +Men dare put off your honours, and their own? +Is that, which ever was a cause of life, +Now placed beneath the basest circumstance, +And modesty an exile made, for money? + +VOLP: Ay, in Corvino, and such earth-fed minds, +[LEAPING FROM HIS COUCH.] +That never tasted the true heaven of love. +Assure thee, Celia, he that would sell thee, +Only for hope of gain, and that uncertain, +He would have sold his part of Paradise +For ready money, had he met a cope-man. +Why art thou mazed to see me thus revived? +Rather applaud thy beauty's miracle; +'Tis thy great work: that hath, not now alone, +But sundry times raised me, in several shapes, +And, but this morning, like a mountebank; +To see thee at thy window: ay, before +I would have left my practice, for thy love, +In varying figures, I would have contended +With the blue Proteus, or the horned flood. +Now art thou welcome. + +CEL: Sir! + +VOLP: Nay, fly me not. +Nor let thy false imagination +That I was bed-rid, make thee think I am so: +Thou shalt not find it. I am, now, as fresh, +As hot, as high, and in as jovial plight, +As when, in that so celebrated scene, +At recitation of our comedy, +For entertainment of the great Valois, +I acted young Antinous; and attracted +The eyes and ears of all the ladies present, +To admire each graceful gesture, note, and footing. +[SINGS.] +Come, my Celia, let us prove, +While we can, the sports of love, +Time will not be ours for ever, +He, at length, our good will sever; +Spend not then his gifts in vain; +Suns, that set, may rise again: +But if once we loose this light, +'Tis with us perpetual night. +Why should we defer our joys? +Fame and rumour are but toys. +Cannot we delude the eyes +Of a few poor household spies? +Or his easier ears beguile, +Thus remooved by our wile?-- +'Tis no sin love's fruits to steal: +But the sweet thefts to reveal; +To be taken, to be seen, +These have crimes accounted been. + +CEL: Some serene blast me, or dire lightning strike +This my offending face! + +VOLP: Why droops my Celia? +Thou hast, in place of a base husband, found +A worthy lover: use thy fortune well, +With secrecy and pleasure. See, behold, +What thou art queen of; not in expectation, +As I feed others: but possess'd, and crown'd. +See, here, a rope of pearl; and each, more orient +Than that the brave Egyptian queen caroused: +Dissolve and drink them. See, a carbuncle, +May put out both the eyes of our St Mark; +A diamond, would have bought Lollia Paulina, +When she came in like star-light, hid with jewels, +That were the spoils of provinces; take these, +And wear, and lose them: yet remains an ear-ring +To purchase them again, and this whole state. +A gem but worth a private patrimony, +Is nothing: we will eat such at a meal. +The heads of parrots, tongues of nightingales, +The brains of peacocks, and of estriches, +Shall be our food: and, could we get the phoenix, +Though nature lost her kind, she were our dish. + +CEL: Good sir, these things might move a mind affected +With such delights; but I, whose innocence +Is all I can think wealthy, or worth th' enjoying, +And which, once lost, I have nought to lose beyond it, +Cannot be taken with these sensual baits: +If you have conscience-- + +VOLP: 'Tis the beggar's virtue, +If thou hast wisdom, hear me, Celia. +Thy baths shall be the juice of July-flowers, +Spirit of roses, and of violets, +The milk of unicorns, and panthers' breath +Gather'd in bags, and mixt with Cretan wines. +Our drink shall be prepared gold and amber; +Which we will take, until my roof whirl round +With the vertigo: and my dwarf shall dance, +My eunuch sing, my fool make up the antic. +Whilst we, in changed shapes, act Ovid's tales, +Thou, like Europa now, and I like Jove, +Then I like Mars, and thou like Erycine: +So, of the rest, till we have quite run through, +And wearied all the fables of the gods. +Then will I have thee in more modern forms, +Attired like some sprightly dame of France, +Brave Tuscan lady, or proud Spanish beauty; +Sometimes, unto the Persian sophy's wife; +Or the grand signior's mistress; and, for change, +To one of our most artful courtezans, +Or some quick Negro, or cold Russian; +And I will meet thee in as many shapes: +Where we may so transfuse our wandering souls, +Out at our lips, and score up sums of pleasures, +[SINGS.] +That the curious shall not know +How to tell them as they flow; +And the envious, when they find +What there number is, be pined. + +CEL: If you have ears that will be pierc'd--or eyes +That can be open'd--a heart that may be touch'd-- +Or any part that yet sounds man about you-- +If you have touch of holy saints--or heaven-- +Do me the grace to let me 'scape--if not, +Be bountiful and kill me. You do know, +I am a creature, hither ill betray'd, +By one, whose shame I would forget it were: +If you will deign me neither of these graces, +Yet feed your wrath, sir, rather than your lust, +(It is a vice comes nearer manliness,) +And punish that unhappy crime of nature, +Which you miscall my beauty; flay my face, +Or poison it with ointments, for seducing +Your blood to this rebellion. Rub these hands, +With what may cause an eating leprosy, +E'en to my bones and marrow: any thing, +That may disfavour me, save in my honour-- +And I will kneel to you, pray for you, pay down +A thousand hourly vows, sir, for your health; +Report, and think you virtuous-- + +VOLP: Think me cold, +Frosen and impotent, and so report me? +That I had Nestor's hernia, thou wouldst think. +I do degenerate, and abuse my nation, +To play with opportunity thus long; +I should have done the act, and then have parley'd. +Yield, or I'll force thee. + +[SEIZES HER.] + +CEL: O! just God! + +VOLP: In vain-- + +BON [RUSHING IN]: Forbear, foul ravisher, libidinous swine! +Free the forced lady, or thou diest, impostor. +But that I'm loth to snatch thy punishment +Out of the hand of justice, thou shouldst, yet, +Be made the timely sacrifice of vengeance, +Before this altar, and this dross, thy idol.-- +Lady, let's quit the place, it is the den +Of villany; fear nought, you have a guard: +And he, ere long, shall meet his just reward. + +[EXEUNT BON. AND CEL.] + +VOLP: Fall on me, roof, and bury me in ruin! +Become my grave, that wert my shelter! O! +I am unmask'd, unspirited, undone, +Betray'd to beggary, to infamy-- + +[ENTER MOSCA, WOUNDED AND BLEEDING.] + +MOS: Where shall I run, most wretched shame of men, +To beat out my unlucky brains? + +VOLP: Here, here. +What! dost thou bleed? + +MOS: O that his well-driv'n sword +Had been so courteous to have cleft me down +Unto the navel; ere I lived to see +My life, my hopes, my spirits, my patron, all +Thus desperately engaged, by my error! + +VOLP: Woe on thy fortune! + +MOS: And my follies, sir. + +VOLP: Thou hast made me miserable. + +MOS: And myself, sir. +Who would have thought he would have harken'd, so? + +VOLP: What shall we do? + +MOS: I know not; if my heart +Could expiate the mischance, I'd pluck it out. +Will you be pleased to hang me? or cut my throat? +And I'll requite you, sir. Let us die like Romans, +Since we have lived like Grecians. + +[KNOCKING WITHIN.] + +VOLP: Hark! who's there? +I hear some footing; officers, the saffi, +Come to apprehend us! I do feel the brand +Hissing already at my forehead; now, +Mine ears are boring. + +MOS: To your couch, sir, you, +Make that place good, however. +[VOLPONE LIES DOWN, AS BEFORE.] +--Guilty men +Suspect what they deserve still. +[ENTER CORBACCIO.] +Signior Corbaccio! + +CORB: Why, how now, Mosca? + +MOS: O, undone, amazed, sir. +Your son, I know not by what accident, +Acquainted with your purpose to my patron, +Touching your Will, and making him your heir, +Enter'd our house with violence, his sword drawn +Sought for you, call'd you wretch, unnatural, +Vow'd he would kill you. + +CORB: Me! + +MOS: Yes, and my patron. + +CORB: This act shall disinherit him indeed; +Here is the Will. + +MOS: 'Tis well, sir. + +CORB: Right and well: +Be you as careful now for me. + +[ENTER VOLTORE, BEHIND.] + +MOS: My life, sir, +Is not more tender'd; I am only yours. + +CORB: How does he? will he die shortly, think'st thou? + +MOS: I fear +He'll outlast May. + +CORB: To-day? + +MOS: No, last out May, sir. + +CORB: Could'st thou not give him a dram? + +MOS: O, by no means, sir. + +CORB: Nay, I'll not bid you. + +VOLT [COMING FORWARD.]: This is a knave, I see. + +MOS [SEEING VOLTORE.]: How! signior Voltore! +[ASIDE.] did he hear me? + +VOLT: Parasite! + +MOS: Who's that?--O, sir, most timely welcome-- + +VOLT: Scarce, +To the discovery of your tricks, I fear. +You are his, ONLY? and mine, also? are you not? + +MOS: Who? I, sir? + +VOLT: You, sir. What device is this +About a Will? + +MOS: A plot for you, sir. + +VOLT: Come, +Put not your foists upon me; I shall scent them. + +MOS: Did you not hear it? + +VOLT: Yes, I hear Corbaccio +Hath made your patron there his heir. + +MOS: 'Tis true, +By my device, drawn to it by my plot, +With hope-- + +VOLT: Your patron should reciprocate? +And you have promised? + +MOS: For your good, I did, sir. +Nay, more, I told his son, brought, hid him here, +Where he might hear his father pass the deed: +Being persuaded to it by this thought, sir, +That the unnaturalness, first, of the act, +And then his father's oft disclaiming in him, +(Which I did mean t'help on,) would sure enrage him +To do some violence upon his parent, +On which the law should take sufficient hold, +And you be stated in a double hope: +Truth be my comfort, and my conscience, +My only aim was to dig you a fortune +Out of these two old rotten sepulchres-- + +VOLT: I cry thee mercy, Mosca. + +MOS: Worth your patience, +And your great merit, sir. And see the change! + +VOLT: Why, what success? + +MOS: Most happless! you must help, sir. +Whilst we expected the old raven, in comes +Corvino's wife, sent hither by her husband-- + +VOLT: What, with a present? + +MOS: No, sir, on visitation; +(I'll tell you how anon;) and staying long, +The youth he grows impatient, rushes forth, +Seizeth the lady, wounds me, makes her swear +(Or he would murder her, that was his vow) +To affirm my patron to have done her rape: +Which how unlike it is, you see! and hence, +With that pretext he's gone, to accuse his father, +Defame my patron, defeat you-- + +VOLT: Where is her husband? +Let him be sent for straight. + +MOS: Sir, I'll go fetch him. + +VOLT: Bring him to the Scrutineo. + +MOS: Sir, I will. + +VOLT: This must be stopt. + +MOS: O you do nobly, sir. +Alas, 'twas labor'd all, sir, for your good; +Nor was there want of counsel in the plot: +But fortune can, at any time, o'erthrow +The projects of a hundred learned clerks, sir. + +CORB [LISTENING]: What's that? + +VOLT: Will't please you, sir, to go along? + +[EXIT CORBACCIO, FOLLOWED BY VOLTORE.] + +MOS: Patron, go in, and pray for our success. + +VOLP [RISING FROM HIS COUCH.]: Need makes devotion: +heaven your labour bless! + +[EXEUNT.] + + +ACT 4. SCENE 4.1. + +A STREET. + +[ENTER SIR POLITICK WOULD-BE AND PEREGRINE.] + +SIR P: I told you, sir, it was a plot: you see +What observation is! You mention'd me, +For some instructions: I will tell you, sir, +(Since we are met here in this height of Venice,) +Some few perticulars I have set down, +Only for this meridian, fit to be known +Of your crude traveller, and they are these. +I will not touch, sir, at your phrase, or clothes, +For they are old. + +PER: Sir, I have better. + +SIR P: Pardon, +I meant, as they are themes. + +PER: O, sir, proceed: +I'll slander you no more of wit, good sir. + +SIR P: First, for your garb, it must be grave and serious, +Very reserv'd, and lock'd; not tell a secret +On any terms, not to your father; scarce +A fable, but with caution; make sure choice +Both of your company, and discourse; beware +You never speak a truth-- + +PER: How! + +SIR P: Not to strangers, +For those be they you must converse with, most; +Others I would not know, sir, but at distance, +So as I still might be a saver in them: +You shall have tricks else past upon you hourly. +And then, for your religion, profess none, +But wonder at the diversity, of all: +And, for your part, protest, were there no other +But simply the laws o' the land, you could content you, +Nic. Machiavel, and Monsieur Bodin, both +Were of this mind. Then must you learn the use +And handling of your silver fork at meals; +The metal of your glass; (these are main matters +With your Italian;) and to know the hour +When you must eat your melons, and your figs. + +PER: Is that a point of state too? + +SIR P: Here it is, +For your Venetian, if he see a man +Preposterous in the least, he has him straight; +He has; he strips him. I'll acquaint you, sir, +I now have lived here, 'tis some fourteen months +Within the first week of my landing here, +All took me for a citizen of Venice: +I knew the forms, so well-- + +PER [ASIDE.]: And nothing else. + +SIR P: I had read Contarene, took me a house, +Dealt with my Jews to furnish it with moveables-- +Well, if I could but find one man, one man +To mine own heart, whom I durst trust, I would-- + +PER: What, what, sir? + +SIR P: Make him rich; make him a fortune: +He should not think again. I would command it. + +PER: As how? + +SIR P: With certain projects that I have; +Which I may not discover. + +PER [ASIDE.]: If I had +But one to wager with, I would lay odds now, +He tells me instantly. + +SIR P: One is, and that +I care not greatly who knows, to serve the state +Of Venice with red herrings for three years, +And at a certain rate, from Rotterdam, +Where I have correspendence. There's a letter, +Sent me from one of the states, and to that purpose: +He cannot write his name, but that's his mark. + +PER: He's a chandler? + +SIR P: No, a cheesemonger. +There are some others too with whom I treat +About the same negociation; +And I will undertake it: for, 'tis thus. +I'll do't with ease, I have cast it all: Your hoy +Carries but three men in her, and a boy; +And she shall make me three returns a year: +So, if there come but one of three, I save, +If two, I can defalk:--but this is now, +If my main project fail. + +PER: Then you have others? + +SIR P: I should be loth to draw the subtle air +Of such a place, without my thousand aims. +I'll not dissemble, sir: where'er I come, +I love to be considerative; and 'tis true, +I have at my free hours thought upon +Some certain goods unto the state of Venice, +Which I do call "my Cautions;" and, sir, which +I mean, in hope of pension, to propound +To the Great Council, then unto the Forty, +So to the Ten. My means are made already-- + +PER: By whom? + +SIR P: Sir, one that, though his place be obscure, +Yet he can sway, and they will hear him. He's +A commandador. + +PER: What! a common serjeant? + +SIR P: Sir, such as they are, put it in their mouths, +What they should say, sometimes; as well as greater: +I think I have my notes to shew you-- +[SEARCHING HIS POCKETS.] + +PER: Good sir. + +SIR P: But you shall swear unto me, on your gentry, +Not to anticipate-- + +PER: I, sir! + +SIR P: Nor reveal +A circumstance--My paper is not with me. + +PER: O, but you can remember, sir. + +SIR P: My first is +Concerning tinder-boxes. You must know, +No family is here, without its box. +Now, sir, it being so portable a thing, +Put case, that you or I were ill affected +Unto the state, sir; with it in our pockets, +Might not I go into the Arsenal, +Or you, come out again, and none the wiser? + +PER: Except yourself, sir. + +SIR P: Go to, then. I therefore +Advertise to the state, how fit it were, +That none but such as were known patriots, +Sound lovers of their country, should be suffer'd +To enjoy them in their houses; and even those +Seal'd at some office, and at such a bigness +As might not lurk in pockets. + +PER: Admirable! + +SIR P: My next is, how to enquire, and be resolv'd, +By present demonstration, whether a ship, +Newly arrived from Soria, or from +Any suspected part of all the Levant, +Be guilty of the plague: and where they use +To lie out forty, fifty days, sometimes, +About the Lazaretto, for their trial; +I'll save that charge and loss unto the merchant, +And in an hour clear the doubt. + +PER: Indeed, sir! + +SIR P: Or--I will lose my labour. + +PER: 'My faith, that's much. + +SIR P: Nay, sir, conceive me. It will cost me in onions, +Some thirty livres-- + +PER: Which is one pound sterling. + +SIR P: Beside my water-works: for this I do, sir. +First, I bring in your ship 'twixt two brick walls; +But those the state shall venture: On the one +I strain me a fair tarpauling, and in that +I stick my onions, cut in halves: the other +Is full of loop-holes, out at which I thrust +The noses of my bellows; and those bellows +I keep, with water-works, in perpetual motion, +Which is the easiest matter of a hundred. +Now, sir, your onion, which doth naturally +Attract the infection, and your bellows blowing +The air upon him, will show, instantly, +By his changed colour, if there be contagion; +Or else remain as fair as at the first. +--Now it is known, 'tis nothing. + +PER: You are right, sir. + +SIR P: I would I had my note. + +PER: 'Faith, so would I: +But you have done well for once, sir. + +SIR P: Were I false, +Or would be made so, I could shew you reasons +How I could sell this state now, to the Turk; +Spite of their galleys, or their-- +[EXAMINING HIS PAPERS.] + +PER: Pray you, sir Pol. + +SIR P: I have them not about me. + +PER: That I fear'd. +They are there, sir. + +SIR P: No. This is my diary, +Wherein I note my actions of the day. + +PER: Pray you let's see, sir. What is here? +[READS.] +"Notandum, +A rat had gnawn my spur-leathers; notwithstanding, +I put on new, and did go forth: but first +I threw three beans over the threshold. Item, +I went and bought two tooth-picks, whereof one +I burst immediatly, in a discourse +With a Dutch merchant, 'bout ragion del stato. +From him I went and paid a moccinigo, +For piecing my silk stockings; by the way +I cheapen'd sprats; and at St. Mark's I urined." +'Faith, these are politic notes! + +SIR P: Sir, I do slip +No action of my life, but thus I quote it. + +PER: Believe me, it is wise! + +SIR P: Nay, sir, read forth. + +[ENTER, AT A DISTANCE, LADY POLITICK-WOULD BE, NANO, +AND TWO WAITING-WOMEN.] + +LADY P: Where should this loose knight be, trow? +sure he's housed. + +NAN: Why, then he's fast. + +LADY P: Ay, he plays both with me. +I pray you, stay. This heat will do more harm +To my complexion, than his heart is worth; +(I do not care to hinder, but to take him.) +[RUBBING HER CHEEKS.] +How it comes off! + +1 WOM: My master's yonder. + +LADY P: Where? + +1 WOM: With a young gentleman. + +LADY P: That same's the party; +In man's apparel! 'Pray you, sir, jog my knight: +I'll be tender to his reputation, +However he demerit. + +SIR P [SEEING HER]: My lady! + +PER: Where? + +SIR P: 'Tis she indeed, sir; you shall know her. She is, +Were she not mine, a lady of that merit, +For fashion and behaviour; and, for beauty +I durst compare-- + +PER: It seems you are not jealous, +That dare commend her. + +SIR P: Nay, and for discourse-- + +PER: Being your wife, she cannot miss that. + +SIR P [INTRODUCING PER.]: Madam, +Here is a gentleman, pray you, use him fairly; +He seems a youth, but he is-- + +LADY P: None. + +SIR P: Yes, one +Has put his face as soon into the world-- + +LADY P: You mean, as early? but to-day? + +SIR P: How's this? + +LADY P: Why, in this habit, sir; you apprehend me:-- +Well, master Would-be, this doth not become you; +I had thought the odour, sir, of your good name, +Had been more precious to you; that you would not +Have done this dire massacre on your honour; +One of your gravity and rank besides! +But knights, I see, care little for the oath +They make to ladies; chiefly, their own ladies. + +SIR P: Now by my spurs, the symbol of my knighthood,-- + +PER [ASIDE.]: Lord, how his brain is humbled for an oath! + +SIR P: I reach you not. + +LADY P: Right, sir, your policy +May bear it through, thus. +[TO PER.] +sir, a word with you. +I would be loth to contest publicly +With any gentlewoman, or to seem +Froward, or violent, as the courtier says; +It comes too near rusticity in a lady, +Which I would shun by all means: and however +I may deserve from master Would-be, yet +T'have one fair gentlewoman thus be made +The unkind instrument to wrong another, +And one she knows not, ay, and to persever; +In my poor judgment, is not warranted +From being a solecism in our sex, +If not in manners. + +PER: How is this! + +SIR P: Sweet madam, +Come nearer to your aim. + +LADY P: Marry, and will, sir. +Since you provoke me with your impudence, +And laughter of your light land-syren here, +Your Sporus, your hermaphrodite-- + +PER: What's here? +Poetic fury, and historic storms? + +SIR P: The gentleman, believe it, is of worth, +And of our nation. + +LADY P: Ay, your White-friars nation. +Come, I blush for you, master Would-be, I; +And am asham'd you should have no more forehead, +Than thus to be the patron, or St. George, +To a lewd harlot, a base fricatrice, +A female devil, in a male outside. + +SIR P: Nay, +And you be such a one, I must bid adieu +To your delights. The case appears too liquid. + +[EXIT.] + +LADY P: Ay, you may carry't clear, with your state-face!-- +But for your carnival concupiscence, +Who here is fled for liberty of conscience, +From furious persecution of the marshal, +Her will I dis'ple. + +PER: This is fine, i'faith! +And do you use this often? Is this part +Of your wit's exercise, 'gainst you have occasion? +Madam-- + +LADY P: Go to, sir. + +PER: Do you hear me, lady? +Why, if your knight have set you to beg shirts, +Or to invite me home, you might have done it +A nearer way, by far: + +LADY P: This cannot work you +Out of my snare. + +PER: Why, am I in it, then? +Indeed your husband told me you were fair, +And so you are; only your nose inclines, +That side that's next the sun, to the queen-apple. + +LADY P: This cannot be endur'd by any patience. + +[ENTER MOSCA.] + +MOS: What is the matter, madam? + +LADY P: If the Senate +Right not my quest in this; I'll protest them +To all the world, no aristocracy. + +MOS: What is the injury, lady? + +LADY P: Why, the callet +You told me of, here I have ta'en disguised. + +MOS: Who? this! what means your ladyship? the creature +I mention'd to you is apprehended now, +Before the senate; you shall see her-- + +LADY P: Where? + +MOS: I'll bring you to her. This young gentleman, +I saw him land this morning at the port. + +LADY P: Is't possible! how has my judgment wander'd? +Sir, I must, blushing, say to you, I have err'd; +And plead your pardon. + +PER: What, more changes yet! + +LADY P: I hope you have not the malice to remember +A gentlewoman's passion. If you stay +In Venice here, please you to use me, sir-- + +MOS: Will you go, madam? + +LADY P: 'Pray you, sir, use me. In faith, +The more you see me, the more I shall conceive +You have forgot our quarrel. + +[EXEUNT LADY WOULD-BE, MOSCA, NANO, AND WAITING-WOMEN.] + +PER: This is rare! +Sir Politick Would-be? no; sir Politick Bawd. +To bring me thus acquainted with his wife! +Well, wise sir Pol, since you have practised thus +Upon my freshman-ship, I'll try your salt-head, +What proof it is against a counter-plot. + +[EXIT.] + +SCENE 4.2. + +THE SCRUTINEO, OR SENATE-HOUSE. + +ENTER VOLTORE, CORBACCIO, CORVINO, AND MOSCA. + +VOLT: Well, now you know the carriage of the business, +Your constancy is all that is required +Unto the safety of it. + +MOS: Is the lie +Safely convey'd amongst us? is that sure? +Knows every man his burden? + +CORV: Yes. + +MOS: Then shrink not. + +CORV: But knows the advocate the truth? + +MOS: O, sir, +By no means; I devised a formal tale, +That salv'd your reputation. But be valiant, sir. + +CORV: I fear no one but him, that this his pleading +Should make him stand for a co-heir-- + +MOS: Co-halter! +Hang him; we will but use his tongue, his noise, +As we do croakers here. + +CORV: Ay, what shall he do? + +MOS: When we have done, you mean? + +CORV: Yes. + +MOS: Why, we'll think: +Sell him for mummia; he's half dust already. +[TO VOLTORE.] +Do not you smile, to see this buffalo, +How he does sport it with his head? +[ASIDE.] +--I should, +If all were well and past. +[TO CORBACCIO.] +--Sir, only you +Are he that shall enjoy the crop of all, +And these not know for whom they toil. + +CORB: Ay, peace. + +MOS [TURNING TO CORVINO.]: But you shall eat it. +Much! [ASIDE.] +[TO VOLTORE.] +--Worshipful sir, +Mercury sit upon your thundering tongue, +Or the French Hercules, and make your language +As conquering as his club, to beat along, +As with a tempest, flat, our adversaries; +But much more yours, sir. + +VOLT: Here they come, have done. + +MOS: I have another witness, if you need, sir, +I can produce. + +VOLT: Who is it? + +MOS: Sir, I have her. + +[ENTER AVOCATORI AND TAKE THEIR SEATS, +BONARIO, CELIA, NOTARIO, COMMANDADORI, SAFFI, +AND OTHER OFFICERS OF JUSTICE.] + +1 AVOC: The like of this the senate never heard of. + +2 AVOC: 'Twill come most strange to them when we report it. + +4 AVOC: The gentlewoman has been ever held +Of unreproved name. + +3 AVOC: So has the youth. + +4 AVOC: The more unnatural part that of his father. + +2 AVOC: More of the husband. + +1 AVOC: I not know to give +His act a name, it is so monstrous! + +4 AVOC: But the impostor, he's a thing created +To exceed example! + +1 AVOC: And all after-times! + +2 AVOC: I never heard a true voluptuary +Discribed, but him. + +3 AVOC: Appear yet those were cited? + +NOT: All, but the old magnifico, Volpone. + +1 AVOC: Why is not he here? + +MOS: Please your fatherhoods, +Here is his advocate: himself's so weak, +So feeble-- + +4 AVOC: What are you? + +BON: His parasite, +His knave, his pandar--I beseech the court, +He may be forced to come, that your grave eyes +May bear strong witness of his strange impostures. + +VOLT: Upon my faith and credit with your virtues, +He is not able to endure the air. + +2 AVOC: Bring him, however. + +3 AVOC: We will see him. + +4 AVOC: Fetch him. + +VOLT: Your fatherhoods fit pleasures be obey'd; +[EXEUNT OFFICERS.] +But sure, the sight will rather move your pities, +Than indignation. May it please the court, +In the mean time, he may be heard in me; +I know this place most void of prejudice, +And therefore crave it, since we have no reason +To fear our truth should hurt our cause. + +3 AVOC: Speak free. + +VOLT: Then know, most honour'd fathers, I must now +Discover to your strangely abused ears, +The most prodigious and most frontless piece +Of solid impudence, and treachery, +That ever vicious nature yet brought forth +To shame the state of Venice. This lewd woman, +That wants no artificial looks or tears +To help the vizor she has now put on, +Hath long been known a close adulteress, +To that lascivious youth there; not suspected, +I say, but known, and taken in the act +With him; and by this man, the easy husband, +Pardon'd: whose timeless bounty makes him now +Stand here, the most unhappy, innocent person, +That ever man's own goodness made accused. +For these not knowing how to owe a gift +Of that dear grace, but with their shame; being placed +So above all powers of their gratitude, +Began to hate the benefit; and, in place +Of thanks, devise to extirpe the memory +Of such an act: wherein I pray your fatherhoods +To observe the malice, yea, the rage of creatures +Discover'd in their evils; and what heart +Such take, even from their crimes:--but that anon +Will more appear.--This gentleman, the father, +Hearing of this foul fact, with many others, +Which daily struck at his too tender ears, +And grieved in nothing more than that he could not +Preserve himself a parent, (his son's ills +Growing to that strange flood,) at last decreed +To disinherit him. + +1 AVOC: These be strange turns! + +2 AVOC: The young man's fame was ever fair and honest. + +VOLT: So much more full of danger is his vice, +That can beguile so under shade of virtue. +But, as I said, my honour'd sires, his father +Having this settled purpose, by what means +To him betray'd, we know not, and this day +Appointed for the deed; that parricide, +I cannot style him better, by confederacy +Preparing this his paramour to be there, +Enter'd Volpone's house, (who was the man, +Your fatherhoods must understand, design'd +For the inheritance,) there sought his father:-- +But with what purpose sought he him, my lords? +I tremble to pronounce it, that a son +Unto a father, and to such a father, +Should have so foul, felonious intent! +It was to murder him: when being prevented +By his more happy absence, what then did he? +Not check his wicked thoughts; no, now new deeds, +(Mischief doth ever end where it begins) +An act of horror, fathers! he dragg'd forth +The aged gentleman that had there lain bed-rid +Three years and more, out of his innocent couch, +Naked upon the floor, there left him; wounded +His servant in the face: and, with this strumpet +The stale to his forged practice, who was glad +To be so active,--(I shall here desire +Your fatherhoods to note but my collections, +As most remarkable,--) thought at once to stop +His father's ends; discredit his free choice +In the old gentleman, redeem themselves, +By laying infamy upon this man, +To whom, with blushing, they should owe their lives. + +1 AVOC: What proofs have you of this? + +BON: Most honoured fathers, +I humbly crave there be no credit given +To this man's mercenary tongue. + +2 AVOC: Forbear. + +BON: His soul moves in his fee. + +3 AVOC: O, sir. + +BON: This fellow, +For six sols more, would plead against his Maker. + +1 AVOC: You do forget yourself. + +VOLT: Nay, nay, grave fathers, +Let him have scope: can any man imagine +That he will spare his accuser, that would not +Have spared his parent? + +1 AVOC: Well, produce your proofs. + +CEL: I would I could forget I were a creature. + +VOLT: Signior Corbaccio. + +[CORBACCIO COMES FORWARD.] + +1 AVOC: What is he? + +VOLT: The father. + +2 AVOC: Has he had an oath? + +NOT: Yes. + +CORB: What must I do now? + +NOT: Your testimony's craved. + +CORB: Speak to the knave? +I'll have my mouth first stopt with earth; my heart +Abhors his knowledge: I disclaim in him. + +1 AVOC: But for what cause? + +CORB: The mere portent of nature! +He is an utter stranger to my loins. + +BON: Have they made you to this? + +CORB: I will not hear thee, +Monster of men, swine, goat, wolf, parricide! +Speak not, thou viper. + +BON: Sir, I will sit down, +And rather wish my innocence should suffer, +Then I resist the authority of a father. + +VOLT: Signior Corvino! + +[CORVINO COMES FORWARD.] + +2 AVOC: This is strange. + +1 AVOC: Who's this? + +NOT: The husband. + +4 AVOC: Is he sworn? + +NOT: He is. + +3 AVOC: Speak, then. + +CORV: This woman, please your fatherhoods, is a whore, +Of most hot exercise, more than a partrich, +Upon record-- + +1 AVOC: No more. + +CORV: Neighs like a jennet. + +NOT: Preserve the honour of the court. + +CORV: I shall, +And modesty of your most reverend ears. +And yet I hope that I may say, these eyes +Have seen her glued unto that piece of cedar, +That fine well-timber'd gallant; and that here +The letters may be read, through the horn, +That make the story perfect. + +MOS: Excellent! sir. + +CORV [ASIDE TO MOSCA.]: There's no shame in this now, is there? + +MOS: None. + +CORV: Or if I said, I hoped that she were onward +To her damnation, if there be a hell +Greater than whore and woman; a good catholic +May make the doubt. + +3 AVOC: His grief hath made him frantic. + +1 AVOC: Remove him hence. + +2 AVOC: Look to the woman. + +[CELIA SWOONS.] + +CORV: Rare! +Prettily feign'd, again! + +4 AVOC: Stand from about her. + +1 AVOC: Give her the air. + +3 AVOC [TO MOSCA.]: What can you say? + +MOS: My wound, +May it please your wisdoms, speaks for me, received +In aid of my good patron, when he mist +His sought-for father, when that well-taught dame +Had her cue given her, to cry out, A rape! + +BON: O most laid impudence! Fathers-- + +3 AVOC: Sir, be silent; +You had your hearing free, so must they theirs. + +2 AVOC: I do begin to doubt the imposture here. + +4 AVOC: This woman has too many moods. + +VOLT: Grave fathers, +She is a creature of a most profest +And prostituted lewdness. + +CORV: Most impetuous, +Unsatisfied, grave fathers! + +VOLT: May her feignings +Not take your wisdoms: but this day she baited +A stranger, a grave knight, with her loose eyes, +And more lascivious kisses. This man saw them +Together on the water in a gondola. + +MOS: Here is the lady herself, that saw them too; +Without; who then had in the open streets +Pursued them, but for saving her knight's honour. + +1 AVOC: Produce that lady. + +2 AVOC: Let her come. + +[EXIT MOSCA.] + +4 AVOC: These things, +They strike with wonder! + +3 AVOC: I am turn'd a stone. + +[RE-ENTER MOSCA WITH LADY WOULD-BE.] + +MOS: Be resolute, madam. + +LADY P: Ay, this same is she. +[POINTING TO CELIA.] +Out, thou chameleon harlot! now thine eyes +Vie tears with the hyaena. Dar'st thou look +Upon my wronged face?--I cry your pardons, +I fear I have forgettingly transgrest +Against the dignity of the court-- + +2 AVOC: No, madam. + +LADY P: And been exorbitant-- + +2 AVOC: You have not, lady. + +4 AVOC: These proofs are strong. + +LADY P: Surely, I had no purpose +To scandalise your honours, or my sex's. + +3 AVOC: We do believe it. + +LADY P: Surely, you may believe it. + +2 AVOC: Madam, we do. + +LADY P: Indeed, you may; my breeding +Is not so coarse-- + +1 AVOC: We know it. + +LADY P: To offend +With pertinacy-- + +3 AVOC: Lady-- + +LADY P: Such a presence! +No surely. + +1 AVOC: We well think it. + +LADY P: You may think it. + +1 AVOC: Let her o'ercome. What witnesses have you +To make good your report? + +BON: Our consciences. + +CEL: And heaven, that never fails the innocent. + +4 AVOC: These are no testimonies. + +BON: Not in your courts, +Where multitude, and clamour overcomes. + +1 AVOC: Nay, then you do wax insolent. + +[RE-ENTER OFFICERS, BEARING VOLPONE ON A COUCH.] + +VOLT: Here, here, +The testimony comes, that will convince, +And put to utter dumbness their bold tongues: +See here, grave fathers, here's the ravisher, +The rider on men's wives, the great impostor, +The grand voluptuary! Do you not think +These limbs should affect venery? or these eyes +Covet a concubine? pray you mark these hands; +Are they not fit to stroke a lady's breasts?-- +Perhaps he doth dissemble! + +BON: So he does. + +VOLT: Would you have him tortured? + +BON: I would have him proved. + +VOLT: Best try him then with goads, or burning irons; +Put him to the strappado: I have heard +The rack hath cured the gout; 'faith, give it him, +And help him of a malady; be courteous. +I'll undertake, before these honour'd fathers, +He shall have yet as many left diseases, +As she has known adulterers, or thou strumpets.-- +O, my most equal hearers, if these deeds, +Acts of this bold and most exorbitant strain, +May pass with sufferance; what one citizen +But owes the forfeit of his life, yea, fame, +To him that dares traduce him? which of you +Are safe, my honour'd fathers? I would ask, +With leave of your grave fatherhoods, if their plot +Have any face or colour like to truth? +Or if, unto the dullest nostril here, +It smell not rank, and most abhorred slander? +I crave your care of this good gentleman, +Whose life is much endanger'd by their fable; +And as for them, I will conclude with this, +That vicious persons, when they're hot and flesh'd +In impious acts, their constancy abounds: +Damn'd deeds are done with greatest confidence. + +1 AVOC: Take them to custody, and sever them. + +2 AVOC: 'Tis pity two such prodigies should live. + +1 AVOC: Let the old gentleman be return'd with care; +[EXEUNT OFFICERS WITH VOLPONE.] +I'm sorry our credulity hath wrong'd him. + +4 AVOC: These are two creatures! + +3 AVOC: I've an earthquake in me. + +2 AVOC: Their shame, even in their cradles, fled their faces. + +4 AVOC [TO VOLT.]: You have done a worthy service to the state, sir, +In their discovery. + +1 AVOC: You shall hear, ere night, +What punishment the court decrees upon them. + +[EXEUNT AVOCAT., NOT., AND OFFICERS WITH BONARIO AND CELIA.] + +VOLT: We thank your fatherhoods.--How like you it? + +MOS: Rare. +I'd have your tongue, sir, tipt with gold for this; +I'd have you be the heir to the whole city; +The earth I'd have want men, ere you want living: +They're bound to erect your statue in St. Mark's. +Signior Corvino, I would have you go +And shew yourself, that you have conquer'd. + +CORV: Yes. + +MOS: It was much better that you should profess +Yourself a cuckold thus, than that the other +Should have been prov'd. + +CORV: Nay, I consider'd that: +Now it is her fault: + +MOS: Then it had been yours. + +CORV: True; I do doubt this advocate still. + +MOS: I'faith, +You need not, I dare ease you of that care. + +CORV: I trust thee, Mosca. + +[EXIT.] + +MOS: As your own soul, sir. + +CORB: Mosca! + +MOS: Now for your business, sir. + +CORB: How! have you business? + +MOS: Yes, your's, sir. + +CORB: O, none else? + +MOS: None else, not I. + +CORB: Be careful, then. + +MOS: Rest you with both your eyes, sir. + +CORB: Dispatch it. + +MOS: Instantly. + +CORB: And look that all, +Whatever, be put in, jewels, plate, moneys, +Household stuff, bedding, curtains. + +MOS: Curtain-rings, sir. +Only the advocate's fee must be deducted. + +CORB: I'll pay him now; you'll be too prodigal. + +MOS: Sir, I must tender it. + +CORB: Two chequines is well? + +MOS: No, six, sir. + +CORB: 'Tis too much. + +MOS: He talk'd a great while; +You must consider that, sir. + +CORB: Well, there's three-- + +MOS: I'll give it him. + +CORB: Do so, and there's for thee. + +[EXIT.] + +MOS [ASIDE.]: Bountiful bones! What horrid strange offence +Did he commit 'gainst nature, in his youth, +Worthy this age? +[TO VOLT.]--You see, sir, how I work +Unto your ends; take you no notice. + +VOLT: No, +I'll leave you. + +[EXIT.] + +MOS: All is yours, the devil and all: +Good advocate!--Madam, I'll bring you home. + +LADY P: No, I'll go see your patron. + +MOS: That you shall not: +I'll tell you why. My purpose is to urge +My patron to reform his Will; and for +The zeal you have shewn to-day, whereas before +You were but third or fourth, you shall be now +Put in the first; which would appear as begg'd, +If you were present. Therefore-- + +LADY P: You shall sway me. + +[EXEUNT.] + + +ACT 5. SCENE 5.1 + +A ROOM IN VOLPONE'S HOUSE. + +ENTER VOLPONE. + +VOLP: Well, I am here, and all this brunt is past. +I ne'er was in dislike with my disguise +Till this fled moment; here 'twas good, in private; +But in your public,--cave whilst I breathe. +'Fore God, my left leg began to have the cramp, +And I apprehended straight some power had struck me +With a dead palsy: Well! I must be merry, +And shake it off. A many of these fears +Would put me into some villanous disease, +Should they come thick upon me: I'll prevent 'em. +Give me a bowl of lusty wine, to fright +This humour from my heart. +[DRINKS.] +Hum, hum, hum! +'Tis almost gone already; I shall conquer. +Any device, now, of rare ingenious knavery, +That would possess me with a violent laughter, +Would make me up again. +[DRINKS AGAIN.] +So, so, so, so! +This heat is life; 'tis blood by this time:--Mosca! + +[ENTER MOSCA.] + +MOS: How now, sir? does the day look clear again? +Are we recover'd, and wrought out of error, +Into our way, to see our path before us? +Is our trade free once more? + +VOLP: Exquisite Mosca! + +MOS: Was it not carried learnedly? + +VOLP: And stoutly: +Good wits are greatest in extremities. + +MOS: It were a folly beyond thought, to trust +Any grand act unto a cowardly spirit: +You are not taken with it enough, methinks? + +VOLP: O, more than if I had enjoy'd the wench: +The pleasure of all woman-kind's not like it. + +MOS: Why now you speak, sir. We must here be fix'd; +Here we must rest; this is our master-peice; +We cannot think to go beyond this. + +VOLP: True. +Thou hast play'd thy prize, my precious Mosca. + +MOS: Nay, sir, +To gull the court-- + +VOLP: And quite divert the torrent +Upon the innocent. + +MOS: Yes, and to make +So rare a music out of discords-- + +VOLP: Right. +That yet to me's the strangest, how thou hast borne it! +That these, being so divided 'mongst themselves, +Should not scent somewhat, or in me or thee, +Or doubt their own side. + +MOS: True, they will not see't. +Too much light blinds them, I think. Each of them +Is so possest and stuft with his own hopes, +That any thing unto the contrary, +Never so true, or never so apparent, +Never so palpable, they will resist it-- + +VOLP: Like a temptation of the devil. + +MOS: Right, sir. +Merchants may talk of trade, and your great signiors +Of land that yields well; but if Italy +Have any glebe more fruitful than these fellows, +I am deceiv'd. Did not your advocate rare? + +VOLP: O--"My most honour'd fathers, my grave fathers, +Under correction of your fatherhoods, +What face of truth is here? If these strange deeds +May pass, most honour'd fathers"--I had much ado +To forbear laughing. + +MOS: It seem'd to me, you sweat, sir. + +VOLP: In troth, I did a little. + +MOS: But confess, sir, +Were you not daunted? + +VOLP: In good faith, I was +A little in a mist, but not dejected; +Never, but still my self. + +MOS: I think it, sir. +Now, so truth help me, I must needs say this, sir, +And out of conscience for your advocate: +He has taken pains, in faith, sir, and deserv'd, +In my poor judgment, I speak it under favour, +Not to contrary you, sir, very richly-- +Well--to be cozen'd. + +VOLP: Troth, and I think so too, +By that I heard him, in the latter end. + +MOS: O, but before, sir: had you heard him first +Draw it to certain heads, then aggravate, +Then use his vehement figures--I look'd still +When he would shift a shirt: and, doing this +Out of pure love, no hope of gain-- + +VOLP: 'Tis right. +I cannot answer him, Mosca, as I would, +Not yet; but for thy sake, at thy entreaty, +I will begin, even now--to vex them all, +This very instant. + +MOS: Good sir. + +VOLP: Call the dwarf +And eunuch forth. + +MOS: Castrone, Nano! + +[ENTER CASTRONE AND NANO.] + +NANO: Here. + +VOLP: Shall we have a jig now? + +MOS: What you please, sir. + +VOLP: Go, +Straight give out about the streets, you two, +That I am dead; do it with constancy, +Sadly, do you hear? impute it to the grief +Of this late slander. + +[EXEUNT CAST. AND NANO.] + +MOS: What do you mean, sir? + +VOLP: O, +I shall have instantly my Vulture, Crow, +Raven, come flying hither, on the news, +To peck for carrion, my she-wolfe, and all, +Greedy, and full of expectation-- + +MOS: And then to have it ravish'd from their mouths! + +VOLP: 'Tis true. I will have thee put on a gown, +And take upon thee, as thou wert mine heir: +Shew them a will; Open that chest, and reach +Forth one of those that has the blanks; I'll straight +Put in thy name. + +MOS [GIVES HIM A PAPER.]: It will be rare, sir. + +VOLP: Ay, +When they ev'n gape, and find themselves deluded-- + +MOS: Yes. + +VOLP: And thou use them scurvily! +Dispatch, get on thy gown. + +MOS [PUTTING ON A GOWN.]: But, what, sir, if they ask +After the body? + +VOLP: Say, it was corrupted. + +MOS: I'll say it stunk, sir; and was fain to have it +Coffin'd up instantly, and sent away. + +VOLP: Any thing; what thou wilt. Hold, here's my will. +Get thee a cap, a count-book, pen and ink, +Papers afore thee; sit as thou wert taking +An inventory of parcels: I'll get up +Behind the curtain, on a stool, and hearken; +Sometime peep over, see how they do look, +With what degrees their blood doth leave their faces, +O, 'twill afford me a rare meal of laughter! + +MOS [PUTTING ON A CAP, AND SETTING OUT THE TABLE, ETC.]: +Your advocate will turn stark dull upon it. + +VOLP: It will take off his oratory's edge. + +MOS: But your clarissimo, old round-back, he +Will crump you like a hog-louse, with the touch. + +VOLP: And what Corvino? + +MOS: O, sir, look for him, +To-morrow morning, with a rope and dagger, +To visit all the streets; he must run mad. +My lady too, that came into the court, +To bear false witness for your worship-- + +VOLP: Yes, +And kist me 'fore the fathers; when my face +Flow'd all with oils. + +MOS: And sweat, sir. Why, your gold +Is such another med'cine, it dries up +All those offensive savours: it transforms +The most deformed, and restores them lovely, +As 'twere the strange poetical girdle. Jove +Could not invent t' himself a shroud more subtle +To pass Acrisius' guards. It is the thing +Makes all the world her grace, her youth, her beauty. + +VOLP: I think she loves me. + +MOS: Who? the lady, sir? +She's jealous of you. + +VOLP: Dost thou say so? + +[KNOCKING WITHIN.] + +MOS: Hark, +There's some already. + +VOLP: Look. + +MOS: It is the Vulture: +He has the quickest scent. + +VOLP: I'll to my place, +Thou to thy posture. + +[GOES BEHIND THE CURTAIN.] + +MOS: I am set. + +VOLP: But, Mosca, +Play the artificer now, torture them rarely. + +[ENTER VOLTORE.] + +VOLT: How now, my Mosca? + +MOS [WRITING.]: "Turkey carpets, nine"-- + +VOLT: Taking an inventory! that is well. + +MOS: "Two suits of bedding, tissue"-- + +VOLT: Where's the Will? +Let me read that the while. + +[ENTER SERVANTS, WITH CORBACCIO IN A CHAIR.] + +CORB: So, set me down: +And get you home. + +[EXEUNT SERVANTS.] + +VOLT: Is he come now, to trouble us! + +MOS: "Of cloth of gold, two more"-- + +CORB: Is it done, Mosca? + +MOS: "Of several velvets, eight"-- + +VOLT: I like his care. + +CORB: Dost thou not hear? + +[ENTER CORVINO.] + +CORB: Ha! is the hour come, Mosca? + +VOLP [PEEPING OVER THE CURTAIN.]: Ay, now, they muster. + +CORV: What does the advocate here, +Or this Corbaccio? + +CORB: What do these here? + +[ENTER LADY POL. WOULD-BE.] + +LADY P: Mosca! +Is his thread spun? + +MOS: "Eight chests of linen"-- + +VOLP: O, +My fine dame Would-be, too! + +CORV: Mosca, the Will, +That I may shew it these, and rid them hence. + +MOS: "Six chests of diaper, four of damask."--There. + +[GIVES THEM THE WILL CARELESSLY, OVER HIS SHOULDER.] + +CORB: Is that the will? + +MOS: "Down-beds, and bolsters"-- + +VOLP: Rare! +Be busy still. Now they begin to flutter: +They never think of me. Look, see, see, see! +How their swift eyes run over the long deed, +Unto the name, and to the legacies, +What is bequeath'd them there-- + +MOS: "Ten suits of hangings"-- + +VOLP: Ay, in their garters, Mosca. Now their hopes +Are at the gasp. + +VOLT: Mosca the heir? + +CORB: What's that? + +VOLP: My advocate is dumb; look to my merchant, +He has heard of some strange storm, a ship is lost, +He faints; my lady will swoon. Old glazen eyes, +He hath not reach'd his despair yet. + +CORB [TAKES THE WILL.]: All these +Are out of hope: I am sure, the man. + +CORV: But, Mosca-- + +MOS: "Two cabinets." + +CORV: Is this in earnest? + +MOS: "One +Of ebony"-- + +CORV: Or do you but delude me? + +MOS: The other, mother of pearl--I am very busy. +Good faith, it is a fortune thrown upon me-- +"Item, one salt of agate"--not my seeking. + +LADY P: Do you hear, sir? + +MOS: "A perfum'd box"--'Pray you forbear, +You see I'm troubled--"made of an onyx"-- + +LADY P: How! + +MOS: To-morrow or next day, I shall be at leisure +To talk with you all. + +CORV: Is this my large hope's issue? + +LADY P: Sir, I must have a fairer answer. + +MOS: Madam! +Marry, and shall: 'pray you, fairly quit my house. +Nay, raise no tempest with your looks; but hark you, +Remember what your ladyship offer'd me, +To put you in an heir; go to, think on it: +And what you said e'en your best madams did +For maintenance, and why not you? Enough. +Go home, and use the poor sir Pol, your knight, well, +For fear I tell some riddles; go, be melancholy. + +[EXIT LADY WOULD-BE.] + +VOLP: O, my fine devil! + +CORV: Mosca, 'pray you a word. + +MOS: Lord! will you not take your dispatch hence yet? +Methinks, of all, you should have been the example. +Why should you stay here? with what thought? what promise? +Hear you; do not you know, I know you an ass, +And that you would most fain have been a wittol, +If fortune would have let you? that you are +A declared cuckold, on good terms? This pearl, +You'll say, was yours? right: this diamond? +I'll not deny't, but thank you. Much here else? +It may be so. Why, think that these good works +May help to hide your bad. I'll not betray you; +Although you be but extraordinary, +And have it only in title, it sufficeth: +Go home, be melancholy too, or mad. + +[EXIT CORVINO.] + +VOLP: Rare Mosca! how his villany becomes him! + +VOLT: Certain he doth delude all these for me. + +CORB: Mosca the heir! + +VOLP: O, his four eyes have found it. + +CORB: I am cozen'd, cheated, by a parasite slave; +Harlot, thou hast gull'd me. + +MOS: Yes, sir. Stop your mouth, +Or I shall draw the only tooth is left. +Are not you he, that filthy covetous wretch, +With the three legs, that, here, in hope of prey, +Have, any time this three years, snuff'd about, +With your most grovelling nose; and would have hired +Me to the poisoning of my patron, sir? +Are not you he that have to-day in court +Profess'd the disinheriting of your son? +Perjured yourself? Go home, and die, and stink. +If you but croak a syllable, all comes out: +Away, and call your porters! +[exit corbaccio.] +Go, go, stink. + +VOLP: Excellent varlet! + +VOLT: Now, my faithful Mosca, +I find thy constancy. + +MOS: Sir! + +VOLT: Sincere. + +MOS [WRITING.]: "A table +Of porphyry"--I marle, you'll be thus troublesome. + +VOLP: Nay, leave off now, they are gone. + +MOS: Why? who are you? +What! who did send for you? O, cry you mercy, +Reverend sir! Good faith, I am grieved for you, +That any chance of mine should thus defeat +Your (I must needs say) most deserving travails: +But I protest, sir, it was cast upon me, +And I could almost wish to be without it, +But that the will o' the dead must be observ'd, +Marry, my joy is that you need it not, +You have a gift, sir, (thank your education,) +Will never let you want, while there are men, +And malice, to breed causes. Would I had +But half the like, for all my fortune, sir! +If I have any suits, as I do hope, +Things being so easy and direct, I shall not, +I will make bold with your obstreperous aid, +Conceive me,--for your fee, sir. In mean time, +You that have so much law, I know have the conscience, +Not to be covetous of what is mine. +Good sir, I thank you for my plate; 'twill help +To set up a young man. Good faith, you look +As you were costive; best go home and purge, sir. + +[EXIT VOLTORE.] + +VOLP [COMES FROM BEHIND THE CURTAIN.]: +Bid him eat lettuce well. +My witty mischief, +Let me embrace thee. O that I could now +Transform thee to a Venus!--Mosca, go, +Straight take my habit of clarissimo, +And walk the streets; be seen, torment them more: +We must pursue, as well as plot. Who would +Have lost this feast? + +MOS: I doubt it will lose them. + +VOLP: O, my recovery shall recover all. +That I could now but think on some disguise +To meet them in, and ask them questions: +How I would vex them still at every turn! + +MOS: Sir, I can fit you. + +VOLP: Canst thou? + +MOS: Yes, I know +One o' the commandadori, sir, so like you; +Him will I straight make drunk, and bring you his habit. + +VOLP: A rare disguise, and answering thy brain! +O, I will be a sharp disease unto them. + +MOS: Sir, you must look for curses-- + +VOLP: Till they burst; +The Fox fares ever best when he is curst. + +[EXEUNT.] + +SCENE 5.2. + +A HALL IN SIR POLITICK'S HOUSE. + +ENTER PEREGRINE DISGUISED, AND THREE MERCHANTS. + +PER: Am I enough disguised? + +1 MER: I warrant you. + +PER: All my ambition is to fright him only. + +2 MER: If you could ship him away, 'twere excellent. + +3 MER: To Zant, or to Aleppo? + +PER: Yes, and have his +Adventures put i' the Book of Voyages. +And his gull'd story register'd for truth. +Well, gentlemen, when I am in a while, +And that you think us warm in our discourse, +Know your approaches. + +1 MER: Trust it to our care. + +[EXEUNT MERCHANTS.] + +[ENTER WAITING-WOMAN.] + +PER: Save you, fair lady! Is sir Pol within? + +WOM: I do not know, sir. + +PER: Pray you say unto him, +Here is a merchant, upon earnest business, +Desires to speak with him. + +WOM: I will see, sir. +[EXIT.] + +PER: Pray you.-- +I see the family is all female here. + +[RE-ENTER WAITING-WOMAN.] + +WOM: He says, sir, he has weighty affairs of state, +That now require him whole; some other time +You may possess him. + +PER: Pray you say again, +If those require him whole, these will exact him, +Whereof I bring him tidings. +[EXIT WOMAN.] +--What might be +His grave affair of state now! how to make +Bolognian sausages here in Venice, sparing +One o' the ingredients? + +[RE-ENTER WAITING-WOMAN.] + +WOM: Sir, he says, he knows +By your word "tidings," that you are no statesman, +And therefore wills you stay. + +PER: Sweet, pray you return him; +I have not read so many proclamations, +And studied them for words, as he has done-- +But--here he deigns to come. + +[EXIT WOMAN.] + +[ENTER SIR POLITICK.] + +SIR P: Sir, I must crave +Your courteous pardon. There hath chanced to-day, +Unkind disaster 'twixt my lady and me; +And I was penning my apology, +To give her satisfaction, as you came now. + +PER: Sir, I am grieved I bring you worse disaster: +The gentleman you met at the port to-day, +That told you, he was newly arrived-- + +SIR P: Ay, was +A fugitive punk? + +PER: No, sir, a spy set on you; +And he has made relation to the senate, +That you profest to him to have a plot +To sell the State of Venice to the Turk. + +SIR P: O me! + +PER: For which, warrants are sign'd by this time, +To apprehend you, and to search your study +For papers-- + +SIR P: Alas, sir, I have none, but notes +Drawn out of play-books-- + +PER: All the better, sir. + +SIR P: And some essays. What shall I do? + +PER: Sir, best +Convey yourself into a sugar-chest; +Or, if you could lie round, a frail were rare: +And I could send you aboard. + +SIR P: Sir, I but talk'd so, +For discourse sake merely. + +[KNOCKING WITHIN.] + +PER: Hark! they are there. + +SIR P: I am a wretch, a wretch! + +PER: What will you do, sir? +Have you ne'er a currant-butt to leap into? +They'll put you to the rack, you must be sudden. + +SIR P: Sir, I have an ingine-- + +3 MER [WITHIN.]: Sir Politick Would-be? + +2 MER [WITHIN.]: Where is he? + +SIR P: That I have thought upon before time. + +PER: What is it? + +SIR P: I shall ne'er endure the torture. +Marry, it is, sir, of a tortoise-shell, +Fitted for these extremities: pray you, sir, help me. +Here I've a place, sir, to put back my legs, +Please you to lay it on, sir, +[LIES DOWN WHILE PEREGRINE PLACES THE SHELL UPON HIM.] +--with this cap, +And my black gloves. I'll lie, sir, like a tortoise, +'Till they are gone. + +PER: And call you this an ingine? + +SIR P: Mine own device--Good sir, bid my wife's women +To burn my papers. + +[EXIT PEREGRINE.] + +[THE THREE MERCHANTS RUSH IN.] + +1 MER: Where is he hid? + +3 MER: We must, +And will sure find him. + +2 MER: Which is his study? + +[RE-ENTER PEREGRINE.] + +1 MER: What +Are you, sir? + +PER: I am a merchant, that came here +To look upon this tortoise. + +3 MER: How! + +1 MER: St. Mark! +What beast is this! + +PER: It is a fish. + +2 MER: Come out here! + +PER: Nay, you may strike him, sir, and tread upon him; +He'll bear a cart. + +1 MER: What, to run over him? + +PER: Yes, sir. + +3 MER: Let's jump upon him. + +2 MER: Can he not go? + +PER: He creeps, sir. + +1 MER: Let's see him creep. + +PER: No, good sir, you will hurt him. + +2 MER: Heart, I will see him creep, or prick his guts. + +3 MER: Come out here! + +PER: Pray you, sir! +[ASIDE TO SIR POLITICK.] +--Creep a little. + +1 MER: Forth. + +2 MER: Yet farther. + +PER: Good sir!--Creep. + +2 MER: We'll see his legs. +[THEY PULL OFF THE SHELL AND DISCOVER HIM.] + +3 MER: Ods so, he has garters! + +1 MER: Ay, and gloves! + +2 MER: Is this +Your fearful tortoise? + +PER [DISCOVERING HIMSELF.]: Now, sir Pol, we are even; +For your next project I shall be prepared: +I am sorry for the funeral of your notes, sir. + +1 MER: 'Twere a rare motion to be seen in Fleet-street. + +2 MER: Ay, in the Term. + +1 MER: Or Smithfield, in the fair. + +3 MER: Methinks 'tis but a melancholy sight. + +PER: Farewell, most politic tortoise! + +[EXEUNT PER. AND MERCHANTS.] + +[RE-ENTER WAITING-WOMAN.] + +SIR P: Where's my lady? +Knows she of this? + +WOM: I know not, sir. + +SIR P: Enquire.-- +O, I shall be the fable of all feasts, +The freight of the gazetti; ship-boy's tale; +And, which is worst, even talk for ordinaries. + +WOM: My lady's come most melancholy home, +And says, sir, she will straight to sea, for physic. + +SIR P: And I to shun this place and clime for ever; +Creeping with house on back: and think it well, +To shrink my poor head in my politic shell. + +[EXEUNT.] + + +SCENE 5.3. + +A ROOM IN VOLPONE'S HOUSE. + +ENTER MOSCA IN THE HABIT OF A CLARISSIMO; +AND VOLPONE IN THAT OF A COMMANDADORE. + +VOLP: Am I then like him? + +MOS: O, sir, you are he; +No man can sever you. + +VOLP: Good. + +MOS: But what am I? + +VOLP: 'Fore heaven, a brave clarissimo, thou becom'st it! +Pity thou wert not born one. + +MOS [ASIDE.]: If I hold +My made one, 'twill be well. + +VOLP: I'll go and see +What news first at the court. + +[EXIT.] + +MOS: Do so. My Fox +Is out of his hole, and ere he shall re-enter, +I'll make him languish in his borrow'd case, +Except he come to composition with me.-- +Androgyno, Castrone, Nano! + +[ENTER ANDROGYNO, CASTRONE AND NANO.] + +ALL: Here. + +MOS: Go, recreate yourselves abroad; go sport.-- +[EXEUNT.] +So, now I have the keys, and am possest. +Since he will needs be dead afore his time, +I'll bury him, or gain by him: I am his heir, +And so will keep me, till he share at least. +To cozen him of all, were but a cheat +Well placed; no man would construe it a sin: +Let his sport pay for it, this is call'd the Fox-trap. + +[EXIT.] + + +SCENE 5.4 + +A STREET. + +ENTER CORBACCIO AND CORVINO. + +CORB: They say, the court is set. + +CORV: We must maintain +Our first tale good, for both our reputations. + +CORB: Why, mine's no tale: my son would there have kill'd me. + +CORV: That's true, I had forgot:-- +[ASIDE.]--mine is, I am sure. +But for your Will, sir. + +CORB: Ay, I'll come upon him +For that hereafter; now his patron's dead. + +[ENTER VOLPONE.] + +VOLP: Signior Corvino! and Corbaccio! sir, +Much joy unto you. + +CORV: Of what? + +VOLP: The sudden good, +Dropt down upon you-- + +CORB: Where? + +VOLP: And, none knows how, +From old Volpone, sir. + +CORB: Out, arrant knave! + +VOLP: Let not your too much wealth, sir, make you furious. + +CORB: Away, thou varlet! + +VOLP: Why, sir? + +CORB: Dost thou mock me? + +VOLP: You mock the world, sir; did you not change Wills? + +CORB: Out, harlot! + +VOLP: O! belike you are the man, +Signior Corvino? 'faith, you carry it well; +You grow not mad withal: I love your spirit: +You are not over-leaven'd with your fortune. +You should have some would swell now, like a wine-fat, +With such an autumn--Did he give you all, sir? + +CORB: Avoid, you rascal! + +VOLP: Troth, your wife has shewn +Herself a very woman; but you are well, +You need not care, you have a good estate, +To bear it out sir, better by this chance: +Except Corbaccio have a share. + +CORV: Hence, varlet. + +VOLP: You will not be acknown, sir; why, 'tis wise. +Thus do all gamesters, at all games, dissemble: +No man will seem to win. +[exeunt corvino and corbaccio.] +--Here comes my vulture, +Heaving his beak up in the air, and snuffing. + +[ENTER VOLTORE.] + +VOLT: Outstript thus, by a parasite! a slave, +Would run on errands, and make legs for crumbs? +Well, what I'll do-- + +VOLP: The court stays for your worship. +I e'en rejoice, sir, at your worship's happiness, +And that it fell into so learned hands, +That understand the fingering-- + +VOLT: What do you mean? + +VOLP: I mean to be a suitor to your worship, +For the small tenement, out of reparations, +That, to the end of your long row of houses, +By the Piscaria: it was, in Volpone's time, +Your predecessor, ere he grew diseased, +A handsome, pretty, custom'd bawdy-house, +As any was in Venice, none dispraised; +But fell with him; his body and that house +Decay'd, together. + +VOLT: Come sir, leave your prating. + +VOLP: Why, if your worship give me but your hand, +That I may have the refusal, I have done. +'Tis a mere toy to you, sir; candle-rents; +As your learn'd worship knows-- + +VOLT: What do I know? + +VOLP: Marry, no end of your wealth, sir, God decrease it! + +VOLT: Mistaking knave! what, mockst thou my misfortune? + +[EXIT.] + +VOLP: His blessing on your heart, sir; would 'twere more!-- +Now to my first again, at the next corner. + +[EXIT.] + + +SCENE 5.5. + +ANOTHER PART OF THE STREET. + +ENTER CORBACCIO AND CORVINO;-- +MOSCA PASSES OVER THE STAGE, BEFORE THEM. + +CORB: See, in our habit! see the impudent varlet! + +CORV: That I could shoot mine eyes at him like gun-stones. + +[ENTER VOLPONE.] + +VOLP: But is this true, sir, of the parasite? + +CORB: Again, to afflict us! monster! + +VOLP: In good faith, sir, +I'm heartily grieved, a beard of your grave length +Should be so over-reach'd. I never brook'd +That parasite's hair; methought his nose should cozen: +There still was somewhat in his look, did promise +The bane of a clarissimo. + +CORB: Knave-- + +VOLP: Methinks +Yet you, that are so traded in the world, +A witty merchant, the fine bird, Corvino, +That have such moral emblems on your name, +Should not have sung your shame; and dropt your cheese, +To let the Fox laugh at your emptiness. + +CORV: Sirrah, you think the privilege of the place, +And your red saucy cap, that seems to me +Nail'd to your jolt-head with those two chequines, +Can warrant your abuses; come you hither: +You shall perceive, sir, I dare beat you; approach. + +VOLP: No haste, sir, I do know your valour well, +Since you durst publish what you are, sir. + +CORV: Tarry, +I'd speak with you. + +VOLP: Sir, sir, another time-- + +CORV: Nay, now. + +VOLP: O lord, sir! I were a wise man, +Would stand the fury of a distracted cuckold. + +[AS HE IS RUNNING OFF, RE-ENTER MOSCA.] + +CORB: What, come again! + +VOLP: Upon 'em, Mosca; save me. + +CORB: The air's infected where he breathes. + +CORV: Let's fly him. + +[EXEUNT CORV. AND CORB.] + +VOLP: Excellent basilisk! turn upon the vulture. + +[ENTER VOLTORE.] + +VOLT: Well, flesh-fly, it is summer with you now; +Your winter will come on. + +MOS: Good advocate, +Prithee not rail, nor threaten out of place thus; +Thou'lt make a solecism, as madam says. +Get you a biggin more, your brain breaks loose. + +[EXIT.] + +VOLT: Well, sir. + +VOLP: Would you have me beat the insolent slave, +Throw dirt upon his first good clothes? + +VOLT: This same +Is doubtless some familiar. + +VOLP: Sir, the court, +In troth, stays for you. I am mad, a mule +That never read Justinian, should get up, +And ride an advocate. Had you no quirk +To avoid gullage, sir, by such a creature? +I hope you do but jest; he has not done it: +'Tis but confederacy, to blind the rest. +You are the heir. + +VOLT: A strange, officious, +Troublesome knave! thou dost torment me. + +VOLP: I know-- +It cannot be, sir, that you should be cozen'd; +'Tis not within the wit of man to do it; +You are so wise, so prudent; and 'tis fit +That wealth and wisdom still should go together. + +[EXEUNT.] + + +SCENE 5.6. + +THE SCRUTINEO OR SENATE-HOUSE. + +ENTER AVOCATORI, NOTARIO, BONARIO, CELIA, +CORBACCIO, CORVINO, COMMANDADORI, SAFFI, ETC. + +1 AVOC: Are all the parties here? + +NOT: All but the advocate. + +2 AVOC: And here he comes. + +[ENTER VOLTORE AND VOLPONE.] + +1 AVOC: Then bring them forth to sentence. + +VOLT: O, my most honour'd fathers, let your mercy +Once win upon your justice, to forgive-- +I am distracted-- + +VOLP [ASIDE.]: What will he do now? + +VOLT: O, +I know not which to address myself to first; +Whether your fatherhoods, or these innocents-- + +CORV [ASIDE.]: Will he betray himself? + +VOLT: Whom equally +I have abused, out of most covetous ends-- + +CORV: The man is mad! + +CORB: What's that? + +CORV: He is possest. + +VOLT: For which, now struck in conscience, here, I prostate +Myself at your offended feet, for pardon. + +1, 2 AVOC: Arise. + +CEL: O heaven, how just thou art! + +VOLP [ASIDE.]: I am caught +In mine own noose-- + +CORV [TO CORBACCIO.]: Be constant, sir: nought now +Can help, but impudence. + +1 AVOC: Speak forward. + +COM: Silence! + +VOLT: It is not passion in me, reverend fathers, +But only conscience, conscience, my good sires, +That makes me now tell trueth. That parasite, +That knave, hath been the instrument of all. + +1 AVOC: Where is that knave? fetch him. + +VOLP: I go. + +[EXIT.] + +CORV: Grave fathers, +This man's distracted; he confest it now: +For, hoping to be old Volpone's heir, +Who now is dead-- + +3 AVOC: How? + +2 AVOC: Is Volpone dead? + +CORV: Dead since, grave fathers-- + +BON: O sure vengeance! + +1 AVOC: Stay, +Then he was no deceiver? + +VOLT: O no, none: +The parasite, grave fathers. + +CORV: He does speak +Out of mere envy, 'cause the servant's made +The thing he gaped for: please your fatherhoods, +This is the truth, though I'll not justify +The other, but he may be some-deal faulty. + +VOLT: Ay, to your hopes, as well as mine, Corvino: +But I'll use modesty. Pleaseth your wisdoms, +To view these certain notes, and but confer them; +As I hope favour, they shall speak clear truth. + +CORV: The devil has enter'd him! + +BON: Or bides in you. + +4 AVOC: We have done ill, by a public officer, +To send for him, if he be heir. + +2 AVOC: For whom? + +4 AVOC: Him that they call the parasite. + +3 AVOC: 'Tis true, +He is a man of great estate, now left. + +4 AVOC: Go you, and learn his name, and say, the court +Entreats his presence here, but to the clearing +Of some few doubts. + +[EXIT NOTARY.] + +2 AVOC: This same's a labyrinth! + +1 AVOC: Stand you unto your first report? + +CORV: My state, +My life, my fame-- + +BON: Where is it? + +CORV: Are at the stake + +1 AVOC: Is yours so too? + +CORB: The advocate's a knave, +And has a forked tongue-- + +2 AVOC: Speak to the point. + +CORB: So is the parasite too. + +1 AVOC: This is confusion. + +VOLT: I do beseech your fatherhoods, read but those-- +[GIVING THEM THE PAPERS.] + +CORV: And credit nothing the false spirit hath writ: +It cannot be, but he's possest grave fathers. + +[THE SCENE CLOSES.] + + +SCENE 5.7. + +A STREET. + +ENTER VOLPONE. + +VOLP: To make a snare for mine own neck! and run +My head into it, wilfully! with laughter! +When I had newly 'scaped, was free, and clear, +Out of mere wantonness! O, the dull devil +Was in this brain of mine, when I devised it, +And Mosca gave it second; he must now +Help to sear up this vein, or we bleed dead.-- +[ENTER NANO, ANDROGYNO, AND CASTRONE.] +How now! who let you loose? whither go you now? +What, to buy gingerbread? or to drown kitlings? + +NAN: Sir, master Mosca call'd us out of doors, +And bid us all go play, and took the keys. + +AND: Yes. + +VOLP: Did master Mosca take the keys? why so! +I'm farther in. These are my fine conceits! +I must be merry, with a mischief to me! +What a vile wretch was I, that could not bear +My fortune soberly? I must have my crotchets, +And my conundrums! Well, go you, and seek him: +His meaning may be truer than my fear. +Bid him, he straight come to me to the court; +Thither will I, and, if't be possible, +Unscrew my advocate, upon new hopes: +When I provoked him, then I lost myself. + +[EXEUNT.] + + +SCENE 5.8. + +THE SCRUTINEO, OR SENATE-HOUSE. + +AVOCATORI, BONARIO, CELIA, CORBACCIO, CORVINO, +COMMANDADORI, SAFFI, ETC., AS BEFORE. + +1 AVOC: These things can ne'er be reconciled. He, here, +[SHEWING THE PAPERS.] +Professeth, that the gentleman was wrong'd, +And that the gentlewoman was brought thither, +Forced by her husband, and there left. + +VOLT: Most true. + +CEL: How ready is heaven to those that pray! + +1 AVOC: But that +Volpone would have ravish'd her, he holds +Utterly false; knowing his impotence. + +CORV: Grave fathers, he's possest; again, I say, +Possest: nay, if there be possession, and +Obsession, he has both. + +3 AVOC: Here comes our officer. + +[ENTER VOLPONE.] + +VOLP: The parasite will straight be here, grave fathers. + +4 AVOC: You might invent some other name, sir varlet. + +3 AVOC: Did not the notary meet him? + +VOLP: Not that I know. + +4 AVOC: His coming will clear all. + +2 AVOC: Yet, it is misty. + +VOLT: May't please your fatherhoods-- + +VOLP [whispers volt.]: Sir, the parasite +Will'd me to tell you, that his master lives; +That you are still the man; your hopes the same; +And this was only a jest-- + +VOLT: How? + +VOLP: Sir, to try +If you were firm, and how you stood affected. + +VOLT: Art sure he lives? + +VOLP: Do I live, sir? + +VOLT: O me! +I was too violent. + +VOLP: Sir, you may redeem it, +They said, you were possest; fall down, and seem so: +I'll help to make it good. +[voltore falls.] +--God bless the man!-- +Stop your wind hard, and swell: See, see, see, see! +He vomits crooked pins! his eyes are set, +Like a dead hare's hung in a poulter's shop! +His mouth's running away! Do you see, signior? +Now it is in his belly! + +CORV: Ay, the devil! + +VOLP: Now in his throat. + +CORV: Ay, I perceive it plain. + +VOLP: 'Twill out, 'twill out! stand clear. +See, where it flies, +In shape of a blue toad, with a bat's wings! +Do you not see it, sir? + +CORB: What? I think I do. + +CORV: 'Tis too manifest. + +VOLP: Look! he comes to himself! + +VOLT: Where am I? + +VOLP: Take good heart, the worst is past, sir. +You are dispossest. + +1 AVOC: What accident is this! + +2 AVOC: Sudden, and full of wonder! + +3 AVOC: If he were +Possest, as it appears, all this is nothing. + +CORV: He has been often subject to these fits. + +1 AVOC: Shew him that writing:--do you know it, sir? + +VOLP [WHISPERS VOLT.]: Deny it, sir, forswear it; know it not. + +VOLT: Yes, I do know it well, it is my hand; +But all that it contains is false. + +BON: O practice! + +2 AVOC: What maze is this! + +1 AVOC: Is he not guilty then, +Whom you there name the parasite? + +VOLT: Grave fathers, +No more than his good patron, old Volpone. + +4 AVOC: Why, he is dead. + +VOLT: O no, my honour'd fathers, +He lives-- + +1 AVOC: How! lives? + +VOLT: Lives. + +2 AVOC: This is subtler yet! + +3 AVOC: You said he was dead. + +VOLT: Never. + +3 AVOC: You said so. + +CORV: I heard so. + +4 AVOC: Here comes the gentleman; make him way. + +[ENTER MOSCA.] + +3 AVOC: A stool. + +4 AVOC [ASIDE.]: A proper man; and, were Volpone dead, +A fit match for my daughter. + +3 AVOC: Give him way. + +VOLP [ASIDE TO MOSCA.]: Mosca, I was almost lost, the advocate +Had betrayed all; but now it is recovered; +All's on the hinge again--Say, I am living. + +MOS: What busy knave is this!--Most reverend fathers, +I sooner had attended your grave pleasures, +But that my order for the funeral +Of my dear patron, did require me-- + +VOLP [ASIDE.]: Mosca! + +MOS: Whom I intend to bury like a gentleman. + +VOLP [ASIDE.]: Ay, quick, and cozen me of all. + +2 AVOC: Still stranger! +More intricate! + +1 AVOC: And come about again! + +4 AVOC [ASIDE.]: It is a match, my daughter is bestow'd. + +MOS [ASIDE TO VOLP.]: Will you give me half? + +VOLP: First, I'll be hang'd. + +MOS: I know, +Your voice is good, cry not so loud. + +1 AVOC: Demand +The advocate.--Sir, did not you affirm, +Volpone was alive? + +VOLP: Yes, and he is; +This gentleman told me so. +[ASIDE TO VOLP.] +--Thou shalt have half.-- + +MOS: Whose drunkard is this same? speak, some that know him: +I never saw his face. +[ASIDE TO VOLP.] +--I cannot now +Afford it you so cheap. + +VOLP: No! + +1 AVOC: What say you? + +VOLT: The officer told me. + +VOLP: I did, grave fathers, +And will maintain he lives, with mine own life. +And that this creature [POINTS TO MOSCA.] told me. +[ASIDE.] +--I was born, +With all good stars my enemies. + +MOS: Most grave fathers, +If such an insolence as this must pass +Upon me, I am silent: 'twas not this +For which you sent, I hope. + +2 AVOC: Take him away. + +VOLP: Mosca! + +3 AVOC: Let him be whipt. + +VOLP: Wilt thou betray me? +Cozen me? + +3 AVOC: And taught to bear himself +Toward a person of his rank. + +4 AVOC: Away. + +[THE OFFICERS SEIZE VOLPONE.] + +MOS: I humbly thank your fatherhoods. + +VOLP [ASIDE.]: Soft, soft: Whipt! +And lose all that I have! If I confess, +It cannot be much more. + +4 AVOC: Sir, are you married? + +VOLP: They will be allied anon; I must be resolute: +The Fox shall here uncase. +[THROWS OFF HIS DISGUISE.] + +MOS: Patron! + +VOLP: Nay, now, +My ruins shall not come alone; your match +I'll hinder sure: my substance shall not glue you, +Nor screw you into a family. + +MOS: Why, patron! + +VOLP: I am Volpone, and this is my knave; +[POINTING TO MOSCA.] +This [TO VOLT.], his own knave; This [TO CORB.], avarice's fool; +This [TO CORV.], a chimera of wittol, fool, and knave: +And, reverend fathers, since we all can hope +Nought but a sentence, let's not now dispair it. +You hear me brief. + +CORV: May it please your fatherhoods-- + +COM: Silence. + +1 AVOC: The knot is now undone by miracle. + +2 AVOC: Nothing can be more clear. + +3 AVOC: Or can more prove +These innocent. + +1 AVOC: Give them their liberty. + +BON: Heaven could not long let such gross crimes be hid. + +2 AVOC: If this be held the high-way to get riches, +May I be poor! + +3 AVOC: This is not the gain, but torment. + +1 AVOC: These possess wealth, as sick men possess fevers, +Which trulier may be said to possess them. + +2 AVOC: Disrobe that parasite. + +CORV, MOS: Most honour'd fathers!-- + +1 AVOC: Can you plead aught to stay the course of justice? +If you can, speak. + +CORV, VOLT: We beg favour, + +CEL: And mercy. + +1 AVOC: You hurt your innocence, suing for the guilty. +Stand forth; and first the parasite: You appear +T'have been the chiefest minister, if not plotter, +In all these lewd impostures; and now, lastly, +Have with your impudence abused the court, +And habit of a gentleman of Venice, +Being a fellow of no birth or blood: +For which our sentence is, first, thou be whipt; +Then live perpetual prisoner in our gallies. + +VOLT: I thank you for him. + +MOS: Bane to thy wolvish nature! + +1 AVOC: Deliver him to the saffi. +[MOSCA IS CARRIED OUT.] +--Thou, Volpone, +By blood and rank a gentleman, canst not fall +Under like censure; but our judgment on thee +Is, that thy substance all be straight confiscate +To the hospital of the Incurabili: +And, since the most was gotten by imposture, +By feigning lame, gout, palsy, and such diseases, +Thou art to lie in prison, cramp'd with irons, +Till thou be'st sick, and lame indeed.--Remove him. + +[HE IS TAKEN FROM THE BAR.] + +VOLP: This is call'd mortifying of a Fox. + +1 AVOC: Thou, Voltore, to take away the scandal +Thou hast given all worthy men of thy profession, +Art banish'd from their fellowship, and our state. +Corbaccio!--bring him near--We here possess +Thy son of all thy state, and confine thee +To the monastery of San Spirito; +Where, since thou knewest not how to live well here, +Thou shalt be learn'd to die well. + +CORB: Ah! what said he? + +AND: You shall know anon, sir. + +1 AVOC: Thou, Corvino, shalt +Be straight embark'd from thine own house, and row'd +Round about Venice, through the grand canale, +Wearing a cap, with fair long asses' ears, +Instead of horns; and so to mount, a paper +Pinn'd on thy breast, to the Berlina-- + +CORV: Yes, +And have mine eyes beat out with stinking fish, +Bruised fruit and rotten eggs--'Tis well. I am glad +I shall not see my shame yet. + +1 AVOC: And to expiate +Thy wrongs done to thy wife, thou art to send her +Home to her father, with her dowry trebled: +And these are all your judgments. + +ALL: Honour'd fathers.-- + +1 AVOC: Which may not be revoked. Now you begin, +When crimes are done, and past, and to be punish'd, +To think what your crimes are: away with them. +Let all that see these vices thus rewarded, +Take heart and love to study 'em! Mischiefs feed +Like beasts, till they be fat, and then they bleed. + +[EXEUNT.] + +[VOLPONE COMES FORWARD.] + +VOLPONE: The seasoning of a play, is the applause. +Now, though the Fox be punish'd by the laws, +He yet doth hope, there is no suffering due, +For any fact which he hath done 'gainst you; +If there be, censure him; here he doubtful stands: +If not, fare jovially, and clap your hands. + +[EXIT.] + + + +--------------------- + + + +GLOSSARY + +ABATE, cast down, subdue. + +ABHORRING, repugnant (to), at variance. + +ABJECT, base, degraded thing, outcast. + +ABRASE, smooth, blank. + +ABSOLUTE(LY), faultless(ly). + +ABSTRACTED, abstract, abstruse. + +ABUSE, deceive, insult, dishonour, make ill use of. + +ACATER, caterer. + +ACATES, cates. + +ACCEPTIVE, willing, ready to accept, receive. + +ACCOMMODATE, fit, befitting. (The word was a fashionable +one and used on all occasions. See "Henry IV.," pt. 2, +iii. 4). + +ACCOST, draw near, approach. + +ACKNOWN, confessedly acquainted with. + +ACME, full maturity. + +ADALANTADO, lord deputy or governor of a Spanish province. + +ADJECTION, addition. + +ADMIRATION, astonishment. + +ADMIRE, wonder, wonder at. + +ADROP, philosopher's stone, or substance from which obtained. + +ADSCRIVE, subscribe. + +ADULTERATE, spurious, counterfeit. + +ADVANCE, lift. + +ADVERTISE, inform, give intelligence. + +ADVERTISED, "be--," be it known to you. + +ADVERTISEMENT, intelligence. + +ADVISE, consider, bethink oneself, deliberate. + +ADVISED, informed, aware; "are you--?" have you found that out? + +AFFECT, love, like; aim at; move. + +AFFECTED, disposed; beloved. + +AFFECTIONATE, obstinate; prejudiced. + +AFFECTS, affections. + +AFFRONT, "give the--," face. + +AFFY, have confidence in; betroth. + +AFTER, after the manner of. + +AGAIN, AGAINST, in anticipation of. + +AGGRAVATE, increase, magnify, enlarge upon. + +AGNOMINATION. See Paranomasie. + +AIERY, nest, brood. + +AIM, guess. + +ALL HID, children's cry at hide-and-seek. + +ALL-TO, completely, entirely ("all-to-be-laden"). + +ALLOWANCE, approbation, recognition. + +ALMA-CANTARAS (astronomy), parallels of altitude. + +ALMAIN, name of a dance. + +ALMUTEN, planet of chief influence in the horoscope. + +ALONE, unequalled, without peer. + +ALUDELS, subliming pots. + +AMAZED, confused, perplexed. + +AMBER, AMBRE, ambergris. + +AMBREE, MARY, a woman noted for her valour at the +siege of Ghent, 1458. + +AMES-ACE, lowest throw at dice. + +AMPHIBOLIES, ambiguities. + +AMUSED, bewildered, amazed. + +AN, if. + +ANATOMY, skeleton, or dissected body. + +ANDIRONS, fire-dogs. + +ANGEL, gold coin worth 10 shillings, stamped with the +figure of the archangel Michael. + +ANNESH CLEARE, spring known as Agnes le Clare. + +ANSWER, return hit in fencing. + +ANTIC, ANTIQUE, clown, buffoon. + +ANTIC, like a buffoon. + +ANTIPERISTASIS, an opposition which enhances the quality +it opposes. + +APOZEM, decoction. + +APPERIL, peril. + +APPLE-JOHN, APPLE-SQUIRE, pimp, pander. + +APPLY, attach. + +APPREHEND, take into custody. + +APPREHENSIVE, quick of perception; able to perceive and appreciate. + +APPROVE, prove, confirm. + +APT, suit, adapt; train, prepare; dispose, incline. + +APT(LY), suitable(y), opportune(ly). + +APTITUDE, suitableness. + +ARBOR, "make the--," cut up the game (Gifford). + +ARCHES, Court of Arches. + +ARCHIE, Archibald Armstrong, jester to James I. and Charles I. + +ARGAILE, argol, crust or sediment in wine casks. + +ARGENT-VIVE, quicksilver. + +ARGUMENT, plot of a drama; theme, subject; matter in question; +token, proof. + +ARRIDE, please. + +ARSEDINE, mixture of copper and zinc, used as an imitation of +gold-leaf. + +ARTHUR, PRINCE, reference to an archery show by a society who +assumed arms, etc., of Arthur's knights. + +ARTICLE, item. + +ARTIFICIALLY, artfully. + +ASCENSION, evaporation, distillation. + +ASPIRE, try to reach, obtain, long for. + +ASSALTO (Italian), assault. + +ASSAY, draw a knife along the belly of the deer, a +ceremony of the hunting-field. + +ASSOIL, solve. + +ASSURE, secure possession or reversion of. + +ATHANOR, a digesting furnace, calculated to keep up a +constant heat. + +ATONE, reconcile. + +ATTACH, attack, seize. + +AUDACIOUS, having spirit and confidence. + +AUTHENTIC(AL), of authority, authorised, trustworthy, genuine. + +AVISEMENT, reflection, consideration. + +AVOID, begone! get rid of. + +AWAY WITH, endure. + +AZOCH, Mercurius Philosophorum. + +BABION, baboon. + +BABY, doll. + +BACK-SIDE, back premises. + +BAFFLE, treat with contempt. + +BAGATINE, Italian coin, worth about the third of a farthing. + +BAIARD, horse of magic powers known to old romance. + +BALDRICK, belt worn across the breast to support bugle, etc. + +BALE (of dice), pair. + +BALK, overlook, pass by, avoid. + +BALLACE, ballast. + +BALLOO, game at ball. + +BALNEUM (BAIN MARIE), a vessel for holding hot water +in which other vessels are stood for heating. + +BANBURY, "brother of--," Puritan. + +BANDOG, dog tied or chained up. + +BANE, woe, ruin. + +BANQUET, a light repast; dessert. + +BARB, to clip gold. + +BARBEL, fresh-water fish. + +BARE, meer; bareheaded; it was "a particular mark of state +and grandeur for the coachman to be uncovered" (Gifford). + +BARLEY-BREAK, game somewhat similar to base. + +BASE, game of prisoner's base. + +BASES, richly embroidered skirt reaching to the knees, or +lower. + +BASILISK, fabulous reptile, believed to slay with its eye. + +BASKET, used for the broken provision collected for prisoners. + +BASON, basons, etc., were beaten by the attendant mob when +bad characters were "carted." + +BATE, be reduced; abate, reduce. + +BATOON, baton, stick. + +BATTEN, feed, grow fat. + +BAWSON, badger. + +BEADSMAN, prayer-man, one engaged to pray for another. + +BEAGLE, small hound; fig. spy. + +BEAR IN HAND, keep in suspense, deceive with false hopes. + +BEARWARD, bear leader. + +BEDPHERE. See Phere. + +BEDSTAFF, (?) wooden pin in the side of the bedstead for +supporting the bedclothes (Johnson); one of the sticks or +"laths"; a stick used in making a bed. + +BEETLE, heavy mallet. + +BEG, "I'd--him," the custody of minors and idiots was +begged for; likewise property fallen forfeit to the Crown +("your house had been begged"). + +BELL-MAN, night watchman. + +BENJAMIN, an aromatic gum. + +BERLINA, pillory. + +BESCUMBER, defile. + +BESLAVE, beslabber. + +BESOGNO, beggar. + +BESPAWLE, bespatter. + +BETHLEHEM GABOR, Transylvanian hero, proclaimed King of Hungary. + +BEVER, drinking. + +BEVIS, SIR, knight of romance whose horse was equally celebrated. + +BEWRAY, reveal, make known. + +BEZANT, heraldic term: small gold circle. + +BEZOAR'S STONE, a remedy known by this name was a +supposed antidote to poison. + +BID-STAND, highwayman. + +BIGGIN, cap, similar to that worn by the Beguines; nightcap. + +BILIVE (belive), with haste. + +BILK, nothing, empty talk. + +BILL, kind of pike. + +BILLET, wood cut for fuel, stick. + +BIRDING, thieving. + +BLACK SANCTUS, burlesque hymn, any unholy riot. + +BLANK, originally a small French coin. + +BLANK, white. + +BLANKET, toss in a blanket. + +BLAZE, outburst of violence. + +BLAZE, (her.) blazon; publish abroad. + +BLAZON, armorial bearings; fig. all that pertains to +good birth and breeding. + +BLIN, "withouten--," without ceasing. + +BLOW, puff up. + +BLUE, colour of servants' livery, hence "--order," +"--waiters." + +BLUSHET, blushing one. + +BOB, jest, taunt. + +BOB, beat, thump. + +BODGE, measure. + +BODKIN, dagger, or other short, pointed weapon; long +pin with which the women fastened up their hair. + +BOLT, roll (of material). + +BOLT, dislodge, rout out; sift (boulting-tub). + +BOLT'S-HEAD, long, straight-necked vessel for distillation. + +BOMBARD SLOPS, padded, puffed-out breeches. + +BONA ROBA, "good, wholesome, plum-cheeked wench" (Johnson) +--not always used in compliment. + +BONNY-CLABBER, sour butter-milk. + +BOOKHOLDER, prompter. + +BOOT, "to--," into the bargain; "no--," of no avail. + +BORACHIO, bottle made of skin. + +BORDELLO, brothel. + +BORNE IT, conducted, carried it through. + +BOTTLE (of hay), bundle, truss. + +BOTTOM, skein or ball of thread; vessel. + +BOURD, jest. + +BOVOLI, snails or cockles dressed in the Italian manner +(Gifford). + +BOW-POT, flower vase or pot. + +BOYS, "terrible--," "angry--," roystering young bucks. +(See Nares). + +BRABBLES (BRABBLESH), brawls. + +BRACH, bitch. + +BRADAMANTE, a heroine in "Orlando Furioso." + +BRADLEY, ARTHUR OF, a lively character commemorated in +ballads. + +BRAKE, frame for confining a horse's feet while being +shod, or strong curb or bridle; trap. + +BRANCHED, with "detached sleeve ornaments, projecting +from the shoulders of the gown" (Gifford). + +BRANDISH, flourish of weapon. + +BRASH, brace. + +BRAVE, bravado, braggart speech. + +BRAVE (adv.), gaily, finely (apparelled). + +BRAVERIES, gallants. + +BRAVERY, extravagant gaiety of apparel. + +BRAVO, bravado, swaggerer. + +BRAZEN-HEAD, speaking head made by Roger Bacon. + +BREATHE, pause for relaxation; exercise. + +BREATH UPON, speak dispraisingly of. + +BREND, burn. + +BRIDE-ALE, wedding feast. + +BRIEF, abstract; (mus.) breve. + +BRISK, smartly dressed. + +BRIZE, breese, gadfly. + +BROAD-SEAL, state seal. + +BROCK, badger (term of contempt). + +BROKE, transact business as a broker. + +BROOK, endure, put up with. + +BROUGHTON, HUGH, an English divine and Hebrew scholar. + +BRUIT, rumour. + +BUCK, wash. + +BUCKLE, bend. + +BUFF, leather made of buffalo skin, used for military +and serjeants' coats, etc. + +BUFO, black tincture. + +BUGLE, long-shaped bead. + +BULLED, (?) bolled, swelled. + +BULLIONS, trunk hose. + +BULLY, term of familiar endearment. + +BUNGY, Friar Bungay, who had a familiar in the shape of a dog. + +BURDEN, refrain, chorus. + +BURGONET, closely-fitting helmet with visor. + +BURGULLION, braggadocio. + +BURN, mark wooden measures ("--ing of cans"). + +BURROUGH, pledge, security. + +BUSKIN, half-boot, foot gear reaching high up the leg. + +BUTT-SHAFT, barbless arrow for shooting at butts. + +BUTTER, NATHANIEL ("Staple of News"), a compiler of general +news. (See Cunningham). + +BUTTERY-HATCH, half-door shutting off the buttery, where +provisions and liquors were stored. + +BUY, "he bought me," formerly the guardianship of wards +could be bought. + +BUZ, exclamation to enjoin silence. + +BUZZARD, simpleton. + +BY AND BY, at once. + +BY(E), "on the __," incidentally, as of minor or secondary +importance; at the side. + +BY-CHOP, by-blow, bastard. + +CADUCEUS, Mercury's wand. + +CALIVER, light kind of musket. + +CALLET, woman of ill repute. + +CALLOT, coif worn on the wigs of our judges or +serjeants-at-law (Gifford). + +CALVERED, crimped, or sliced and pickled. (See Nares). + +CAMOUCCIO, wretch, knave. + +CAMUSED, flat. + +CAN, knows. + +CANDLE-RENT, rent from house property. + +CANDLE-WASTER, one who studies late. + +CANTER, sturdy beggar. + +CAP OF MAINTENCE, an insignia of dignity, a cap of state +borne before kings at their coronation; also an heraldic term. + +CAPABLE, able to comprehend, fit to receive instruction, +impression. + +CAPANEUS, one of the "Seven against Thebes." + +CARACT, carat, unit of weight for precious stones, etc.; +value, worth. + +CARANZA, Spanish author of a book on duelling. + +CARCANET, jewelled ornament for the neck. + +CARE, take care; object. + +CAROSH, coach, carriage. + +CARPET, table-cover. + +CARRIAGE, bearing, behaviour. + +CARWHITCHET, quip, pun. + +CASAMATE, casemate, fortress. + +CASE, a pair. + +CASE, "in--," in condition. + +CASSOCK, soldier's loose overcoat. + +CAST, flight of hawks, couple. + +CAST, throw dice; vomit; forecast, calculate. + +CAST, cashiered. + +CASTING-GLASS, bottle for sprinkling perfume. + +CASTRIL, kestrel, falcon. + +CAT, structure used in sieges. + +CATAMITE, old form of "ganymede." + +CATASTROPHE, conclusion. + +CATCHPOLE, sheriff's officer. + +CATES, dainties, provisions. + +CATSO, rogue, cheat. + +CAUTELOUS, crafty, artful. + +CENSURE, criticism; sentence. + +CENSURE, criticise; pass sentence, doom. + +CERUSE, cosmetic containing white lead. + +CESS, assess. + +CHANGE, "hunt--," follow a fresh scent. + +CHAPMAN, retail dealer. + +CHARACTER, handwriting. + +CHARGE, expense. + +CHARM, subdue with magic, lay a spell on, silence. + +CHARMING, exercising magic power. + +CHARTEL, challenge. + +CHEAP, bargain, market. + +CHEAR, CHEER, comfort, encouragement; food, entertainment. + +CHECK AT, aim reproof at. + +CHEQUIN, gold Italian coin. + +CHEVRIL, from kidskin, which is elastic and pliable. + +CHIAUS, Turkish envoy; used for a cheat, swindler. + +CHILDERMASS DAY, Innocents' Day. + +CHOKE-BAIL, action which does not allow of bail. + +CHRYSOPOEIA, alchemy. + +CHRYSOSPERM, ways of producing gold. + +CIBATION, adding fresh substances to supply the waste +of evaporation. + +CIMICI, bugs. + +CINOPER, cinnabar. + +CIOPPINI, chopine, lady's high shoe. + +CIRCLING BOY, "a species of roarer; one who in some way +drew a man into a snare, to cheat or rob him" (Nares). + +CIRCUMSTANCE, circumlocution, beating about the bush; +ceremony, everything pertaining to a certain condition; +detail, particular. + +CITRONISE, turn citron colour. + +CITTERN, kind of guitar. + +CITY-WIRES, woman of fashion, who made use of wires +for hair and dress. + +CIVIL, legal. + +CLAP, clack, chatter. + +CLAPPER-DUDGEON, downright beggar. + +CLAPS HIS DISH, a clap, or clack, dish (dish with a +movable lid) was carried by beggars and lepers to show +that the vessel was empty, and to give sound of their +approach. + +CLARIDIANA, heroine of an old romance. + +CLARISSIMO, Venetian noble. + +CLEM, starve. + +CLICKET, latch. + +CLIM O' THE CLOUGHS, etc., wordy heroes of romance. + +CLIMATE, country. + +CLOSE, secret, private; secretive. + +CLOSENESS, secrecy. + +CLOTH, arras, hangings. + +CLOUT, mark shot at, bull's eye. + +CLOWN, countryman, clodhopper. + +COACH-LEAVES, folding blinds. + +COALS, "bear no--," submit to no affront. + +COAT-ARMOUR, coat of arms. + +COAT-CARD, court-card. + +COB-HERRING, HERRING-COB, a young herring. + +COB-SWAN, male swan. + +COCK-A-HOOP, denoting unstinted jollity; thought to +be derived from turning on the tap that all might +drink to the full of the flowing liquor. + +COCKATRICE, reptile supposed to be produced from a +cock's egg and to kill by its eye--used as a term +of reproach for a woman. + +COCK-BRAINED, giddy, wild. + +COCKER, pamper. + +COCKSCOMB, fool's cap. + +COCKSTONE, stone said to be found in a cock's +gizzard, and to possess particular virtues. + +CODLING, softening by boiling. + +COFFIN, raised crust of a pie. + +COG, cheat, wheedle. + +COIL, turmoil, confusion, ado. + +COKELY, master of a puppet-show (Whalley). + +COKES, fool, gull. + +COLD-CONCEITED, having cold opinion of, coldly +affected towards. + +COLE-HARBOUR, a retreat for people of all sorts. + +COLLECTION, composure; deduction. + +COLLOP, small slice, piece of flesh. + +COLLY, blacken. + +COLOUR, pretext. + +COLOURS, "fear no--," no enemy (quibble). + +COLSTAFF, cowlstaff, pole for carrying a cowl=tub. + +COME ABOUT, charge, turn round. + +COMFORTABLE BREAD, spiced gingerbread. + +COMING, forward, ready to respond, complaisant. + +COMMENT, commentary; "sometime it is taken for a lie +or fayned tale" (Bullokar, 1616). + +COMMODITY, "current for--," allusion to practice of +money-lenders, who forced the borrower to take part of +the loan in the shape of worthless goods on which the +latter had to make money if he could. + +COMMUNICATE, share. + +COMPASS, "in--," within the range, sphere. + +COMPLEMENT, completion, completement; anything +required for the perfecting or carrying out of +a person or affair; accomplishment. + +COMPLEXION, natural disposition, constitution. + +COMPLIMENT, See Complement. + +COMPLIMENTARIES, masters of accomplishments. + +COMPOSITION, constitution; agreement, contract. + +COMPOSURE, composition. + +COMPTER, COUNTER, debtors' prison. + +CONCEALMENT, a certain amount of church property +had been retained at the dissolution of the monasteries; +Elizabeth sent commissioners to search it out, and the +courtiers begged for it. + +CONCEIT, idea, fancy, witty invention, conception, opinion. + +CONCEIT, apprehend. + +CONCEITED, fancifully, ingeniously devised or conceived; +possessed of intelligence, witty, ingenious (hence well +conceited, etc.); disposed to joke; of opinion, possessed +of an idea. + +CONCEIVE, understand. + +CONCENT, harmony, agreement. + +CONCLUDE, infer, prove. + +CONCOCT, assimilate, digest. + +CONDEN'T, probably conducted. + +CONDUCT, escort, conductor. + +CONEY-CATCH, cheat. + +CONFECT, sweetmeat. + +CONFER, compare. + +CONGIES, bows. + +CONNIVE, give a look, wink, of secret intelligence. + +CONSORT, company, concert. + +CONSTANCY, fidelity, ardour, persistence. + +CONSTANT, confirmed, persistent, faithful. + +CONSTANTLY, firmly, persistently. + +CONTEND, strive. + +CONTINENT, holding together. + +CONTROL (the point), bear or beat down. + +CONVENT, assembly, meeting. + +CONVERT, turn (oneself). + +CONVEY, transmit from one to another. + +CONVINCE, evince, prove; overcome, overpower; convict. + +COP, head, top; tuft on head of birds; "a cop" may +have reference to one or other meaning; Gifford and +others interpret as "conical, terminating in a point." + +COPE-MAN, chapman. + +COPESMATE, companion. + +COPY (Lat. copia), abundance, copiousness. + +CORN ("powder--"), grain. + +COROLLARY, finishing part or touch. + +CORSIVE, corrosive. + +CORTINE, curtain, (arch.) wall between two towers, etc. + +CORYAT, famous for his travels, published as "Coryat's +Crudities." + +COSSET, pet lamb, pet. + +COSTARD, head. + +COSTARD-MONGER, apple-seller, coster-monger. + +COSTS, ribs. + +COTE, hut. + +COTHURNAL, from "cothurnus," a particular boot worn by +actors in Greek tragedy. + +COTQUEAN, hussy. + +COUNSEL, secret. + +COUNTENANCE, means necessary for support; credit, standing. + +COUNTER. See Compter. + +COUNTER, pieces of metal or ivory for calculating at play. + +COUNTER, "hunt--," follow scent in reverse direction. + +COUNTERFEIT, false coin. + +COUNTERPANE, one part or counterpart of a deed or indenture. + +COUNTERPOINT, opposite, contrary point. + +COURT-DISH, a kind of drinking-cup (Halliwell); N.E.D. +quotes from Bp. Goodman's "Court of James I.": "The +king...caused his carver to cut him out a court-dish, +that is, something of every dish, which he sent him as +part of his reversion," but this does not sound like +short allowance or small receptacle. + +COURT-DOR, fool. + +COURTEAU, curtal, small horse with docked tail. + +COURTSHIP, courtliness. + +COVETISE, avarice. + +COWSHARD, cow dung. + +COXCOMB, fool's cap, fool. + +COY, shrink; disdain. + +COYSTREL, low varlet. + +COZEN, cheat. + +CRACK, lively young rogue, wag. + +CRACK, crack up, boast; come to grief. + +CRAMBE, game of crambo, in which the players find +rhymes for a given word. + +CRANCH, craunch. + +CRANION, spider-like; also fairy appellation for a +fly (Gifford, who refers to lines in Drayton's +"Nimphidia"). + +CRIMP, game at cards. + +CRINCLE, draw back, turn aside. + +CRISPED, with curled or waved hair. + +CROP, gather, reap. + +CROPSHIRE, a kind of herring. (See N.E.D.) + +CROSS, any piece of money, many coins being stamped +with a cross. + +CROSS AND PILE, heads and tails. + +CROSSLET, crucible. + +CROWD, fiddle. + +CRUDITIES, undigested matter. + +CRUMP, curl up. + +CRUSADO, Portuguese gold coin, marked with a cross. + +CRY ("he that cried Italian"), "speak in a musical +cadence," intone, or declaim (?); cry up. + +CUCKING-STOOL, used for the ducking of scolds, etc. + +CUCURBITE, a gourd-shaped vessel used for distillation. + +CUERPO, "in--," in undress. + +CULLICE, broth. + +CULLION, base fellow, coward. + +CULLISEN, badge worn on their arm by servants. + +CULVERIN, kind of cannon. + +CUNNING, skill. + +CUNNING, skilful. + +CUNNING-MAN, fortune-teller. + +CURE, care for. + +CURIOUS(LY), scrupulous, particular; elaborate, +elegant(ly), dainty(ly) (hence "in curious"). + +CURST, shrewish, mischievous. + +CURTAL, dog with docked tail, of inferior sort. + +CUSTARD, "quaking--," "--politic," reference to +a large custard which formed part of a city feast +and afforded huge entertainment, for the fool jumped +into it, and other like tricks were played. (See +"All's Well, etc." ii. 5, 40.) + +CUTWORK, embroidery, open-work. + +CYPRES (CYPRUS) (quibble), cypress (or cyprus) being +a transparent material, and when black used for mourning. + +DAGGER ("--frumety"), name of tavern. + +DARGISON, apparently some person known in ballad or tale. + +DAUPHIN MY BOY, refrain of old comic song. + +DAW, daunt. + +DEAD LIFT, desperate emergency. + +DEAR, applied to that which in any way touches us nearly. + +DECLINE, turn off from; turn away, aside. + +DEFALK, deduct, abate. + +DEFEND, forbid. + +DEGENEROUS, degenerate. + +DEGREES, steps. + +DELATE, accuse. + +DEMI-CULVERIN, cannon carrying a ball of about ten pounds. + +DENIER, the smallest possible coin, being the twelfth +part of a sou. + +DEPART, part with. + +DEPENDANCE, ground of quarrel in duello language. + +DESERT, reward. + +DESIGNMENT, design. + +DESPERATE, rash, reckless. + +DETECT, allow to be detected, betray, inform against. + +DETERMINE, terminate. + +DETRACT, draw back, refuse. + +DEVICE, masque, show; a thing moved by wires, +etc., puppet. + +DEVISE, exact in every particular. + +DEVISED, invented. + +DIAPASM, powdered aromatic herbs, made into balls +of perfumed paste. (See Pomander.) + +DIBBLE, (?) moustache (N.E.D.); (?) dagger (Cunningham). + +DIFFUSED, disordered, scattered, irregular. + +DIGHT, dressed. + +DILDO, refrain of popular songs; vague term of low meaning. + +DIMBLE, dingle, ravine. + +DIMENSUM, stated allowance. + +DISBASE, debase. + +DISCERN, distinguish, show a difference between. + +DISCHARGE, settle for. + +DISCIPLINE, reformation; ecclesiastical system. + +DISCLAIM, renounce all part in. + +DISCOURSE, process of reasoning, reasoning faculty. + +DISCOURTSHIP, discourtesy. + +DISCOVER, betray, reveal; display. + +DISFAVOUR, disfigure. + +DISPARAGEMENT, legal term applied to the unfitness +in any way of a marriage arranged for in the case +of wards. + +DISPENSE WITH, grant dispensation for. + +DISPLAY, extend. + +DIS'PLE, discipline, teach by the whip. + +DISPOSED, inclined to merriment. + +DISPOSURE, disposal. + +DISPRISE, depreciate. + +DISPUNCT, not punctilious. + +DISQUISITION, search. + +DISSOLVED, enervated by grief. + +DISTANCE, (?) proper measure. + +DISTASTE, offence, cause of offence. + +DISTASTE, render distasteful. + +DISTEMPERED, upset, out of humour. + +DIVISION (mus.), variation, modulation. + +DOG-BOLT, term of contempt. + +DOLE, given in dole, charity. + +DOLE OF FACES, distribution of grimaces. + +DOOM, verdict, sentence. + +DOP, dip, low bow. + +DOR, beetle, buzzing insect, drone, idler. + +DOR, (?) buzz; "give the--," make a fool of. + +DOSSER, pannier, basket. + +DOTES, endowments, qualities. + +DOTTEREL, plover; gull, fool. + +DOUBLE, behave deceitfully. + +DOXY, wench, mistress. + +DRACHM, Greek silver coin. + +DRESS, groom, curry. + +DRESSING, coiffure. + +DRIFT, intention. + +DRYFOOT, track by mere scent of foot. + +DUCKING, punishment for minor offences. + +DUILL, grieve. + +DUMPS, melancholy, originally a mournful melody. + +DURINDANA, Orlando's sword. + +DWINDLE, shrink away, be overawed. + +EAN, yean, bring forth young. + +EASINESS, readiness. + +EBOLITION, ebullition. + +EDGE, sword. + +EECH, eke. + +EGREGIOUS, eminently excellent. + +EKE, also, moreover. + +E-LA, highest note in the scale. + +EGGS ON THE SPIT, important business on hand. + +ELF-LOCK, tangled hair, supposed to be the work of elves. + +EMMET, ant. + +ENGAGE, involve. + +ENGHLE. See Ingle. + +ENGHLE, cajole; fondle. + +ENGIN(E), device, contrivance; agent; ingenuity, wit. + +ENGINER, engineer, deviser, plotter. + +ENGINOUS, crafty, full of devices; witty, ingenious. + +ENGROSS, monopolise. + +ENS, an existing thing, a substance. + +ENSIGNS, tokens, wounds. + +ENSURE, assure. + +ENTERTAIN, take into service. + +ENTREAT, plead. + +ENTREATY, entertainment. + +ENTRY, place where a deer has lately passed. + +ENVOY, denouement, conclusion. + +ENVY, spite, calumny, dislike, odium. + +EPHEMERIDES, calendars. + +EQUAL, just, impartial. + +ERECTION, elevation in esteem. + +ERINGO, candied root of the sea-holly, formerly +used as a sweetmeat and aphrodisiac. + +ERRANT, arrant. + +ESSENTIATE, become assimilated. + +ESTIMATION, esteem. + +ESTRICH, ostrich. + +ETHNIC, heathen. + +EURIPUS, flux and reflux. + +EVEN, just equable. + +EVENT, fate, issue. + +EVENT(ED), issue(d). + +EVERT, overturn. + +EXACUATE, sharpen. + +EXAMPLESS, without example or parallel. + +EXCALIBUR, King Arthur's sword. + +EXEMPLIFY, make an example of. + +EXEMPT, separate, exclude. + +EXEQUIES, obsequies. + +EXHALE, drag out. + +EXHIBITION, allowance for keep, pocket-money. + +EXORBITANT, exceeding limits of propriety or law, +inordinate. + +EXORNATION, ornament. + +EXPECT, wait. + +EXPIATE, terminate. + +EXPLICATE, explain, unfold. + +EXTEMPORAL, extempore, unpremeditated. + +EXTRACTION, essence. + +EXTRAORDINARY, employed for a special or temporary purpose. + +EXTRUDE, expel. + +EYE, "in--," in view. + +EYEBRIGHT, (?) a malt liquor in which the herb of +this name was infused, or a person who sold the same +(Gifford). + +EYE-TINGE, least shade or gleam. + +FACE, appearance. + +FACES ABOUT, military word of command. + +FACINOROUS, extremely wicked. + +FACKINGS, faith. + +FACT, deed, act, crime. + +FACTIOUS, seditious, belonging to a party, given to party feeling. + +FAECES, dregs. + +FAGIOLI, French beans. + +FAIN, forced, necessitated. + +FAITHFUL, believing. + +FALL, ruff or band turned back on the shoulders; or, veil. + +FALSIFY, feign (fencing term). + +FAME, report. + +FAMILIAR, attendant spirit. + +FANTASTICAL, capricious, whimsical. + +FARCE, stuff. + +FAR-FET. See Fet. + +FARTHINGAL, hooped petticoat. + +FAUCET, tapster. + +FAULT, lack; loss, break in line of scent; "for--," in default of. + +FAUTOR, partisan. + +FAYLES, old table game similar to backgammon. + +FEAR(ED), affright(ed). + +FEAT, activity, operation; deed, action. + +FEAT, elegant, trim. + +FEE, "in--" by feudal obligation. + +FEIZE, beat, belabour. + +FELLOW, term of contempt. + +FENNEL, emblem of flattery. + +FERE, companion, fellow. + +FERN-SEED, supposed to have power of rendering invisible. + +FET, fetched. + +FETCH, trick. + +FEUTERER (Fr. vautrier), dog-keeper. + +FEWMETS, dung. + +FICO, fig. + +FIGGUM, (?) jugglery. + +FIGMENT, fiction, invention. + +FIRK, frisk, move suddenly, or in jerks; "--up," +stir up, rouse; "firks mad," suddenly behaves like +a madman. + +FIT, pay one out, punish. + +FITNESS, readiness. + +FITTON (FITTEN), lie, invention. + +FIVE-AND-FIFTY, "highest number to stand on at +primero" (Gifford). + +FLAG, to fly low and waveringly. + +FLAGON CHAIN, for hanging a smelling-bottle (Fr. +flacon) round the neck (?). (See N.E.D.). + +FLAP-DRAGON, game similar to snap-dragon. + +FLASKET, some kind of basket. + +FLAW, sudden gust or squall of wind. + +FLAWN, custard. + +FLEA, catch fleas. + +FLEER, sneer, laugh derisively. + +FLESH, feed a hawk or dog with flesh to incite +it to the chase; initiate in blood-shed; satiate. + +FLICKER-MOUSE, bat. + +FLIGHT, light arrow. + +FLITTER-MOUSE, bat. + +FLOUT, mock, speak and act contemptuously. + +FLOWERS, pulverised substance. + +FLY, familiar spirit. + +FOIL, weapon used in fencing; that which +sets anything off to advantage. + +FOIST, cut-purse, sharper. + +FOND(LY), foolish(ly). + +FOOT-CLOTH, housings of ornamental cloth which +hung down on either side a horse to the ground. + +FOOTING, foothold; footstep; dancing. + +FOPPERY, foolery. + +FOR, "--failing," for fear of failing. + +FORBEAR, bear with; abstain from. + +FORCE, "hunt at--," run the game down with dogs. + +FOREHEAD, modesty; face, assurance, effrontery. + +FORESLOW, delay. + +FORESPEAK, bewitch; foretell. + +FORETOP, front lock of hair which fashion +required to be worn upright. + +FORGED, fabricated. + +FORM, state formally. + +FORMAL, shapely; normal; conventional. + +FORTHCOMING, produced when required. + +FOUNDER, disable with over-riding. + +FOURM, form, lair. + +FOX, sword. + +FRAIL, rush basket in which figs or raisins +were packed. + +FRAMPULL, peevish, sour-tempered. + +FRAPLER, blusterer, wrangler. + +FRAYING, "a stag is said to fray his head when he +rubs it against a tree to...cause the outward coat +of the new horns to fall off" (Gifford). + +FREIGHT (of the gazetti), burden (of the newspapers). + +FREQUENT, full. + +FRICACE, rubbing. + +FRICATRICE, woman of low character. + +FRIPPERY, old clothes shop. + +FROCK, smock-frock. + +FROLICS, (?) humorous verses circulated at a feast +(N.E.D.); couplets wrapped round sweetmeats (Cunningham). + +FRONTLESS, shameless. + +FROTED, rubbed. + +FRUMETY, hulled wheat boiled in milk and spiced. + +FRUMP, flout, sneer. + +FUCUS, dye. + +FUGEAND, (?) figent: fidgety, restless (N.E.D.). + +FULLAM, false dice. + +FULMART, polecat. + +FULSOME, foul, offensive. + +FURIBUND, raging, furious. + +GALLEY-FOIST, city-barge, used on Lord Mayor's Day, +when he was sworn into his office at Westminster +(Whalley). + +GALLIARD, lively dance in triple time. + +GAPE, be eager after. + +GARAGANTUA, Rabelais' giant. + +GARB, sheaf (Fr. gerbe); manner, fashion, behaviour. + +GARD, guard, trimming, gold or silver lace, or other +ornament. + +GARDED, faced or trimmed. + +GARNISH, fee. + +GAVEL-KIND, name of a land-tenure existing chiefly in +Kent; from 16th century often used to denote custom +of dividing a deceased man's property equally among +his sons (N.E.D.). + +GAZETTE, small Venetian coin worth about three-farthings. + +GEANCE, jaunt, errand. + +GEAR (GEER), stuff, matter, affair. + +GELID, frozen. + +GEMONIES, steps from which the bodies of criminals +were thrown into the river. + +GENERAL, free, affable. + +GENIUS, attendant spirit. + +GENTRY, gentlemen; manners characteristic of gentry, +good breeding. + +GIB-CAT, tom-cat. + +GIGANTOMACHIZE, start a giants' war. + +GIGLOT, wanton. + +GIMBLET, gimlet. + +GING, gang. + +GLASS ("taking in of shadows, etc."), crystal or beryl. + +GLEEK, card game played by three; party of three, trio; +side glance. + +GLICK (GLEEK), jest, gibe. + +GLIDDER, glaze. + +GLORIOUSLY, of vain glory. + +GODWIT, bird of the snipe family. + +GOLD-END-MAN, a buyer of broken gold and silver. + +GOLL, hand. + +GONFALIONIER, standard-bearer, chief magistrate, etc. + +GOOD, sound in credit. + +GOOD-YEAR, good luck. + +GOOSE-TURD, colour of. (See Turd). + +GORCROW, carrion crow. + +GORGET, neck armour. + +GOSSIP, godfather. + +GOWKED, from "gowk," to stand staring and gaping like +a fool. + +GRANNAM, grandam. + +GRASS, (?) grease, fat. + +GRATEFUL, agreeable, welcome. + +GRATIFY, give thanks to. + +GRATITUDE, gratuity. + +GRATULATE, welcome, congratulate. + +GRAVITY, dignity. + +GRAY, badger. + +GRICE, cub. + +GRIEF, grievance. + +GRIPE, vulture, griffin. + +GRIPE'S EGG, vessel in shape of. + +GROAT, fourpence. + +GROGRAN, coarse stuff made of silk and mohair, or of +coarse silk. + +GROOM-PORTER, officer in the royal household. + +GROPE, handle, probe. + +GROUND, pit (hence "grounded judgments"). + +GUARD, caution, heed. + +GUARDANT, heraldic term: turning the head only. + +GUILDER, Dutch coin worth about 4d. + +GULES, gullet, throat; heraldic term for red. + +GULL, simpleton, dupe. + +GUST, taste. + +HAB NAB, by, on, chance. + +HABERGEON, coat of mail. + +HAGGARD, wild female hawk; hence coy, wild. + +HALBERD, combination of lance and battle-axe. + +HALL, "a--!" a cry to clear the room for the dancers. + +HANDSEL, first money taken. + +HANGER, loop or strap on a sword-belt from which the +sword was suspended. + +HAP, fortune, luck. + +HAPPILY, haply. + +HAPPINESS, appropriateness, fitness. + +HAPPY, rich. + +HARBOUR, track, trace (an animal) to its shelter. + +HARD-FAVOURED, harsh-featured. + +HARPOCRATES, Horus the child, son of Osiris, figured +with a finger pointing to his mouth, indicative of +silence. + +HARRINGTON, a patent was granted to Lord H. for the +coinage of tokens (q.v.). + +HARROT, herald. + +HARRY NICHOLAS, founder of a community called the +"Family of Love." + +HAY, net for catching rabbits, etc. + +HAY! (Ital. hai!), you have it (a fencing term). + +HAY IN HIS HORN, ill-tempered person. + +HAZARD, game at dice; that which is staked. + +HEAD, "first--," young deer with antlers first +sprouting; fig. a newly-ennobled man. + +HEADBOROUGH, constable. + +HEARKEN AFTER, inquire; "hearken out," find, search out. + +HEARTEN, encourage. + +HEAVEN AND HELL ("Alchemist"), names of taverns. + +HECTIC, fever. + +HEDGE IN, include. + +HELM, upper part of a retort. + +HER'NSEW, hernshaw, heron. + +HIERONIMO (JERONIMO), hero of Kyd's "Spanish Tragedy." + +HOBBY, nag. + +HOBBY-HORSE, imitation horse of some light material, +fastened round the waist of the morrice-dancer, who +imitated the movements of a skittish horse. + +HODDY-DODDY, fool. + +HOIDEN, hoyden, formerly applied to both sexes (ancient +term for leveret? Gifford). + +HOLLAND, name of two famous chemists. + +HONE AND HONERO, wailing expressions of lament or discontent. + +HOOD-WINK'D, blindfolded. + +HORARY, hourly. + +HORN-MAD, stark mad (quibble). + +HORN-THUMB, cut-purses were in the habit of wearing a horn +shield on the thumb. + +HORSE-BREAD-EATING, horses were often fed on coarse bread. + +HORSE-COURSER, horse-dealer. + +HOSPITAL, Christ's Hospital. + +HOWLEGLAS, Eulenspiegel, the hero of a popular German +tale which relates his buffooneries and knavish tricks. + +HUFF, hectoring, arrogance. + +HUFF IT, swagger. + +HUISHER (Fr. huissier), usher. + +HUM, beer and spirits mixed together. + +HUMANITIAN, humanist, scholar. + +HUMOROUS, capricious, moody, out of humour; moist. + +HUMOUR, a word used in and out of season in the time +of Shakespeare and Ben Jonson, and ridiculed by both. + +HUMOURS, manners. + +HUMPHREY, DUKE, those who were dinnerless spent the +dinner-hour in a part of St. Paul's where stood a +monument said to be that of the duke's; hence "dine +with Duke Humphrey," to go hungry. + +HURTLESS, harmless. + +IDLE, useless, unprofitable. + +ILL-AFFECTED, ill-disposed. + +ILL-HABITED, unhealthy. + +ILLUSTRATE, illuminate. + +IMBIBITION, saturation, steeping. + +IMBROCATA, fencing term: a thrust in tierce. + +IMPAIR, impairment. + +IMPART, give money. + +IMPARTER, any one ready to be cheated and to part +with his money. + +IMPEACH, damage. + +IMPERTINENCIES, irrelevancies. + +IMPERTINENT(LY), irrelevant(ly), without reason or purpose. + +IMPOSITION, duty imposed by. + +IMPOTENTLY, beyond power of control. + +IMPRESS, money in advance. + +IMPULSION, incitement. + +IN AND IN, a game played by two or three persons +with four dice. + +INCENSE, incite, stir up. + +INCERATION, act of covering with wax; or reducing +a substance to softness of wax. + +INCH, "to their--es," according to their stature, +capabilities. + +INCH-PIN, sweet-bread. + +INCONVENIENCE, inconsistency, absurdity. + +INCONY, delicate, rare (used as a term of affection). + +INCUBEE, incubus. + +INCUBUS, evil spirit that oppresses us in sleep, nightmare. + +INCURIOUS, unfastidious, uncritical. + +INDENT, enter into engagement. + +INDIFFERENT, tolerable, passable. + +INDIGESTED, shapeless, chaotic. + +INDUCE, introduce. + +INDUE, supply. + +INEXORABLE, relentless. + +INFANTED, born, produced. + +INFLAME, augment charge. + +INGENIOUS, used indiscriminantly for ingenuous; +intelligent, talented. + +INGENUITY, ingenuousness. + +INGENUOUS, generous. + +INGINE. See Engin. + +INGINER, engineer. (See Enginer). + +INGLE, OR ENGHLE, bosom friend, intimate, minion. + +INHABITABLE, uninhabitable. + +INJURY, insult, affront. + +IN-MATE, resident, indwelling. + +INNATE, natural. + +INNOCENT, simpleton. + +INQUEST, jury, or other official body of inquiry. + +INQUISITION, inquiry. + +INSTANT, immediate. + +INSTRUMENT, legal document. + +INSURE, assure. + +INTEGRATE, complete, perfect. + +INTELLIGENCE, secret information, news. + +INTEND, note carefully, attend, give ear to, be +occupied with. + +INTENDMENT, intention. + +INTENT, intention, wish. + +INTENTION, concentration of attention or gaze. + +INTENTIVE, attentive. + +INTERESSED, implicated. + +INTRUDE, bring in forcibly or without leave. + +INVINCIBLY, invisibly. + +INWARD, intimate. + +IRPE (uncertain), "a fantastic grimace, or contortion +of the body: (Gifford)." + +JACK, Jack o' the clock, automaton figure that strikes +the hour; Jack-a-lent, puppet thrown at in Lent. + +JACK, key of a virginal. + +JACOB'S STAFF, an instrument for taking altitudes and +distances. + +JADE, befool. + +JEALOUSY, JEALOUS, suspicion, suspicious. + +JERKING, lashing. + +JEW'S TRUMP, Jew's harp. + +JIG, merry ballad or tune; a fanciful dialogue or +light comic act introduced at the end or during an +interlude of a play. + +JOINED (JOINT)-STOOL, folding stool. + +JOLL, jowl. + +JOLTHEAD, blockhead. + +JUMP, agree, tally. + +JUST YEAR, no one was capable of the consulship until +he was forty-three. + +KELL, cocoon. + +KELLY, an alchemist. + +KEMB, comb. + +KEMIA, vessel for distillation. + +KIBE, chap, sore. + +KILDERKIN, small barrel. + +KILL, kiln. + +KIND, nature; species; "do one's--," act according +to one's nature. + +KIRTLE, woman's gown of jacket and petticoat. + +KISS OR DRINK AFORE ME, "this is a familiar expression, +employed when what the speaker is just about to say is +anticipated by another" (Gifford). + +KIT, fiddle. + +KNACK, snap, click. + +KNIPPER-DOLING, a well-known Anabaptist. + +KNITTING CUP, marriage cup. + +KNOCKING, striking, weighty. + +KNOT, company, band; a sandpiper or robin snipe (Tringa +canutus); flower-bed laid out in fanciful design. + +KURSINED, KYRSIN, christened. + +LABOURED, wrought with labour and care. + +LADE, load(ed). + +LADING, load. + +LAID, plotted. + +LANCE-KNIGHT (Lanzknecht), a German mercenary foot-soldier. + +LAP, fold. + +LAR, household god. + +LARD, garnish. + +LARGE, abundant. + +LARUM, alarum, call to arms. + +LATTICE, tavern windows were furnished with lattices of +various colours. + +LAUNDER, to wash gold in aqua regia, so as imperceptibly +to extract some of it. + +LAVE, ladle, bale. + +LAW, "give--," give a start (term of chase). + +LAXATIVE, loose. + +LAY ABOARD, run alongside generally with intent to board. + +LEAGUER, siege, or camp of besieging army. + +LEASING, lying. + +LEAVE, leave off, desist. + +LEER, leering or "empty, hence, perhaps, leer horse, +a horse without a rider; leer is an adjective meaning +uncontrolled, hence 'leer drunkards'" (Halliwell); +according to Nares, a leer (empty) horse meant also a +led horse; leeward, left. + +LEESE, lose. + +LEGS, "make--," do obeisance. + +LEIGER, resident representative. + +LEIGERITY, legerdemain. + +LEMMA, subject proposed, or title of the epigram. + +LENTER, slower. + +LET, hinder. + +LET, hindrance. + +LEVEL COIL, a rough game...in which one hunted +another from his seat. Hence used for any noisy +riot (Halliwell). + +LEWD, ignorant. + +LEYSTALLS, receptacles of filth. + +LIBERAL, ample. + +LIEGER, ledger, register. + +LIFT(ING), steal(ing); theft. + +LIGHT, alight. + +LIGHTLY, commonly, usually, often. + +LIKE, please. + +LIKELY, agreeable, pleasing. + +LIME-HOUND, leash-, blood-hound. + +LIMMER, vile, worthless. + +LIN, leave off. + +Line, "by--," by rule. + +LINSTOCK, staff to stick in the ground, with forked +head to hold a lighted match for firing cannon. + +LIQUID, clear. + +LIST, listen, hark; like, please. + +LIVERY, legal term, delivery of the possession, etc. + +LOGGET, small log, stick. + +LOOSE, solution; upshot, issue; release of an arrow. + +LOSE, give over, desist from; waste. + +LOUTING, bowing, cringing. + +LUCULENT, bright of beauty. + +LUDGATHIANS, dealers on Ludgate Hill. + +LURCH, rob, cheat. + +LUTE, to close a vessel with some kind of cement. + +MACK, unmeaning expletive. + +MADGE-HOWLET or OWL, barn-owl. + +MAIM, hurt, injury. + +MAIN, chief concern (used as a quibble on heraldic +term for "hand"). + +MAINPRISE, becoming surety for a prisoner so as to +procure his release. + +MAINTENANCE, giving aid, or abetting. + +MAKE, mate. + +MAKE, MADE, acquaint with business, prepare(d), instruct(ed). + +MALLANDERS, disease of horses. + +MALT HORSE, dray horse. + +MAMMET, puppet. + +MAMMOTHREPT, spoiled child. + +MANAGE, control (term used for breaking-in horses); +handling, administration. + +MANGO, slave-dealer. + +MANGONISE, polish up for sale. + +MANIPLES, bundles, handfuls. + +MANKIND, masculine, like a virago. + +MANKIND, humanity. + +MAPLE FACE, spotted face (N.E.D.). + +MARCHPANE, a confection of almonds, sugar, etc. + +MARK, "fly to the--," "generally said of a goshawk +when, having 'put in' a covey of partridges, she takes +stand, marking the spot where they disappeared from +view until the falconer arrives to put them out to her" +(Harting, Bibl. Accip. Gloss. 226). + +MARLE, marvel. + +MARROW-BONE MAN, one often on his knees for prayer. + +MARRY! exclamation derived from the Virgin's name. + +MARRY GIP, "probably originated from By Mary Gipcy" = +St. Mary of Egypt, (N.E.D.). + +MARTAGAN, Turk's cap lily. + +MARYHINCHCO, stringhalt. + +MASORETH, Masora, correct form of the scriptural text +according to Hebrew tradition. + +MASS, abb. for master. + +MAUND, beg. + +MAUTHER, girl, maid. + +MEAN, moderation. + +MEASURE, dance, more especially a stately one. + +MEAT, "carry--in one's mouth," be a source of money +or entertainment. + +MEATH, metheglin. + +MECHANICAL, belonging to mechanics, mean, vulgar. + +MEDITERRANEO, middle aisle of St. Paul's, a general +resort for business and amusement. + +MEET WITH, even with. + +MELICOTTON, a late kind of peach. + +MENSTRUE, solvent. + +MERCAT, market. + +MERD, excrement. + +MERE, undiluted; absolute, unmitigated. + +MESS, party of four. + +METHEGLIN, fermented liquor, of which one ingredient +was honey. + +METOPOSCOPY, study of physiognomy. + +MIDDLING GOSSIP, go-between. + +MIGNIARD, dainty, delicate. + +MILE-END, training-ground of the city. + +MINE-MEN, sappers. + +MINION, form of cannon. + +MINSITIVE, (?) mincing, affected (N.E.D.). + +MISCELLANY MADAM, "a female trader in miscellaneous +articles; a dealer in trinkets or ornaments of various +kinds, such as kept shops in the New Exchange" (Nares). + +MISCELLINE, mixed grain; medley. + +MISCONCEIT, misconception. + +MISPRISE, MISPRISION, mistake, misunderstanding. + +MISTAKE AWAY, carry away as if by mistake. + +MITHRIDATE, an antidote against poison. + +MOCCINIGO, small Venetian coin, worth about ninepence. + +MODERN, in the mode; ordinary, commonplace. + +MOMENT, force or influence of value. + +MONTANTO, upward stroke. + +MONTH'S MIND, violent desire. + +MOORISH, like a moor or waste. + +MORGLAY, sword of Bevis of Southampton. + +MORRICE-DANCE, dance on May Day, etc., in which +certain personages were represented. + +MORTALITY, death. + +MORT-MAL, old sore, gangrene. + +MOSCADINO, confection flavoured with musk. + +MOTHER, Hysterica passio. + +MOTION, proposal, request; puppet, puppet-show; +"one of the small figures on the face of a large +clock which was moved by the vibration of the +pendulum" (Whalley). + +MOTION, suggest, propose. + +MOTLEY, parti-coloured dress of a fool; hence +used to signify pertaining to, or like, a fool. + +MOTTE, motto. + +MOURNIVAL, set of four aces or court cards in a hand; +a quartette. + +MOW, setord hay or sheaves of grain. + +MUCH! expressive of irony and incredulity. + +MUCKINDER, handkerchief. + +MULE, "born to ride on--," judges or serjeants-at-law +formerly rode on mules when going in state to Westminster +(Whally). + +MULLETS, small pincers. + +MUM-CHANCE, game of chance, played in silence. + +MUN, must. + +MUREY, dark crimson red. + +MUSCOVY-GLASS, mica. + +MUSE, wonder. + +MUSICAL, in harmony. + +MUSS, mouse; scramble. + +MYROBOLANE, foreign conserve, "a dried plum, brought +from the Indies." + +MYSTERY, art, trade, profession. + +NAIL, "to the--" (ad unguem), to perfection, to the +very utmost. + +NATIVE, natural. + +NEAT, cattle. + +NEAT, smartly apparelled; unmixed; dainty. + +NEATLY, neatly finished. + +NEATNESS, elegance. + +NEIS, nose, scent. + +NEUF (NEAF, NEIF), fist. + +NEUFT, newt. + +NIAISE, foolish, inexperienced person. + +NICE, fastidious, trivial, finical, scrupulous. + +NICENESS, fastidiousness. + +NICK, exact amount; right moment; "set in the--," +meaning uncertain. + +NICE, suit, fit; hit, seize the right moment, etc., +exactly hit on, hit off. + +NOBLE, gold coin worth 6s. 8d. + +NOCENT, harmful. + +NIL, not will. + +NOISE, company of musicians. + +NOMENTACK, an Indian chief from Virginia. + +NONES, nonce. + +NOTABLE, egregious. + +NOTE, sign, token. + +NOUGHT, "be--," go to the devil, be hanged, etc. + +NOWT-HEAD, blockhead. + +NUMBER, rhythm. + +NUPSON, oaf, simpleton. + +OADE, woad. + +OBARNI, preparation of mead. + +OBJECT, oppose; expose; interpose. + +OBLATRANT, barking, railing. + +OBNOXIOUS, liable, exposed; offensive. + +OBSERVANCE, homage, devoted service. + +OBSERVANT, attentive, obsequious. + +OBSERVE, show deference, respect. + +OBSERVER, one who shows deference, or waits upon another. + +OBSTANCY, legal phrase, "juridical opposition." + +OBSTREPEROUS, clamorous, vociferous. + +OBSTUPEFACT, stupefied. + +ODLING, (?) "must have some relation to tricking and +cheating" (Nares). + +OMINOUS, deadly, fatal. + +ONCE, at once; for good and all; used also for additional +emphasis. + +ONLY, pre-eminent, special. + +OPEN, make public; expound. + +OPPILATION, obstruction. + +OPPONE, oppose. + +OPPOSITE, antagonist. + +OPPRESS, suppress. + +ORIGINOUS, native. + +ORT, remnant, scrap. + +OUT, "to be--," to have forgotten one's part; +not at one with each other. + +OUTCRY, sale by auction. + +OUTRECUIDANCE, arrogance, presumption. + +OUTSPEAK, speak more than. + +OVERPARTED, given too difficult a part to play. + +OWLSPIEGEL. See Howleglass. + +OYEZ! (O YES!), hear ye! call of the public crier +when about to make a proclamation. + +PACKING PENNY, "give a--," dismiss, send packing. + +PAD, highway. + +PAD-HORSE, road-horse. + +PAINED (PANED) SLOPS, full breeches made of strips +of different colour and material. + +PAINFUL, diligent, painstaking. + +PAINT, blush. + +PALINODE, ode of recantation. + +PALL, weaken, dim, make stale. + +PALM, triumph. + +PAN, skirt of dress or coat. + +PANNEL, pad, or rough kind of saddle. + +PANNIER-ALLY, inhabited by tripe-sellers. + +PANNIER-MAN, hawker; a man employed about the inns of +court to bring in provisions, set the table, etc. + +PANTOFLE, indoor shoe, slipper. + +PARAMENTOS, fine trappings. + +PARANOMASIE, a play upon words. + +PARANTORY, (?) peremptory. + +PARCEL, particle, fragment (used contemptuously); article. + +PARCEL, part, partly. + +PARCEL-POET, poetaster. + +PARERGA, subordinate matters. + +PARGET, to paint or plaster the face. + +PARLE, parley. + +PARLOUS, clever, shrewd. + +PART, apportion. + +PARTAKE, participate in. + +PARTED, endowed, talented. + +PARTICULAR, individual person. + +PARTIZAN, kind of halberd. + +PARTRICH, partridge. + +PARTS, qualities, endowments. + +PASH, dash, smash. + +PASS, care, trouble oneself. + +PASSADO, fencing term: a thrust. + +PASSAGE, game at dice. + +PASSINGLY, exceedingly. + +PASSION, effect caused by external agency. + +PASSION, "in--," in so melancholy a tone, so pathetically. + +PATOUN, (?) Fr. Paton, pellet of dough; perhaps the +"moulding of the tobacco...for the pipe" (Gifford); (?) +variant of Petun, South American name of tobacco. + +PATRICO, the recorder, priest, orator of strolling +beggars or gipsies. + +PATTEN, shoe with wooden sole; "go--," keep step with, +accompany. + +PAUCA VERBA, few words. + +PAVIN, a stately dance. + +PEACE, "with my master's--," by leave, favour. + +PECULIAR, individual, single. + +PEDANT, teacher of the languages. + +PEEL, baker's shovel. + +PEEP, speak in a small or shrill voice. + +PEEVISH(LY), foolish(ly), capricious(ly); childish(ly). + +PELICAN, a retort fitted with tube or tubes, for +continuous distillation. + +PENCIL, small tuft of hair. + +PERDUE, soldier accustomed to hazardous service. + +PEREMPTORY, resolute, bold; imperious; thorough, utter, +absolute(ly). + +PERIMETER, circumference of a figure. + +PERIOD, limit, end. + +PERK, perk up. + +PERPETUANA, "this seems to be that glossy kind of stuff +now called everlasting, and anciently worn by serjeants +and other city officers" (Gifford). + +PERSPECTIVE, a view, scene or scenery; an optical device +which gave a distortion to the picture unless seen from a +particular point; a relief, modelled to produce an +optical illusion. + +PERSPICIL, optic glass. + +PERSTRINGE, criticise, censure. + +PERSUADE, inculcate, commend. + +PERSWAY, mitigate. + +PERTINACY, pertinacity. + +PESTLING, pounding, pulverising, like a pestle. + +PETASUS, broad-brimmed hat or winged cap worn by Mercury. + +PETITIONARY, supplicatory. + +PETRONEL, a kind of carbine or light gun carried by horsemen. + +PETULANT, pert, insolent. + +PHERE. See Fere. + +PHLEGMA, watery distilled liquor (old chem. "water"). + +PHRENETIC, madman. + +PICARDIL, stiff upright collar fastened on to the coat +(Whalley). + +PICT-HATCH, disreputable quarter of London. + +PIECE, person, used for woman or girl; a gold coin +worth in Jonson's time 20s. or 22s. + +PIECES OF EIGHT, Spanish coin: piastre equal to eight +reals. + +PIED, variegated. + +PIE-POUDRES (Fr. pied-poudreux, dusty-foot), court held +at fairs to administer justice to itinerant vendors and +buyers. + +PILCHER, term of contempt; one who wore a buff or leather +jerkin, as did the serjeants of the counter; a pilferer. + +PILED, pilled, peeled, bald. + +PILL'D, polled, fleeced. + +PIMLICO, "sometimes spoken of as a person--perhaps +master of a house famous for a particular ale" (Gifford). + +PINE, afflict, distress. + +PINK, stab with a weapon; pierce or cut in scallops for +ornament. + +PINNACE, a go-between in infamous sense. + +PISMIRE, ant. + +PISTOLET, gold coin, worth about 6s. + +PITCH, height of a bird of prey's flight. + +PLAGUE, punishment, torment. + +PLAIN, lament. + +PLAIN SONG, simple melody. + +PLAISE, plaice. + +PLANET, "struck with a--," planets were supposed to +have powers of blasting or exercising secret influences. + +PLAUSIBLE, pleasing. + +PLAUSIBLY, approvingly. + +PLOT, plan. + +PLY, apply oneself to. + +POESIE, posy, motto inside a ring. + +POINT IN HIS DEVICE, exact in every particular. + +POINTS, tagged laces or cords for fastening the breeches +to the doublet. + +POINT-TRUSSER, one who trussed (tied) his master's +points (q.v.). + +POISE, weigh, balance. + +POKING-STICK, stick used for setting the plaits of ruffs. + +POLITIC, politician. + +POLITIC, judicious, prudent, political. + +POLITICIAN, plotter, intriguer. + +POLL, strip, plunder, gain by extortion. + +POMANDER, ball of perfume, worn or hung about the +person to prevent infection, or for foppery. + +POMMADO, vaulting on a horse without the aid of stirrups. + +PONTIC, sour. + +POPULAR, vulgar, of the populace. + +POPULOUS, numerous. + +PORT, gate; print of a deer's foot. + +PORT, transport. + +PORTAGUE, Portuguese gold coin, worth over 3 or 4 +pounds. + +PORTCULLIS, "--of coin," some old coins have a +portcullis stamped on their reverse (Whalley). + +PORTENT, marvel, prodigy; sinister omen. + +PORTENTOUS, prophesying evil, threatening. + +PORTER, references appear "to allude to Parsons, the king's +porter, who was...near seven feet high" (Whalley). + +POSSESS, inform, acquaint. + +POST AND PAIR, a game at cards. + +POSY, motto. (See Poesie). + +POTCH, poach. + +POULT-FOOT, club-foot. + +POUNCE, claw, talon. + +PRACTICE, intrigue, concerted plot. + +PRACTISE, plot, conspire. + +PRAGMATIC, an expert, agent. + +PRAGMATIC, officious, conceited, meddling. + +PRECEDENT, record of proceedings. + +PRECEPT, warrant, summons. + +PRECISIAN(ISM), Puritan(ism), preciseness. + +PREFER, recommend. + +PRESENCE, presence chamber. + +PRESENT(LY), immediate(ly), without delay; at the +present time; actually. + +PRESS, force into service. + +PREST, ready. + +PRETEND, assert, allege. + +PREVENT, anticipate. + +PRICE, worth, excellence. + +PRICK, point, dot used in the writing of Hebrew and +other languages. + +PRICK, prick out, mark off, select; trace, track; +"--away," make off with speed. + +PRIMERO, game of cards. + +PRINCOX, pert boy. + +PRINT, "in--," to the letter, exactly. + +PRISTINATE, former. + +PRIVATE, private interests. + +PRIVATE, privy, intimate. + +PROCLIVE, prone to. + +PRODIGIOUS, monstrous, unnatural. + +PRODIGY, monster. + +PRODUCED, prolonged. + +PROFESS, pretend. + +PROJECTION, the throwing of the "powder of projection" +into the crucible to turn the melted metal into gold or +silver. + +PROLATE, pronounce drawlingly. + +PROPER, of good appearance, handsome; own, particular. + +PROPERTIES, stage necessaries. + +PROPERTY, duty; tool. + +PRORUMPED, burst out. + +PROTEST, vow, proclaim (an affected word of that time); +formally declare non-payment, etc., of bill of exchange; +fig. failure of personal credit, etc. + +PROVANT, soldier's allowance--hence, of common make. + +PROVIDE, foresee. + +PROVIDENCE, foresight, prudence. + +PUBLICATION, making a thing public of common property (N.E.D.). + +PUCKFIST, puff-ball; insipid, insignificant, boasting fellow. + +PUFF-WING, shoulder puff. + +PUISNE, judge of inferior rank, a junior. + +PULCHRITUDE, beauty. + +PUMP, shoe. + +PUNGENT, piercing. + +PUNTO, point, hit. + +PURCEPT, precept, warrant. + +PURE, fine, capital, excellent. + +PURELY, perfectly, utterly. + +PURL, pleat or fold of a ruff. + +PURSE-NET, net of which the mouth is drawn together +with a string. + +PURSUIVANT, state messenger who summoned the persecuted +seminaries; warrant officer. + +PURSY, PURSINESS, shortwinded(ness). + +PUT, make a push, exert yourself (N.E.D.). + +PUT OFF, excuse, shift. + +PUT ON, incite, encourage; proceed with, take in hand, try. + +QUACKSALVER, quack. + +QUAINT, elegant, elaborated, ingenious, clever. + +QUAR, quarry. + +QUARRIED, seized, or fed upon, as prey. + +QUEAN, hussy, jade. + +QUEASY, hazardous, delicate. + +QUELL, kill, destroy. + +QUEST, request; inquiry. + +QUESTION, decision by force of arms. + +QUESTMAN, one appointed to make official inquiry. + +QUIB, QUIBLIN, quibble, quip. + +QUICK, the living. + +QUIDDIT, quiddity, legal subtlety. + +QUIRK, clever turn or trick. + +QUIT, requite, repay; acquit, absolve; rid; forsake, +leave. + +QUITTER-BONE, disease of horses. + +QUODLING, codling. + +QUOIT, throw like a quoit, chuck. + +QUOTE, take note, observe, write down. + +RACK, neck of mutton or pork (Halliwell). + +RAKE UP, cover over. + +RAMP, rear, as a lion, etc. + +RAPT, carry away. + +RAPT, enraptured. + +RASCAL, young or inferior deer. + +RASH, strike with a glancing oblique blow, as a +boar with its tusk. + +RATSEY, GOMALIEL, a famous highwayman. + +RAVEN, devour. + +REACH, understand. + +REAL, regal. + +REBATU, ruff, turned-down collar. + +RECTOR, RECTRESS, director, governor. + +REDARGUE, confute. + +REDUCE, bring back. + +REED, rede, counsel, advice. + +REEL, run riot. + +REFEL, refute. + +REFORMADOES, disgraced or disbanded soldiers. + +REGIMENT, government. + +REGRESSION, return. + +REGULAR ("Tale of a Tub"), regular noun (quibble) (N.E.D.). + +RELIGION, "make--of," make a point of, scruple of. + +RELISH, savour. + +REMNANT, scrap of quotation. + +REMORA, species of fish. + +RENDER, depict, exhibit, show. + +REPAIR, reinstate. + +REPETITION, recital, narration. + +REREMOUSE, bat. + +RESIANT, resident. + +RESIDENCE, sediment. + +RESOLUTION, judgment, decision. + +RESOLVE, inform; assure; prepare, make up one's mind; +dissolve; come to a decision, be convinced; relax, set +at ease. + +RESPECTIVE, worthy of respect; regardful, discriminative. + +RESPECTIVELY, with reverence. + +RESPECTLESS, regardless. + +RESPIRE, exhale; inhale. + +RESPONSIBLE, correspondent. + +REST, musket-rest. + +REST, "set up one's--," venture one's all, one's +last stake (from game of primero). + +REST, arrest. + +RESTIVE, RESTY, dull, inactive. + +RETCHLESS(NESS), reckless(ness). + +RETIRE, cause to retire. + +RETRICATO, fencing term. + +RETRIEVE, rediscovery of game once sprung. + +RETURNS, ventures sent abroad, for the safe return of +which so much money is received. + +REVERBERATE, dissolve or blend by reflected heat. + +REVERSE, REVERSO, back-handed thrust, etc., in fencing. + +REVISE, reconsider a sentence. + +RHEUM, spleen, caprice. + +RIBIBE, abusive term for an old woman. + +RID, destroy, do away with. + +RIFLING, raffling, dicing. + +RING, "cracked within the--," coins so cracked were +unfit for currency. + +RISSE, risen, rose. + +RIVELLED, wrinkled. + +ROARER, swaggerer. + +ROCHET, fish of the gurnet kind. + +ROCK, distaff. + +RODOMONTADO, braggadocio. + +ROGUE, vagrant, vagabond. + +RONDEL, "a round mark in the score of a public-house" +(Nares); roundel. + +ROOK, sharper; fool, dupe. + +ROSAKER, similar to ratsbane. + +ROSA-SOLIS, a spiced spirituous liquor. + +ROSES, rosettes. + +ROUND, "gentlemen of the--," officers of inferior rank. + +ROUND TRUNKS, trunk hose, short loose breeches reaching +almost or quite to the knees. + +ROUSE, carouse, bumper. + +ROVER, arrow used for shooting at a random mark at +uncertain distance. + +ROWLY-POWLY, roly-poly. + +RUDE, RUDENESS, unpolished, rough(ness), coarse(ness). + +RUFFLE, flaunt, swagger. + +RUG, coarse frieze. + +RUG-GOWNS, gown made of rug. + +RUSH, reference to rushes with which the floors were +then strewn. + +RUSHER, one who strewed the floor with rushes. + +RUSSET, homespun cloth of neutral or reddish-brown colour. + +SACK, loose, flowing gown. + +SADLY, seriously, with gravity. + +SAD(NESS), sober, serious(ness). + +SAFFI, bailiffs. + +ST. THOMAS A WATERINGS, place in Surrey where criminals +were executed. + +SAKER, small piece of ordnance. + +SALT, leap. + +SALT, lascivious. + +SAMPSUCHINE, sweet marjoram. + +SARABAND, a slow dance. + +SATURNALS, began December 17. + +SAUCINESS, presumption, insolence. + +SAUCY, bold, impudent, wanton. + +SAUNA (Lat.), a gesture of contempt. + +SAVOUR, perceive; gratify, please; to partake of the nature. + +SAY, sample. + +SAY, assay, try. + +SCALD, word of contempt, implying dirt and disease. + +SCALLION, shalot, small onion. + +SCANDERBAG, "name which the Turks (in allusion to +Alexander the Great) gave to the brave Castriot, chief +of Albania, with whom they had continual wars. His +romantic life had just been translated" (Gifford). + +SCAPE, escape. + +SCARAB, beetle. + +SCARTOCCIO, fold of paper, cover, cartouch, cartridge. + +SCONCE, head. + +SCOPE, aim. + +SCOT AND LOT, tax, contribution (formerly a parish +assessment). + +SCOTOMY, dizziness in the head. + +SCOUR, purge. + +SCOURSE, deal, swap. + +SCRATCHES, disease of horses. + +SCROYLE, mean, rascally fellow. + +SCRUPLE, doubt. + +SEAL, put hand to the giving up of property or rights. + +SEALED, stamped as genuine. + +SEAM-RENT, ragged. + +SEAMING LACES, insertion or edging. + +SEAR UP, close by searing, burning. + +SEARCED, sifted. + +SECRETARY, able to keep a secret. + +SECULAR, worldly, ordinary, commonplace. + +SECURE, confident. + +SEELIE, happy, blest. + +SEISIN, legal term: possession. + +SELLARY, lewd person. + +SEMBLABLY, similarly. + +SEMINARY, a Romish priest educated in a foreign seminary. + +SENSELESS, insensible, without sense or feeling. + +SENSIBLY, perceptibly. + +SENSIVE, sensitive. + +SENSUAL, pertaining to the physical or material. + +SERENE, harmful dew of evening. + +SERICON, red tincture. + +SERVANT, lover. + +SERVICES, doughty deeds of arms. + +SESTERCE, Roman copper coin. + +SET, stake, wager. + +SET UP, drill. + +SETS, deep plaits of the ruff. + +SEWER, officer who served up the feast, and brought +water for the hands of the guests. + +SHAPE, a suit by way of disguise. + +SHIFT, fraud, dodge. + +SHIFTER, cheat. + +SHITTLE, shuttle; "shittle-cock," shuttlecock. + +SHOT, tavern reckoning. + +SHOT-CLOG, one only tolerated because he paid the shot +(reckoning) for the rest. + +SHOT-FREE, scot-free, not having to pay. + +SHOVE-GROAT, low kind of gambling amusement, perhaps +somewhat of the nature of pitch and toss. + +SHOT-SHARKS, drawers. + +SHREWD, mischievous, malicious, curst. + +SHREWDLY, keenly, in a high degree. + +SHRIVE, sheriff; posts were set up before his door for +proclamations, or to indicate his residence. + +SHROVING, Shrovetide, season of merriment. + +SIGILLA, seal, mark. + +SILENCED BRETHERN, MINISTERS, those of the Church or +Nonconformists who had been silenced, deprived, etc. + +SILLY, simple, harmless. + +SIMPLE, silly, witless; plain, true. + +SIMPLES, herbs. + +SINGLE, term of chase, signifying when the hunted stag +is separated from the herd, or forced to break covert. + +SINGLE, weak, silly. + +SINGLE-MONEY, small change. + +SINGULAR, unique, supreme. + +SI-QUIS, bill, advertisement. + +SKELDRING, getting money under false pretences; swindling. + +SKILL, "it--s not," matters not. + +SKINK(ER), pour, draw(er), tapster. + +SKIRT, tail. + +SLEEK, smooth. + +SLICE, fire shovel or pan (dial.). + +SLICK, sleek, smooth. + +'SLID, 'SLIGHT, 'SPRECIOUS, irreverent oaths. + +SLIGHT, sleight, cunning, cleverness; trick. + +SLIP, counterfeit coin, bastard. + +SLIPPERY, polished and shining. + +SLOPS, large loose breeches. + +SLOT, print of a stag's foot. + +SLUR, put a slur on; cheat (by sliding a die in some way). + +SMELT, gull, simpleton. + +SNORLE, "perhaps snarl, as Puppy is addressed" (Cunningham). + +SNOTTERIE, filth. + +SNUFF, anger, resentment; "take in--," take offence at. + +SNUFFERS, small open silver dishes for holding snuff, +or receptacle for placing snuffers in (Halliwell). + +SOCK, shoe worn by comic actors. + +SOD, seethe. + +SOGGY, soaked, sodden. + +SOIL, "take--," said of a hunted stag when he takes +to the water for safety. + +SOL, sou. + +SOLDADOES, soldiers. + +SOLICIT, rouse, excite to action. + +SOOTH, flattery, cajolery. + +SOOTHE, flatter, humour. + +SOPHISTICATE, adulterate. + +SORT, company, party; rank, degree. + +SORT, suit, fit; select. + +SOUSE, ear. + +SOUSED ("Devil is an Ass"), fol. read "sou't," which +Dyce interprets as "a variety of the spelling of "shu'd": +to "shu" is to scare a bird away." (See his "Webster," +page 350). + +SOWTER, cobbler. + +SPAGYRICA, chemistry according to the teachings of Paracelsus. + +SPAR, bar. + +SPEAK, make known, proclaim. + +SPECULATION, power of sight. + +SPED, to have fared well, prospered. + +SPEECE, species. + +SPIGHT, anger, rancour. + +SPINNER, spider. + +SPINSTRY, lewd person. + +SPITTLE, hospital, lazar-house. + +SPLEEN, considered the seat of the emotions. + +SPLEEN, caprice, humour, mood. + +SPRUNT, spruce. + +SPURGE, foam. + +SPUR-RYAL, gold coin worth 15s. + +SQUIRE, square, measure; "by the--," exactly. + +STAGGERING, wavering, hesitating. + +STAIN, disparagement, disgrace. + +STALE, decoy, or cover, stalking-horse. + +STALE, make cheap, common. + +STALK, approach stealthily or under cover. + +STALL, forestall. + +STANDARD, suit. + +STAPLE, market, emporium. + +STARK, downright. + +STARTING-HOLES, loopholes of escape. + +STATE, dignity; canopied chair of state; estate. + +STATUMINATE, support vines by poles or stakes; used +by Pliny (Gifford). + +STAY, gag. + +STAY, await; detain. + +STICKLER, second or umpire. + +STIGMATISE, mark, brand. + +STILL, continual(ly), constant(ly). + +STINKARD, stinking fellow. + +STINT, stop. + +STIPTIC, astringent. + +STOCCATA, thrust in fencing. + +STOCK-FISH, salted and dried fish. + +STOMACH, pride, valour. + +STOMACH, resent. + +STOOP, swoop down as a hawk. + +STOP, fill, stuff. + +STOPPLE, stopper. + +STOTE, stoat, weasel. + +STOUP, stoop, swoop=bow. + +STRAIGHT, straightway. + +STRAMAZOUN (Ital. stramazzone), a down blow, as opposed +to the thrust. + +STRANGE, like a stranger, unfamiliar. + +STRANGENESS, distance of behaviour. + +STREIGHTS, OR BERMUDAS, labyrinth of alleys and courts +in the Strand. + +STRIGONIUM, Grau in Hungary, taken from the Turks in +1597. + +STRIKE, balance (accounts). + +STRINGHALT, disease of horses. + +STROKER, smoother, flatterer. + +STROOK, p.p. of "strike." + +STRUMMEL-PATCHED, strummel is glossed in dialect dicts. +as "a long, loose and dishevelled head of hair." + +STUDIES, studious efforts. + +STYLE, title; pointed instrument used for writing on wax +tablets. + +SUBTLE, fine, delicate, thin; smooth, soft. + +SUBTLETY (SUBTILITY), subtle device. + +SUBURB, connected with loose living. + +SUCCUBAE, demons in form of women. + +SUCK, extract money from. + +SUFFERANCE, suffering. + +SUMMED, term of falconry: with full-grown plumage. + +SUPER-NEGULUM, topers turned the cup bottom up when +it was empty. + +SUPERSTITIOUS, over-scrupulous. + +SUPPLE, to make pliant. + +SURBATE, make sore with walking. + +SURCEASE, cease. + +SUR-REVERENCE, save your reverence. + +SURVISE, peruse. + +SUSCITABILITY, excitability. + +SUSPECT, suspicion. + +SUSPEND, suspect. + +SUSPENDED, held over for the present. + +SUTLER, victualler. + +SWAD, clown, boor. + +SWATH BANDS, swaddling clothes. + +SWINGE, beat. + +TABERD, emblazoned mantle or tunic worn by knights +and heralds. + +TABLE(S), "pair of--," tablets, note-book. + +TABOR, small drum. + +TABRET, tabor. + +TAFFETA, silk; "tuft-taffeta," a more costly silken fabric. + +TAINT, "--a staff," break a lance at tilting in an +unscientific or dishonourable manner. + +TAKE IN, capture, subdue. + +TAKE ME WITH YOU, let me understand you. + +TAKE UP, obtain on credit, borrow. + +TALENT, sum or weight of Greek currency. + +TALL, stout, brave. + +TANKARD-BEARERS, men employed to fetch water from the +conduits. + +TARLETON, celebrated comedian and jester. + +TARTAROUS, like a Tartar. + +TAVERN-TOKEN, "to swallow a--," get drunk. + +TELL, count. + +TELL-TROTH, truth-teller. + +TEMPER, modify, soften. + +TENDER, show regard, care for, cherish; manifest. + +TENT, "take--," take heed. + +TERSE, swept and polished. + +TERTIA, "that portion of an army levied out of one +particular district or division of a country" (Gifford). + +TESTON, tester, coin worth 6d. + +THIRDBOROUGH, constable. + +THREAD, quality. + +THREAVES, droves. + +THREE-FARTHINGS, piece of silver current under Elizabeth. + +THREE-PILED, of finest quality, exaggerated. + +THRIFTILY, carefully. + +THRUMS, ends of the weaver's warp; coarse yarn made from. + +THUMB-RING, familiar spirits were supposed capable of +being carried about in various ornaments or parts of dress. + +TIBICINE, player on the tibia, or pipe. + +TICK-TACK, game similar to backgammon. + +TIGHTLY, promptly. + +TIM, (?) expressive of a climax of nonentity. + +TIMELESS, untimely, unseasonable. + +TINCTURE, an essential or spiritual principle supposed +by alchemists to be transfusible into material things; +an imparted characteristic or tendency. + +TINK, tinkle. + +TIPPET, "turn--," change behaviour or way of life. + +TIPSTAFF, staff tipped with metal. + +TIRE, head-dress. + +TIRE, feed ravenously, like a bird of prey. + +TITILLATION, that which tickles the senses, as a perfume. + +TOD, fox. + +TOILED, worn out, harassed. + +TOKEN, piece of base metal used in place of very small +coin, when this was scarce. + +TONNELS, nostrils. + +TOP, "parish--," large top kept in villages for +amusement and exercise in frosty weather when people +were out of work. + +TOTER, tooter, player on a wind instrument. + +TOUSE, pull, rend. + +TOWARD, docile, apt; on the way to; as regards; present, +at hand. + +TOY, whim; trick; term of contempt. + +TRACT, attraction. + +TRAIN, allure, entice. + +TRANSITORY, transmittable. + +TRANSLATE, transform. + +TRAY-TRIP, game at dice (success depended on throwing +a three) (Nares). + +TREACHOUR (TRECHER), traitor. + +TREEN, wooden. + +TRENCHER, serving-man who carved or served food. + +TRENDLE-TAIL, trundle-tail, curly-tailed. + +TRICK (TRICKING), term of heraldry: to draw outline of +coat of arms, etc., without blazoning. + +TRIG, a spruce, dandified man. + +TRILL, trickle. + +TRILLIBUB, tripe, any worthless, trifling thing. + +TRIPOLY, "come from--," able to perform feats of agility, +a "jest nominal," depending on the first part of the word +(Gifford). + +TRITE, worn, shabby. + +TRIVIA, three-faced goddess (Hecate). + +TROJAN, familiar term for an equal or inferior; thief. + +TROLL, sing loudly. + +TROMP, trump, deceive. + +TROPE, figure of speech. + +TROW, think, believe, wonder. + +TROWLE, troll. + +TROWSES, breeches, drawers. + +TRUCHMAN, interpreter. + +TRUNDLE, JOHN, well-known printer. + +TRUNDLE, roll, go rolling along. + +TRUNDLING CHEATS, term among gipsies and beggars for +carts or coaches (Gifford). + +TRUNK, speaking-tube. + +TRUSS, tie the tagged laces that fastened the breeches +to the doublet. + +TUBICINE, trumpeter. + +TUCKET (Ital. toccato), introductory flourish on the +trumpet. + +TUITION, guardianship. + +TUMBLER, a particular kind of dog so called from the +mode of his hunting. + +TUMBREL-SLOP, loose, baggy breeches. + +TURD, excrement. + +TUSK, gnash the teeth (Century Dict.). + +TWIRE, peep, twinkle. + +TWOPENNY ROOM, gallery. + +TYRING-HOUSE, attiring-room. + +ULENSPIEGEL. See Howleglass. + +UMBRATILE, like or pertaining to a shadow. + +UMBRE, brown dye. + +UNBATED, unabated. + +UNBORED, (?) excessively bored. + +UNCARNATE, not fleshly, or of flesh. + +UNCOUTH, strange, unusual. + +UNDERTAKER, "one who undertook by his influence in the +House of Commons to carry things agreeably to his +Majesty's wishes" (Whalley); one who becomes surety for. + +UNEQUAL, unjust. + +UNEXCEPTED, no objection taken at. + +UNFEARED, unaffrighted. + +UNHAPPILY, unfortunately. + +UNICORN'S HORN, supposed antidote to poison. + +UNKIND(LY), unnatural(ly). + +UNMANNED, untamed (term in falconry). + +UNQUIT, undischarged. + +UNREADY, undressed. + +UNRUDE, rude to an extreme. + +UNSEASONED, unseasonable, unripe. + +UNSEELED, a hawk's eyes were "seeled" by sewing the +eyelids together with fine thread. + +UNTIMELY, unseasonably. + +UNVALUABLE, invaluable. + +UPBRAID, make a matter of reproach. + +UPSEE, heavy kind of Dutch beer (Halliwell); "--Dutch," +in the Dutch fashion. + +UPTAILS ALL, refrain of a popular song. + +URGE, allege as accomplice, instigator. + +URSHIN, URCHIN, hedgehog. + +USE, interest on money; part of sermon dealing with the +practical application of doctrine. + +USE, be in the habit of, accustomed to; put out to interest. + +USQUEBAUGH, whisky. + +USURE, usury. + +UTTER, put in circulation, make to pass current; put forth for sale. + +VAIL, bow, do homage. + +VAILS, tips, gratuities. + +VALL. See Vail. + +VALLIES (Fr. valise), portmanteau, bag. + +VAPOUR(S) (n. and v.), used affectedly, like "humour," +in many senses, often very vaguely and freely ridiculed +by Jonson; humour, disposition, whims, brag(ging), +hector(ing), etc. + +VARLET, bailiff, or serjeant-at-mace. + +VAUT, vault. + +VEER (naut.), pay out. + +VEGETAL, vegetable; person full of life and vigour. + +VELLUTE, velvet. + +VELVET CUSTARD. Cf. "Taming of the Shrew," iv. 3, 82, +"custard coffin," coffin being the raised crust over a pie. + +VENT, vend, sell; give outlet to; scent, snuff up. + +VENUE, bout (fencing term). + +VERDUGO (Span.), hangman, executioner. + +VERGE, "in the--," within a certain distance of the court. + +VEX, agitate, torment. + +VICE, the buffoon of old moralities; some kind of +machinery for moving a puppet (Gifford). + +VIE AND REVIE, to hazard a certain sum, and to cover +it with a larger one. + +VINCENT AGAINST YORK, two heralds-at-arms. + +VINDICATE, avenge. + +VIRGE, wand, rod. + +VIRGINAL, old form of piano. + +VIRTUE, valour. + +VIVELY, in lifelike manner, livelily. + +VIZARD, mask. + +VOGUE, rumour, gossip. + +VOICE, vote. + +VOID, leave, quit. + +VOLARY, cage, aviary. + +VOLLEY, "at--," "o' the volee," at random (from a +term of tennis). + +VORLOFFE, furlough. + +WADLOE, keeper of the Devil Tavern, where Jonson and his +friends met in the 'Apollo' room (Whalley). + +WAIGHTS, waits, night musicians, "band of musical +watchmen" (Webster), or old form of "hautboys." + +WANNION, "vengeance," "plague" (Nares). + +WARD, a famous pirate. + +WARD, guard in fencing. + +WATCHET, pale, sky blue. + +WEAL, welfare. + +WEED, garment. + +WEFT, waif. + +WEIGHTS, "to the gold--," to every minute particular. + +WELKIN, sky. + +WELL-SPOKEN, of fair speech. + +WELL-TORNED, turned and polished, as on a wheel. + +WELT, hem, border of fur. + +WHER, whether. + +WHETSTONE, GEORGE, an author who lived 1544(?) to 1587(?). + +WHIFF, a smoke, or drink; "taking the--," inhaling the +tobacco smoke or some such accomplishment. + +WHIGH-HIES, neighings, whinnyings. + +WHIMSY, whim, "humour." + +WHINILING, (?) whining, weakly. + +WHIT, (?) a mere jot. + +WHITEMEAT, food made of milk or eggs. + +WICKED, bad, clumsy. + +WICKER, pliant, agile. + +WILDING, esp. fruit of wild apple or crab tree (Webster). + +WINE, "I have the--for you," Prov.: I have the +perquisites (of the office) which you are to share +(Cunningham). + +WINNY, "same as old word "wonne," to stay, etc." (Whalley). + +WISE-WOMAN, fortune-teller. + +WISH, recommend. + +WISS (WUSSE), "I--," certainly, of a truth. + +WITHOUT, beyond. + +WITTY, cunning, ingenious, clever. + +WOOD, collection, lot. + +WOODCOCK, term of contempt. + +WOOLSACK ("--pies"), name of tavern. + +WORT, unfermented beer. + +WOUNDY, great, extreme. + +WREAK, revenge. + +WROUGHT, wrought upon. + +WUSSE, interjection. (See Wiss). + +YEANLING, lamb, kid. + +ZANY, an inferior clown, who attended upon the chief +fool and mimicked his tricks. + + +End of The Project Gutenberg Etext of Volpone; Or, The Fox +by Ben Jonson + diff --git a/old/vlpnr10.zip b/old/vlpnr10.zip Binary files differnew file mode 100644 index 0000000..4a0fccf --- /dev/null +++ b/old/vlpnr10.zip |